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“In a world where we are increasingly inundated with visuals, it was refreshing and humbling to discover new artists and some stunning artworks,” says juror Sheehij Kaul. “For me, the best pieces were the ones that I found myself going back to just to enjoy them one more time.”
“I was delighted by the range of techniques and styles,” juror Jonatan Maldonado says. “I was drawn especially toward nostalgia and retro vibes combined with modern shapes.”
“I thought the level of craft overall was quite high,” says juror Ed Johnson. “It seemed like the most interesting work was concentrated in the personal work category.”
“There were some stunning experimental works, particularly playing with tone and space in the composition, but also in not wanting to fix an idea by letting the viewer ‘in’ and allowing them to wander and wonder,” juror Nanette Hoogslag says. “That is such a key strength of what illustration can do. Illustration can take you to different spaces and mindsets through suggestion.”
“Among the submitted works that stood out were images that could be considered beautiful paintings but did not necessarily engage with the specific nature of illustration,” says juror Larissa Ribeiro. “This raises an essential question: What distinguishes illustration from purely aesthetic visual exploration? For me, the answer may lie in the relationship between image and meaning—how compo-sition not only captivates visually but also establishes a dialogue with a narrative, conceptual or informational context.”
I asked the jurors what surprised them most about the entries.
“I noticed a big gap between professionally crafted images and ones that looked more amateurish, both in the professional and the student categories,” juror Luca D’Urbino says. “There were hardly any middle-ground entries.”
“Many of the works were nostalgic in style, subject or scene setting,” says Hoogslag. “From ’30s nostalgia to ’60s typography, they were very well done and attractive. But as a social observer, all retro, including in personal and unpublished work, indicates a turning away from who we are now and breaking from new, forward-looking ideas.”
I also asked the jurors to describe their biggest disappointment with the entries.
“The digital era makes almost everything look the same,” juror Maru Aguzzi says. “Working as an illustration curator, I crave something different.”
“Some of the illustration work was hard to isolate from the overall design,” says Kaul. “In some cases, illustrations showed promise, but the design wasn’t on par. It’s important to be mindful of supporting the illustrations well with typography, design planning, photography, presentation and even description so they don’t diminish the overall experience for a viewer.”
“Coming from an editorial background, I didn’t see very many strong examples of conceptual work for publications,” Johnson says. “This matches my overall perception of the market, where many publications are eschewing more traditional techniques and visual metaphor for either more abstract takes on subject matter or very direct representation through photo collage.”
“I wish there were more times where I had to ask: Is this still illustration?” says Hoogslag. “To see that kind of commissioned work would have meant more adventurous clients—or more creatives [from other disciplines] who considered their work a form of illustration.”
“I saw a good amount of freeform-style work, which tends to be often seen in children’s books nowadays,” Maldonado says. “Some of those seemed to me like [part] of a complacent trend of not working hard enough on the craft.”
“I feel like the bar of general taste is getting lower and lower,” says D’Urbino. “This, in my opinion, is the most detrimental aspect of AI-generated images and, at the same time, is what makes them usable in the market. Fifty years ago, those images would not be accepted by the public simply for their blatant mediocrity, but today, we see them at every level of visual communication.”
Lastly, I asked the jurors their views on the future of illustration.
“I’m greatly inspired and optimistic about where the field of illustration is at,” Kaul says. “Artists and designers continue to surprise and push the bar higher. The diversity of styles and approaches is a testament to the growing appreciation from clients for refined, thoughtful interpretations of their brand stories.”
“The beauty of this field is that it can be whatever we can imagine,” says Aguzzi. “In my everyday research for different and new applications of illustration, I see no limits, and I love that.”
“The elephant in the room, as far as I’m concerned, is AI,” Hoogslag says. “Sadly, the economic benefit of cheap and quick image creation will undermine the craft side of the discipline. This is nothing against the amazing things AI can produce or how we as illustrators are likely to incorporate AI as a tool in our own practices. But the fast-growing use of AI in visual communi-cations will impact who will be making the images, how visual literacy will develop and whether this can be done ethically.”
“There’s no doubt illustration is under stress as a professional craft due to generative AI processes, and there’s a shrinking market for it in general,” says Johnson. “In time, I think we’ll find that art is much harder to automate than computer programming jobs.”
“I would love to see artists keeping their craft alive, paying attention to details and being purposeful with their work,” Maldonado says. “I think AI can be a tool just like any other, but it really requires a talented person to create work that connects with people on an emotional level.”
“Regardless of how we feel about AI, its presence in our field is undeniable,” says Ribeiro. “Beyond celebrating talent and craftsmanship, competitions also serve an important historical role—they document shifts in artistic practice and reflect the evolving landscape of illustration. Ignoring such a significant transfor-mation feels somewhat disconnected from the reality we are collectively navigating. Rather than pushing this conversation away, I believe it’s crucial to bring it closer. Understanding how AI operates does not mean embracing it uncritically, but rather equipping ourselves with the right knowledge to protect illustrators from further precarity and to find ways to adapt.”
