The eight things illustration agencies are looking for in 2025

We picked the brains of experienced illustration agents at Pocko, IllustrationX, Illozoo, Brilliant Artists, Handsome Frank and Norte for their take on the coming year.

While 2024 has been pretty morale-sapping for many illustrators, perhaps 2025 will bring new hope and enthusiasm to the sector. We are settling down to the idea that AI is just a tool, and while it can replicate artists’ styles, the output is derivative by definition and often flawed. Nothing can replace true human creativity, and a personal touch is something clients will always crave.

And, to put things in context, the wider creative industries have had a rocky year, too, impacting the demand for illustration. Elections in the UK and the US led many big brands to put off their decision-making and budgeting – they want to see the lie of the land economically before investing in creative. Meanwhile, there is war in Europe for the first time in a generation, the Middle East is on fire, the climate crisis looms over us all and political instability – deliberately provoked or otherwise – has led to an uncertain outlook.

That said, illustration agencies continue to take commissions from exuberant clients with high hopes for their campaigns, publications, and media activity, online and in print. Likewise, illustration agencies are always looking to sign new talent to tap into what creative and art directors currently want in design studios and agencies around the world.

We chatted with illustration agencies serving various creative and geographic markets to discover what they crave for the New Year.

1. A consistent style with a point of view

It’s nothing new. Illustration agencies and their clients have always preferred illustrators whose work shows consistency over artists with portfolios containing a bit of this and a bit of that, even if some of it looks cutting-edge. But having a resolved visual language is just the beginning—it needs to be a visual language with something to say.

“It always comes back to a strong point of view – someone who knows who they are and what they want to say with their work. This gives way to a consistent and confident style,” says Sam Walker at the London-based agency Brilliant Artists. “We love it when a specific illustrator’s inspirations and influences have been distilled down into their unique illustration work.”

At Illozoo, a US agency out of Savannah, Georgia, founder and creative director Mohamed Danawi receives about 150 submissions from artists every week. Only a fraction of them can be signed, so consistency and a clear voice are paramount. The variety within a portfolio shouldn’t be stylistic; it needs to come from the application of a style to different topics, concepts and contexts.

“Since there are so many illustrators specialising in so many ways of making pictures and solving problems, it’s important to display expertise and focus in a particular visual language that sets them apart from the rest. Having too many variations of styles will confuse the viewers, and clients will not know what to expect,” says Mohamed.

2. Artists from diverse backgrounds

Not only do today’s leading agencies aim to operate in global markets, but within every region, there are different communities that creative work needs to appeal to. Many agencies are signed up as members of Agents for Change, which is committed to diversifying illustration, which, in the UK and the US for many decades, was a white, middle-class profession.

One such agency is Handsome Frank. “It’s something we feel strongly about, not just for illustration but the creative industry in general – design, photography, textiles – everything,” says co-founder Tom Robinson. “It’s such an important thing to strive for. Encouraging diversity enriches creativity by bringing unique perspectives and styles. We think it’s really important to ensure all communities see themselves represented in visual media.”

Clients feel the same way. Sometimes, briefs are written with specific minorities in mind. In other cases, campaigns will have facets to them so that a multiplicity of demographics is catered to. It’s something illustration agencies have in mind when seeking new talent. “Diversity is certainly one point of attention in society right now, and that is mirrored in the creative market,” says Bruno Narvaez at the Brazilian agency Norte. “Brands are more and more focused on not only telling relevant stories but also on counting on the right people to tell those stories. It can be challenging sometimes to find the exact profile for each situation, but that’s a very positive way of reaching authentic results, telling real stories and changing society for the better.”

3. To see the ‘hand of the artist’

In response to lifeless AI-generated work and CGI, illustration agents are more attuned than ever to pieces that aren’t just hand drawn or handmade but that demonstrate the hand of the artist in the sense that the voice or visual language discussed in point one is integral to the work. Sarah Beetson represents the global agency IllustrationX and its artists in Australia and is the company’s talent scout. For her, it’s not about ditching digital processes but bringing them together with physical world creativity.

