Jelly Bean Studio is the creative home of Aysha Zreika, a surface designer and illustrator based in Spain. With a background in children’s textile design, she has collaborated with high-profile kidswear brands such as The Animals Observatory. This experience gave her a deep understanding of the creative and technical processes involved in turning an idea into a factory-ready print. In 2024, she launched her own studio to explore a more expressive and independent approach — free from passing trends but rooted in artistic intention.

 

Laura Turner: Could you share your professional background?

Aysha Zreika: Ever since I was a child, I loved drawing – I could spend hours in front of a piece of paper imagining fantastic worlds and places I would love to visit. Later, I studied illustration at art school and then fashion design. My professional career has been mainly focused on fashion design, but it was during my time working at The Animals Observatory that my passion for illustration came back to life through its colourful and artistic prints. That’s when I decided to create my own print design studio focused on childrenswear and lifestyle, where I help brands express their identity through unique, expressive, and character-driven prints.

LT: What drew you specifically to the world of children’s textile design?

AZ: First, I’ve always liked the specifically childlike style, because I never really stopped drawing like a child. Second, both in terms of colour and themes, it offers much more creative freedom than adult textile design. There’s so much more room for play, and that’s something I truly enjoy.

 

 

LT: Could you walk us through your creative process from initial concept to final print?

AZ: I always start with a moodboard or a defined theme for the print. Then I need to know what surface it will be printed on – designing for a sweatshirt is not the same as designing for a notebook. After that, I do a brainstorming session with as many ideas as possible, without any filter. I select a few and make rough sketches just to see if the ideas work. When one of these sketches feels promising, I refine it until it looks well finished. Once I have the final motifs, I create the repeat pattern (rapport) and apply the colour palette that best fits. Finally, I prepare the production file separated by colours, ready to send to the client.

LT: Are there themes or motifs you find yourself returning to when designing for children?

AZ: Absolutely: animals, plants, food – these always work. But what I love most about kidswear prints is that there’s no limit to imagination: you can create a print full of French fries or hippos flying across the sky.

LT: What unique challenges do you face when designing prints for childrenswear?

AZ: The creative process can sometimes be a bit tedious, depending on the day. You can have great ideas, but then struggle to bring them to paper if inspiration isn’t there. I need time (and I think I speak for all illustrators) for trial and error, so that in the end, I create something I can truly feel proud of.

 

 

LT: How do you approach designing for different age groups?

AZ: For babies, I usually design cuter themes, with less saturated colours and smaller motifs. For older children, the drawings change slightly. The style remains playful but the themes can be bolder and the colours brighter. Older kids don’t want to feel like babies anymore, so I often create more typographic or abstract prints for them, too.

LT: Do you think about gender-neutral options in your prints?

AZ: I’m very much in favour of making prints increasingly gender-neutral. I dislike the stereotypes we teach children from such a young age about how boys and girls should dress. Fortunately, I’ve been able to work with brands that share these values, which has allowed me to create freely, without censorship.

LT: Are there new technologies, materials, or art forms you’re exploring?

AZ: Until recently, I always drew traditionally with pencils and markers. But I started experimenting with digital work, because today’s digital brushes offer spectacular effects and save a lot of time. Now I combine both methods – hand-drawing gives freshness to the print, while digital adds strength. I can’t imagine working with just one or the other.

LT: How can people follow your work or get in touch for collaborations?

AZ: They can email me at hello@jellybeanstudio.com and can also follow my work on my website and social media.