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Illustratoren und die Repräsentanz.
For Harrods’ own-brand collection, Season of Victory developed a series of playful surface patterns under the concept Pop Rockets, which reimagines the iconic Harrods Bear as an astronaut exploring space.
First introduced in 1906, the Harrods Bear has a long history, making the commission a chance to contribute to a familiar part of the store’s visual identity.
The illustrations first appeared on a collection of children’s travel bags and an astronaut keychain, before being rolled out across a wider range of Harrods stationery, homeware and gifting products. Season of Victory adds, "The amazing Harrods in-house team put extraordinary thought into their products – always really well designed and great quality. "
For the latest issue of Humanitas magazine, Danny was commissioned to create a conceptual cover illustration about the role of nursing in supporting mental health from prenatal care through to end-of-life care. The brief came with one key restriction: avoid the familiar brain imagery so often associated with mental health, and instead find a more human-centred way to tell the story.
Danny's solution uses protective hands to cradle people at different stages of life, representing care, compassion and dignity rather than clinical intervention. A nurse becomes the connecting figure across the cover, bringing the different experiences together in a single visual narrative that balances hope with the realities of depression, dementia and Alzheimer's.
The project reflects Danny's thoughtful approach to translating complex healthcare topics into imagery that is both clear and engaging.
July 2026
Articles talking about illustration trends are always interesting, and our eyes are drawn to the accompanying artworks. However, they tend to be arbitrary and subjective. The writer may be very knowledgeable, and might even be correct in their assertions, but usually what appears is based on intuition, leaving us to wonder: are these really trends, or an expression of the author’s own tastes or biases?
Our TrendX report has something others don’t. Because IllustrationX represents over 260 portfolios by artists from around the world, and runs a website attracting over 100,000 visitors per month, we’re able to collect a great deal of data on which artists, working in which styles, are popular with clients. Web visits, enquiries, bookings, revenue – we can use these hard facts to see what’s really happening in illustration.
Alongside the data itself, we can draw on the expertise of an experienced agenting team based in offices in the US, UK, Australia, Asia and South America, who work with a huge number of clients across a broad range of industries. Knowing the intention behind the work, and how artists’ workloads were broken down over the quarter, we can bring insight as to why certain trends are occurring.
Our overall aim in producing this report is to analyse where we’re at and where we’re going, and to share our findings with like-minded friends and partners in the industry. It can be useful to know what’s trending at the moment, and even to cross reference that against what isn’t. Structurally, our market is shifting beneath our feet, heavily impacted by economic and technological factors, but hopefully we are able to provide a grounded appraisal of what’s going on.
If you have any questions or comments, please do get in touch with one of our agents. We’d love to know what you think.
- Our highest earning artist for the quarter works in this style
- Four of our 15 busiest artists work in this style
- Two of our top 10 earners work in this style
Trending: Colourful, conceptual, maybe even cosmic
Swirling auras, saturated colours, organic forms and dreamlike nebulas are used as mood setters as illustrators conjure up conceptual imagery full of imagination and feeling.
Using both natural media and digital techniques – often together – the artists driving this trend have strong visual storytelling skills, and are good at recognising and finessing nuance in a narrative, which makes them popular with clients in editorial and publishing. However, reminiscent of what you’d see in a beautifully printed graphic novel, the artwork also resonates with brands looking to reach a certain type of consumer. One who is beginning to transcend consumerism, perhaps.
Tonally, such illustrations tend to be serene and contemplative, floating away from prosaic everyday concerns, observing and exploring our inner selves, and expressing that in colourful ways, escaping the lines and corners of measured spaces. Playful here, introspective there, the style avoids the tropes of comic books and traditional themes often seen in fantasy art.
Soft, surreal, meditative and spiritual, without being bound to any faith, this is artwork that moves us in subtle ways. We have talked about similar trends over the last two to three years and this type of imagery remains very popular. New artists with strong conceptual thinking and astounding creativity continue to step forward, pushing boundaries and redefining possibilities.
Trending: Make learning fun
- Four of our top 20 earners for the quarter work in this style
- Our highest earner in June works in this style
- The artist with the biggest increase in web visits works in this style
Make learning fun sounds like a worthy mantra and many of the children’s illustrators we represent take it to heart. This passion shows through in imagery that is carefully crafted yet full of fun and enthusiasm for young audiences.