A minimum of six out of nine votes was required for a project to be awarded in this year’s competition. Judges were not permitted to vote on projects in which they were directly involved; I voted in their stead. I would like to extend our grateful appreciation to our jurors for their conscientious efforts in selecting our 66th Illustration Annual. —Patrick Coyne ca
Maru Aguzzi is the founder and director of Gran Salón México, an independent organization that combines the manage-ment of illustrators with a creative agency and a contemporary illustration fair that has taken place annually in Mexico City since 2014. Aguzzi studied graphic design at Centro de Artes Visuales in Buenos Aires, Argentina, and specialized in editorial design for more than 20 years. She has lived in Mexico since 2003 and has been in charge of linking the work of illustrators with the unique character of clients for murals, packaging, activations, branding, exhibits, digital and editorial content, and many other applications.
Jim Cooke is a Los Angeles–based art director and illustrator currently serving as the senior deputy design director for digital enterprise at the Los Angeles Times. Previously, Cooke built the editorial art department for Gizmodo and Gawker Media, creating a distinct, visual language that worked across a network of sites. He has been a freelance illustrator and brand designer for online editorials such as Defector, Postlight, ProPublica, Slate, Substack and VICE Media. His most recent role was art director at the New York Times Book Review, where he commissioned and directed illustrations and covers. His work has regularly garnered recognition from the Society of Illustrators.
Luca D’Urbino is an artist from Milan, Italy, who illustrates for some of the world’s most important newspapers, brands and magazines, addressing complex issues with a simple and direct visual language. His clients include Courrier International, De Volkskrant, Die Zeit, the Economist, Editoriale Domani, the Guardian, Handelsblatt, Hermès, Il Sole24Ore, Internazionale, L’Express, La Repubblica, La Stampa, Longanesi, the New York Times, Shopify, Sky, Volkswagen and the Wall Street Journal. His work has been shown in Bologna, London, Milan, New York, Paris and Vicenza. Since 2022, he has been teaching illustration at the International School of Comics in Milan.
Nanette Hoogslag is an illustrator, designer, educator and researcher with a practice situated mainly in editorial illustration, coming from a deep interest and understanding of the role of illustration in visual communi-cation media. Recently, she has taken on the role of deputy head of school of the Cambridge School of Art, Anglia Ruskin University in Cambridge, United Kingdom, where she has been leading the MA illustration program for more than five years. As the principal editor of the Journal of Illustration, she loves to encourage academic research by illustrators and scholars into the nature of illustration and what it can do.
Ed Johnson is an art director focused on design for editorial and news publications. He currently works as the art director at Foreign Affairs magazine and The Atavist Magazine. Previously, Johnson worked at Foreign Policy magazine, Institutional Investor and the New York Observer, where he art directed across print and digital platforms. His clients include Capital NY, Octavian Media and Politico, and his work has been recognized by The American Society of Magazine Editors, the Society of Illustrators, the Society for News Design and the Society of Publication Designers, among other organizations. An infographic by Johnson appeared in the book Best American Infographics 2016.
Sheehij Kaul is a freelance graphic designer and illustrator based in Delhi, India. With more than a decade of experience, she has worked with top creative agencies like Animal, Ogilvy and Wieden+Kennedy, creating for brands such as Audi, BMW, IndiGo Airlines and Oberoi Hotels. With an extensive design background, Kaul brings diverse approaches to her work. Her illustrations delve into surrealism, often using botanicals, architecture and human forms set in dreamlike landscapes that invite introspection. She also explores typography, photography and product design in her practice. Kaul views her design process as a continuous journey, where each project is an opportunity to grow.
Jonatan Maldonado is half of the creative director team known as The Mercenarios. An art director at heart, Maldonado followed his career all the way from his hometown in Ecuador to Buenos Aires, Los Angeles, Miami and, currently, Nashville. In his 20 years of experience, he has won multiple awards from the Art Director’s Club, the Clios and the One Show, among others. With a deep knowledge of art, illustration and photography, he has been a jury member at The Art Director’s Club and The Webby Awards. On the weekends, he plays guitar, takes photos and rides his mountain bike—usually not at the same time.
Jaya Miceli is an award-winning book cover designer, illustrator and senior art director for Scribner, an imprint of Simon and Schuster. A graduate of the Parsons School of Design with a BFA in illustration and no formal training in graphic design or typography, Miceli began as an art director for Penguin Group USA and stayed for fourteen years. In her ten-year tenure at Scribner, she has designed iconic book covers for a diverse group of authors including Don DeLillo, Paula Hawkins, Siddhartha Mukherjee, Celeste Ng, Téa Obreht and Annie Proulx, among others. She lives in Brooklyn, New York, with her husband and son.
Larissa Ribeiro is an artist and graphic designer dedicated to exploring collaborative creative processes and creating work rooted in social impact and inclusivity. With a degree in architecture, she has specialized in illustration for clients in Italy, Spain and the United Kingdom. She is a partner at Estúdio Rebimboca, a design studio based in São Paulo, Brazil. Her illustrated children’s books, which have been translated into more than 20 languages, are available for free download under a Creative Commons license. She has received illustration awards from the Art Directors Club, Communication Arts and the Latin American Design Awards.
