Brecht Vandenbroucke and his Kiwi Mate design
Welcome to the creative world of Brecht Vandenbroucke, illustrator and visual artist, who created a striking design for Yugen’s Kiwi Mate flavour with his unique style and playful imagination.
BRECHT, CAN YOU TELL US A BIT ABOUT YOURSELF AND HOW YOUR PASSION FOR DRAWING BEGAN?
I’m Brecht Vandenbroucke, 40 years old, and I work as a draftsman, illustrator, and visual artist. Drawing has always been a constant in my life. I was already doing it all the time as a child, and that never really changed. It’s probably the one thing I know I can do, and that I genuinely enjoy.
WHERE DO YOU FIND YOUR INSPIRATION?
Inspiration really comes from everywhere. The world around me plays a big role: what I see, colours, shapes, but also the news. I also draw a lot from literature, books, and objects. Even toys or things I collect can become the starting point of an idea.
Everything that interests me can eventually find its way into my work. It’s a constant flow of impressions that translates into images.
YOUR WORK FEELS MODERN, BUT YOUR PROCESS IS SLOW AND DELIBERATE. HOW DO YOU SEE THAT BALANCE?
I do try to make contemporary work, but painting deliberately slows me down. In a fast-paced modern world, painting is actually a very slow and layered process.
That slowness gives me freedom. I can adjust things, paint over them, rethink them. Mistakes aren’t a problem—they’re part of the process. That’s exactly where I find the space to truly create.
WHAT MATERIALS AND TECHNIQUES DO YOU USE?
At my core, I’m a linear draftsman. I work a lot with lines, somewhat in the tradition of the “clear line” style, like you might know from Tintin.
My images often begin as line drawings, as constructions. But during the painting process, something extra happens: volumes, light and shadow, textures, and colors start to emerge. It transforms the line into something richer.
So I see myself as a kind of “hidden” linear artist who paints.
YOUR STUDIO IS FILLED WITH TOYS AND OBJECTS. WHAT ROLE DO THEY PLAY IN YOUR WORK?
I’ve always been a collector. I like bringing things together and creating tension between different objects. My work is quite eclectic, both in shapes and colors.
For me, collecting is a way of understanding the world. I try to connect things that don’t seem related at first. It’s in those encounters that something new emerges.
Memory also plays a big role. Many of these objects have personal meaning, but they’re also recognizable to others. They often appear in my work, where they almost come to life, creating a slightly surreal effect.
HUMOR PLAYS AN IMPORTANT ROLE IN YOUR WORK. WHY IS THAT?
My work is very narrative, and I want people to feel something when they look at it. Humor is a way to build a bridge to the viewer.
Emotions are closely connected—a laugh and a tear can exist side by side. Humor helps create that connection and trigger something in people.
It’s also simply how I approach life. That attitude naturally carries over into my work.
YOU GREW UP ON A FARM IN WEST FLANDERS. HOW DID YOU EVOLVE FROM THAT BACKGROUND INTO AN ARTIST WITH INTERNATIONAL CLIENTS?
I didn’t grow up surrounded by “high art,” but I always had the urge and motivation to create. That’s been my driving force.
There was never a strict plan behind my career. It’s more about being open to opportunities and seeing what comes your way. If a collaboration feels right and I connect with it, I go for it.
I see assignments as gifts. You never know where you’ll end up, so it’s important to trust the process and just keep going.
WHO HAVE YOU WORKED WITH AS A CLIENT?
It’s very diverse. I’ve designed fabrics for Prada, t-shirts for Lacoste, and created illustrations for Wired Magazine, Variety, and The New York Times.
Closer to home, I’ve worked for publications like De Standaard, Humo, and De Morgen, and in the Netherlands for the VPRO Guide.
I also create books, comics, prints, and album covers. I really enjoy that variety. For me, it doesn’t matter whether it’s a big brand or a small project—the work itself just has to be good.
HOW DO YOU APPROACH A NEW ILLUSTRATION?
My process starts with writing things down and sketching. I always carry sketchbooks with me and do a lot of research beforehand.
For commissioned work, I first send sketches to see if we’re heading in the right direction. Feedback is important—it helps me avoid getting stuck in my own head.
I work almost entirely by hand, using pen, ink, and pencil. That tactile quality is important to me. It feels more authentic, and besides, we already spend enough time looking at screens. I also get migraines from too much screen time.
WHAT MAKES YOUR WORK RECOGNIZABLE?
My work is colorful, often humorous, and contains a touch of surrealism. But above all, I always try to tell something.
The recognizability lies mainly in the characters, the colors, and the combination of playfulness and emotion.
HOW DID THE COLLABORATION WITH YUGEN COME ABOUT?
I was contacted by Yugen and asked if I wanted to create a design.
What really appealed to me was the freedom I was given. It was truly carte blanche: “just come up with an idea.”
I sent over a few sketches, and we quickly aligned on a direction. The only real limitation was the format, but that’s actually something I enjoy—being creative within a framework.
CAN YOU DESCRIBE THE DESIGN YOU CREATED FOR YUGEN?
I wanted to create a dynamic image, something that moves and radiates energy.
The idea of a wheel or cycle came to mind quickly—something that moves forward. I combined that with organic forms, which led me to a kind of plant-like creature.
This creature rides a sort of motorbike, but instead of exhaust fumes, flowers come out of it. The image had to feel positive and lively.
You can also see turtles being overtaken, which enhances the sense of movement. Altogether, it’s a playful, cheerful universe based on plants, shapes, and imagination.
HOW DOES IT FEEL TO SEE YOUR WORK ON A PRODUCT IN THE SUPERMARKET?
I think it’s really fun. I like the idea that images become part of everyday life.
I’ve always been fascinated by brand logos and mascots. For this project, I wanted to create something like a mascot for the Kiwi Mate flavor—a kind of embodiment of a feeling. That idea of recognizability and emotion was central.
What’s also nice is that the object continues to exist. A bottle can get a second life; my mother-in-law, for example, uses one as a vase. The work keeps living on, and that makes it special.
Check out more of Brecht Vandenbroucke's art and follow him on Instagram at @brechtvandenbroucke