While individual styles vary, the idea of turning a simple geometric shape or a slice of fruit into a character is the kind of thinking that catches the imagination of children in the early years of education and engages them with what’s being taught. That might be within formal subject areas such as numeracy, literacy and science, or geared more towards culture, creativity and social skills.
Creating imagery representing what’s being taught sounds like a straightforward task, but publishers today are looking for something more – ways of getting children to feel truly interested in the content. This is where the great kid’s illustrators separate themselves from the good – they’re able to meet the practical requirements of the brief, appeal to the senses and reach the audience at an emotional level.
As a footnote – at IllustrationX we have continually worked hard to improve the way we market our children’s illustrators, and that might be why we are seeing such strong performance from them in our data.
Trending: The artist’s identity shines
- Our third highest earning artist works in this style
- Two of our top 10 earning artists in April work in this style
Diversity, equality and inclusion are ideals that have been under intense attack from certain political parties and administrations. However, we’ve seen unprecedented interest in artists whose work that expresses their identities as part of minority communities, cultures and lifestyles.
As an agency, we see the inclusive approach as being the correct approach, ethically and commercially. We have a diverse, global client base, and this is reflected in the demand for a diverse portfolio of artists. Organisations that connect with specific communities, and those that believe in multiculturalism, are looking for artists whose identities shine through in their work. In turn, their audiences appreciate the sensitivity, the intention and the authenticity of the work.
We have seen tremendous growth here. In fact, some of our artists are creating so much imagery that expresses their cultural backgrounds and lifestyles that, while they would love to tackle unrelated commercial projects, they’re too busy to do so!
Emerging: Paper craft
Such a huge volume of AI-generated content is washing through our lives that genuine human artistry really stands out. While the tools are getting better and better at mimicking and faking authentic craft skills, some audiences just don’t want that, nor do they want to be deceived.
In response, many clients are leaning into handmade artwork more than ever and papercraft is an area that stands out. From intricate dioramas engineered from paper and card through to complex collage work that can seem messy and chaotic – but ultimately real – it’s a type of creativity that takes time and imagination. However, the connection with the viewer is worth it.
Cutting and pasting – not on our keyboards but at classroom tables – is something nearly everyone relates to. Having done it at a basic level in art class, when we see it executed at the highest level by a professional illustrator, it’s something we can truly appreciate. We know how it’s done but can’t do it ourselves. Some of us even imagine giving it a try.
That’s one of the reasons paper craft illustrations are so compelling; the other is their physicality. Layers, textures, colour, tactility, materiality, dimensionality – even when the piece has been photographed or scanned these qualities make us want to reach out and touch it. You just don’t get that with AI slop thrown together with generic cartoon-esque characters, too much text and a vignette applied for no real reason.
Trending: Classic comic looks
- Our second busiest artist in the quarter works in this style
- Two of our top 20 earners work in this style
- Significant increase in enquiries for another artist working in this style
Adopting the heavy line work, primary colours and ink dot patterns of 1960s comic books in his Pop Art collections, Roy Lichtenstein inadvertently turned the classic comic look into a cultural statement. By associating it with what was then the zeitgeist, he gave it a timeless quality and although we are recognising it as a trend because its popularity has ticked up this year, it’s an aesthetic that has evergreen appeal among clients.
Just as Lichtenstein used the style in contexts well away from comic book narratives, art directors work with illustrators who specialise in this look to create imagery with a broad variety of applications. It’s immediate and impactful, making it ideal for commercial projects. There are endless opportunities for dynamism, humour and storytelling.
Ironically, the style is now so closely associated with glamour, high living and the pursuit of happiness – the things Lichtenstein often depicted – that when comic book heroes appear in their classic forms it is often regarded as pastiche. Yet sometimes that is what creative directors are looking for, subverting a style that has been subverted. This could be the subject of a thesis, but we’ll leave it there…
Words by Garrick Webster
Cincinnati Opera’s multi-year initiative, The Black Opera Project, explores new possibilities for opera through stories centred on Black voices and experiences. For its feature on the initiative, Cincinnati Magazine commissioned Quincy to create an artwork inspired by the premiere of Lalovavi.
