Editor’s Column

The 4,636 submissions we received for this year’s Illustration Annual were up 14.4 percent over last year. We registered gains most notably in the Advertising and For Sale categories.

Go to Jurors Biographies

“The field this year exhibited a high level of craftsmanship,” said juror Chris von Ende. “Some work rose to the top based on its originality, while other pieces were skillfully executed in a more traditional manner.” “There was a good mix of classic and contemporary styles, but very few edgy, alternative works,” added juror Rikki Poulos.

 “Even at the brisk pace we were keeping in the judging process, it was evident that quite a lot of the work was structured around very apt expressions of concepts, arguments or observations; and not always in expected ways,” said juror Tim J Luddy. “As more of our visual input comes from smartphones, I wonder whether there is a growing appreciation for work commissioned for print that is perhaps a more subtle, but richer conceptual experience.”

As in past years, the jurors began to notice visual themes appearing in the entries after several hours of judging.

 “I was surprised by the amount of zombie illustrations I saw,” said juror Penelope Dullaghan. “Tons! They were done in all different styles and I couldn’t figure out where they were coming from. Now I’m dreaming of see-through cheeks at night. Thanks.”

When asked about disappointments, several jurors cited the small number of animation submissions.

“I know of a number of illustrators who are working very successfully in that medium, more or less self-producing, whose work would have been a welcome addition to the category—which was strong, although small,” Luddy said. “It feels like there’s an opportunity to expand this category in the future,” von Ende said. “Showing off more animation would also inspire companies to start using illustration more in their work, which in my opinion, would put more beauty into the world and help brands stand apart,” Dullaghan added.

“I was inspired by the huge quantity of great work. A lot of illustrators are stepping up their game by making smart art that is well executed." —Penelope Dullaghan

I asked the jurors what other profit centers illustrators could explore besides commissioned work.

“The Internet is a place to start,” Poulos said. “It would be great to explore the use of illustration for a homepage or a portrait or to convey a company’s services.”

“GIF animation is spreading rapidly as a means of simple, iconic communication online,” von Ende said. “The file size restraint forces the animator to boil the piece down to its essence, and its sharable nature makes it a great candidate for self-promotion and a new skill/offering for clients.”

“Illustrators could look to Etsy or other online stores to start small businesses of their own,” juror Chad Beckerman said. “Relying solely on commissioned work these days isn’t enough. Illustrators need to be more savvy with their brands.”

Lastly, I asked the jurors where they thought the field of illustration is going.

“Clearly, there are many more illustrators vying for fewer assignments as publication budgets for buying art are being cut,” Poulos said. “However, there are so many more styles out there that are now welcome at the table.”

“I was pleased with the quality of the entries and pleasantly surprised with the high level at which people were working with ideas.” —Tim J Luddy

“Illustration and design are merging,” Beckerman said. “Illustrators are becoming designers and designers illustrators. It’s a natural progression and one that will help keep both fields vital.”

“Illustration touches people in a way that photography often can’t,” Dullaghan concluded. “It reaches that playful, and sometimes powerful, side of people that is a gut reaction.”

This year’s jurors worked in two groups of three with executive editor Jean Coyne acting as the sixth judge during the screening round. All categories had been divided so each team screened half of the entries submitted. The judges alternated between viewing a session of projected digital files and then a setup of print entries. Any juror could place an illustration in the finals by handing a printed piece to a member of our staff. Digital files were screened by checking the “in” or “out” column on prepared scoring sheets.

All five jurors worked together in the final round. Print entries were again spread out on the tables. Two paper cups, one white for “in,” the other red for “out,” with slots cut in the bottom, were placed upside down to the right of the pieces. The jurors voted by putting a different colored tile into the bottom of the appropriate cup. The different colored tiles allowed us to make sure that every entry was voted on by every judge. Finalists submitted as digital files were again voted on by each juror checking “in” or “out” on scoring sheets. Four “in” votes were required for acceptance.

Judges were not permitted to vote on projects they were directly involved in creating. When a judge’s piece was in the finals, either Jean or I would cast the fifth vote.

I would like to thank each of the judges for their conscientious efforts in selecting our 54th Annual Exhibition. —Patrick Coyne​ ca

Jurors Biographies


Chad W. Beckerman

Art Director

Abrams Books for Young Readers and Amulet Books

Chad W. Beckerman grew up in a small Connecticut town tucked away in the Litchfield Hills. He went on to graduate from the Rhode Island School of Design in 2000 and traveled to New York City that summer to be hired by Scholastic Books as an assistant designer. He then moved to Brooklyn, New York, and Greenwillow Books where he was promoted to designer, and later, senior designer. After fourteen-hundred days, he left Greenwillow to become the new art director for Abrams Books for Young Readers and Amulet Books. He is still there to this day. He has designed such series as Diary of a Wimpy Kid, Origami Yoda, NERDS and The Sisters Grimm, in addition to a vast amount of picture books, such as I Had a Favorite Dress, Iggy Peck, Architect and Huff and Puff.


Penelope Dullaghan



Penelope Dullaghan is an illustrator who started her freelance career after a five-year stint as an art director for Young & Laramore in Indianapolis. Since then she has worked with a wide variety of clients including Oprah, Starbucks and Target and, has been recognized by Communication Arts, Print magazine, Society of Illustrators of Los Angeles and 3x3 magazine. She also created and runs IllustrationFriday.com, a weekly creative outlet/participatory art exhibit for illustrators and artists of all skill levels. Designed to challenge participants creatively, a new topic is posted each Friday and participants have one week to submit their interpretations.


Tim J Luddy

Creative Director

Mother Jones

Tim J Luddy is the creative director for Mother Jones magazine and motherjones.com. He has worked as a designer and art director in New York and San Francisco, for publications including BusinessWeek, eCompany Now! (also known as Business 2.0,) PC World and Diablo. He has lectured on publication design at the California College of Art, San Francisco State University, UC Berkeley Extension and the University of San Francisco. Mother Jones has received the National Magazine Award for General Excellence twice during his tenure there. His work has been recognized by Print magazine and the Society of Publication Designers, and illustrations he's commissioned have appeared in American Illustration, Communication Arts and the Society of Illustrators' Annual.


Rikki Poulos

Art Director

Rikki Poulos Design

Rikki Poulos was born in Austria, raised in Montréal and Chicago, and currently resides among the wildlife (humans and animals) in picturesque Laurel Canyon in Los Angeles. Her most longstanding influence has been as art director for the National Academy of Recording Arts & Sciences, where for 23 years she’s overseen design direction for print and new media projects for the Grammy telecasts, as well the MusiCares and Grammy Foundations. She’s also designed projects for the Playboy Jazz Festival, the American Film Institute, EMI Records, Comic Relief, the Thelonious Monk Institute of Jazz, Malaria No More, the City of West Hollywood and the Southern California Association of Non-Profit Housing.


Chris von Ende

Associate Creative Director

Leo Burnett Chicago

Chris von Ende is an associate creative director at Leo Burnett in Chicago. After studying typography and magazine design at Central Saint Martins School of Art and Design in London and graduating from Northern Illinois University with a BFA in graphic design, he worked as an integrated designer for five years before becoming an art director at Y&R Chicago. Throughout his career, he's been fortunate to help build brands such as Coca-Cola, Nike, Norton, Sprite, Miller Lite, Brunswick and The Girl Scouts. His work has been featured in multiple competitions including The Cannes Lions, Communication Arts, D&AD and The One Show.

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