Quincy’s illustration reflects the Afrofuturist themes of the opera, featuring Black performers in striking costumes as they sing and take centre stage. Using his signature bold, minimal style, with strong graphical shapes and expressive portraits, Quincy creates an uplifting image that captures the forward-looking spirit of the work.
Following their previous collaboration on A Vida Secreta de Violeta Picles, Carol and writer Caio Tozzi have reunited for a new story centred on one of Violeta’s friends, Ringo Calado.
Published as part of Leiturinha’s monthly book subscription programme in Brazil, As Férias Heróicas de Ringo Calado follows Ringo during a challenging family holiday that takes an unexpected turn when he becomes determined to win a mysterious stuffed toy from a beachside claw machine.
The book continues the playful world established in the first title, with Carol’s illustrations capturing the characters’ personalities and the humour running through the story.
Drawing on the goddesses and folklore of the British Isles, Zansky developed artwork centred around a powerful female figure whose flowing hair transforms into the waters from which Coventina emerges, a Celtic goddess associated with wells and springs.
Combining symbolic details such as dandelions, bluebells and a spear, the illustration reflects the book’s themes of strength, mythology and resistance.
The final artwork sets the tone for a story where its maidens are not waiting to be rescued, but are ready to fight.
More on the book here.
Luiza has created the fourth cover illustration in a six-part series for Mazette, the in-house publication of international seed company MAS Seeds.
This issue explores the work behind sowing season, following the teams responsible for sorting, quality control, and preparing and shipping seeds to more than fifty countries.
Continuing the visual language established across the series, Luiza combines her poetic and playful style with her imaginative approach to portray the many stages and roles involved in seed production.
Jacob was commissioned by Radio Times to create an illustration exploring how grey water, such as wastewater from cleaning, can be reused in regenerative projects. The piece highlights initiatives that filter and repurpose water to support activities such as crop growth in Brazil.
Jacob’s illustration shows a bath drain transformed into the source of a growing bunch of flowers, offering a simple visual metaphor for how waste water can be given a new purpose.
Using his recognisable style of strong forms, contrast and colour, Jacob combines a light-hearted approach with a message about sustainable solutions.
Ben wurde von Manchester City FC beauftragt, eine Serie von neun Plakaten zu gestalten, die die Spieler des Vereins feiern, die ihre Nationalmannschaften bei der FIFA-Weltmeisterschaft 2026 vertreten.
Die Kampagne zeigt Erling Haaland, Tijjani Reijnders, Rodrigo, Jérémy Doku, Ruben Dias, Joško Gvardiol, Nico O'Reilly, Omar Marmoush und Rayan Cherki. Die Plakate wurden als Wild-Postings in den Straßen der Austragungsstädte der Weltmeisterschaft angebracht.
Inspiriert von den übereinandergeklebten Konzertplakaten im Manchesterer Northern Quarter entwickelte Ben einen Mixed-Media-Ansatz mit aufgerissenen Texturen und markanter Typografie. Handgefertigte Elemente wurden dabei mit digitaler Komposition für den Druck kombiniert.
Die fertigen Plakate bewahren bewusst ihre rauen Kanten und Unvollkommenheiten und spiegeln damit die Energie der Straßen wider, für die sie geschaffen wurden.
Reflecting on identity, ambition, family and the role food plays in shaping our lives, Hungry Eyes is the latest memoir by Dawn O'Porter.
Iratxe's painterly, naïve style is a natural fit for the subject, which centres on the memories and conversations gathered around the kitchen table. Bright colours and hand-painted textures transform everyday food into a warm, inviting composition that hints at the personal stories within.
The story follows Marlow, a single mother who buys a house in France for one euro, only to discover it comes with unexpected complications that pull her into a renovation project and an unplanned shift in life.
Matthew's cover brings a sense of place to the story, drawing the reader in to follow the characters and see what unfolds.
Lost in France is available now.
Produced for the travel and leisure publication for the public sector, the illustration brings together camping, cycling, hiking and other pursuits in a thoughtfully composed scene.
Donough guides the reader naturally through the spread, using interlocking shapes, colour and texture to connect the feature's many ideas while maintaining a sense of fun.
The editorial looks at the return of sandhill cranes to the Park City area each spring and summer, exploring the habits of one of the world's oldest bird species.
Hannah's intricate illustration reflects the subject with a decorative composition of cranes, drawing on her distinctive hand-drawn line work, nature-inspired motifs and subtle Eastern influences.
A style to realise the client’s vision "Drew's unique graphic style with big shapes, bright colours and subtle use of texture made him the perfect artist for the client’s vision. Each package design is as unique as the flavours created," remarks Karen. The brief sent to Oregon-based illustrator Drew was very thorough. Graphic layouts for the cans had been established with the Dillon’s logo, product name, regulatory text and so forth already in position. All Drew had to do was… well… draw the fruit. "My initial response looking at the brief was, ‘Man, this is too easy.’ It was simple shapes of fruit and botanicals, no realistic rendering or additional textures. It was too good to be true. But that's where I was wrong. The simplicity of it all was the most difficult part,” says Drew. Not all the graphic elements on the template Drew had clean edges. The main logo itself sits on a cream-coloured field with a papery texture and a torn edge. From tangerines to apricots and from watermelons to blueberries, Drew roughed up his illustrated fruit forms with textured edges – bringing personality to the fruit in a way that would work aesthetically with the can design templates.
From rough textures to vectors "The Illustration also needed to be in vector format for the printing process, and that was a limitation too, so I developed a way to create a rough organic texture using the blob brush in Adobe Illustrator. It’s kind of like stippling but adding and subtracting small marks around
the edge of each shape. It takes time and focus, and can only be created by a human hand," says Drew. With the illustration for each can, Drew focused on creating iconic representations of the individual fruits and botanicals. Working in his garage, which has been converted into a creative studio, he followed composition guidelines provided by the client to create an even mix of the flavours in each cocktail, conveying the sense that the flavours are balanced and unique. "I was very attentive to the way the shapes overlapped and to their directional qualities – how they’re moving your eye through the can, making sure the details did not interfere with text and impede readability,” continues Drew. "This was unlike my previous work on children’s books or editorial – this truly was a puzzle." Attention to detail
Working towards a look that would be organic, lean and iconic, the first can illustrations Drew created were supplied to for client feedback as works in progress. In close communication with the art directors at Mark Anthony Group, Drew made the refinements, adjustments and edits. As the series has grown, so has the collaborative understanding between artist and client – with support from Karen at IllustrationX.
"The feedback was very detailed, and I was grateful for that," says Drew. "The design team at Mark Anthony Group told me exactly what was working and what wasn’t. I wasn’t left scratching my head but inspired to improve on what had already been made. Having this kind of feedback from the client was very helpful and I feel the artwork is better for it." While there isn’t a lot of drinks packaging in Drew’s portfolio, he is ideally situated to capitalise on his experience creating Gin Cocktail cans for Dillon’s. Oregon and the Pacific Northwest generally have been the epicentre of the craft brewing culture. A huge variety of
can and bottle designs have come with it, giving illustrators plenty of inspiration and opportunities along the way.
"What I've learned working with Marc Anthony group and the Dillon's cocktail series is that the printing process can be a limitation on how the artwork is made as well. There are regulations for the design and the text that is required on the can. Those are things that I haven't had to think about too much in the editorial and publishing world,” adds Drew. And the overall outcome? Beautiful cans that catch the eye as well as the imagination, along with refreshing, uniquely flavoured cocktails for Canadian consumers to enjoy.
Sholto is celebrating 25 years of the Frome Festival this July, having illustrated its poster and events programme every year since 2002. What began as a local festival in the Somerset market town has grown into a much-loved annual event, welcoming acclaimed artists, performers, writers and musicians alongside thousands of summer visitors.
To mark the anniversary, Sholto has shared twelve of his favourite festival illustrations from across the years, looking back on a creative partnership that has become an enduring part of the festival's identity.
Marieke's atmospheric illustrations explore the rich folklore of the Netherlands and Belgium in the newly published children's book. Created with ink, watercolour and gouache on paper, they introduce readers to a cast of legendary creatures, from Bullies and Goblins to Werewolves and White Witches.
Marieke also designed a decorative illustrated initial for every story, adding an extra layer of craftsmanship to the book's visual identity. Written by Floor Bal, the collection features ten thrilling tales inspired by well-known and lesser-known monsters from the Low Countries, inviting young readers to discover the eerie legends hidden close to home. As a special addition, one story has been translated into Frisian and another into Low Saxon, celebrating the region's linguistic heritage alongside its folklore.
Camila's recent commission for Simon & Schuster, working through its imprint Atria Books, sees her design the covers for Audrey Goldberg Ruoff’s Hopelessly Teavoted and Vengefully Matched.
The first book arrived in September 2025 and the second is set for this October - revealing a visual sense of continuity between the two.
Aimed at the contemporary romantic fiction reader, the pair reflects the shifting pull of attraction, tension and timing at the heart of the series, where romantic mistakes and second chances build over time.
For the special America 250 edition of Smithsonian magazine, Tuhina has created a vibrant portrait of the gaming pioneer, accompanying a feature that revisits one of the industry's most influential innovations.
Lawson led the team behind the Fairchild Channel F, the first home video game console to use interchangeable cartridges, a breakthrough that changed the gaming experience.
Tuhina captures that spirit of invention with an energetic composition alive with colour, circuitry and nostalgia, placing Lawson at the centre of a revolution whose impact still echoes through every console generation today.
Meg Cabot, the NYT best-selling author of The Princess Diaries, returns with a story set in the coastal town of West Harbor. It follows therapist Frankie Giovanni, whose practical outlook is unsettled when she finds herself drawn to her psychic neighbour, Ash Merit.
Published by HarperCollins and licensed for international distribution with Little, Brown Books, Alissandra’s cover uses a fiery colour palette and a composition that leads you through the illustration, hinting at a world where opening yourself up to the unexpected may be the most magical act of all.
Dillon's Small Batch Distillers asked Drew to develop a series of illustrations for the brand's gin and vodka cocktail tins, each inspired by the fruit and botanicals that define the recipes.
His art leans into the mood and personality of each drink, using bold shapes and layered textures to create a sense of energy that feels playful and tactile.
See the range here.
Commissioned by Turkish Airlines, the series was created as a set of icons for use across social media and GIPHY, later developed into individual GIF stickers.
The brief focused on elements unique to the airline’s service and identity, from uniforms and cabin crew, including the 'flying chef', to onboard amenities and in-flight details.
Working in a bold, graphic style, Megan's flexible set of assets translates aspects of the flying experience into everyday digital communication.
Each design brings together familiar landmarks, cultural references and everyday details to form a portrait of place that feels personal to both visitors and locals.
The collection spans cities including London, New York, Tokyo, Paris, Taipei, Berlin, Amsterdam, Bangkok, Madrid and Sydney, each built through research into the small visual cues that define how a city is experienced day to day.
Season of Victory also created additional illustrations for their AquaStand range, including a Taipei wrap design and a global skyline composition that connects the wider series.
She says, "This project was such a joy to work on, collaborating with the Rhinoshield creative team. Starting with their brief, I further researched the details of a city - hunting for the symbols, colours and quirks that make each place unique – we then brought them together into a cohesive, collectible series. Huge thank you to Cindy and Munoz for having me on this project!"
The products are available via RhinoShield.
How do we make ourselves heard in a world full of competing voices? That's the question at the heart of Anne's longlisted entry for the World Illustration Awards 2026.
Selected from more than 4,500 entries, Anne's illustration reflects on how important perspectives can be drowned out by louder voices and the constant stream of information we encounter each day.
Developed from pen and ink drawings and refined in Photoshop, the piece has secured a place on this year's longlist, with the shortlist due to be announced later this year.
Luiza's illustration accompanies an article on the hiking routes and outdoor experiences at Les Monts d'Arrée in Finistère - a double-page spread exploring a landscape shaped by walking, discovery and a deep connection to nature.
Her art brings a family into focus, a central anchor for the eye that gives the image a generous sense of space, while opening up an environment known to be a true paradise for walkers, hikers, and cyclists.