“I always look for work that has elements done by hand, especially as style trends can run so obviously along digital lines,” says Sarah. “For example, for a few years, there has been a very obvious trend with Procreate-made work using similar colour palettes, brushes and techniques. Something sketched or coloured using real materials by the artist in part of the process can certainly have a uniqueness about it and often outlasts trends.”

Evidence of the artist’s hand will bring viewers closer to the work emotionally. “Analogue techniques and styles that nod to craft always captivate and invite the viewer to linger; pairing this with glimpses of behind-the-scenes material will really capture commissioners’ attention and place real value on the work created, the thrill of which you do not get from AI,” adds Sam at Brilliant Artists.

4. To create art in the real world

In harmony with the tactility of handmade work discussed above, agencies are also looking for artists whose work breaks out into the physical world. It can be digitally created and then adapted for murals or wraps, or made first and foremost in the physical world using traditional media and/or natural materials. Bice Piana is a senior creative producer at Pocko, which has offices in London, Tokyo, Milan and Berlin and has recently been recruiting with these factors in mind.

“We have recently signed an artist, Seo Hyojung, who uses coding practices to create beautiful patterns based on mathematical formulas. These are great for big installations and out-of-home campaigns,” says Bice. “At the same time, we are also looking for artists who can work in real spaces with traditional techniques, such as mural paintings and installations, such as Michela Picchi and Marco Oggian. We also have an artist, Annemarieke Kloosterhof, who works solely with paper to create sculptures, set designs, and installations, so we’re super open to any technique that is interesting and special.”

Tom at Handsome Frank continues along the same lines, pointing out that this is a way of expressing a unique point of view that can enrich your work: “We don’t mean you have to go get the gouache out of the cupboard – although great if that’s your thing – but with the rise of AI we encourage all illustrators to show themselves and not just their work. Clients are more than ever keen to see the process behind the work, the person behind the work and most of all, the craft. Real art is made with love, passion, and personality, so sharing that online will help people understand you and your work.”

5. Animation skills

Today, nearly every still image brief illustration agencies receive comes with a request for animation, so illustrators who can animate are always in demand. Being able to add a little motion in GIF format immediately makes an illustration more appealing for online and social media applications.

“If you baulk at the thought of trying to learn animation skills, we recommend befriending some animators, who you could call upon when the time is right,” says Sam at Brilliant Artists. “Some fun collaborations happen between animation directors and illustrators. Often illustrators imagine their work in completely new ways once they see it in motion; it unlocks something in their minds.”

On the other hand, for agents and clients, having a unique and resolved visual language is the most important thing. Sometimes, forcing an artist to change their focus can diminish the impact of their style. In many cases, an agency will be able to pair an illustrator with animators and producers to achieve the client’s desired outcome.

“Like so many things in the creative world, animation has changed drastically over the last two decades. It used to be present in very specific ideas and campaigns, and it demanded large teams behind most productions,” says Bruno at Norte. “Nowadays, it’s almost inevitable that we need to match illustrated assets with animated ones, and there are many different production structures that can be defined to fit each project’s limits.”

6. Not the latest trend

Although it seems a little counterintuitive, illustration agencies are rarely looking for artists working in trending styles. Trends change, so if anything, it’s desirable to have an artist whose work will be hot next year and the year after, as opposed to right now. That’s how far ahead brands and their creative agencies are looking.

“My biggest advice to illustrators, especially students or those starting out, is not to follow trends – often these have moved on by the time you have graduated or soon after,” says Sarah at IllustrationX. “Find your own visual voice drawing from all that inspires you and informs your character and tastes, and create art that you love and enjoy, and this will shine through.”

Agencies often cover bread-and-butter areas of illustration that aren’t particularly trendy but provide steady income. The agencies we spoke to mentioned the following areas as being of interest currently: children’s illustrators, particularly those suited to the eight to 12 age group; live event illustrators; large scale works; and artists using natural media and textures, as touched on above.

Though agencies aren’t looking for anyone who uses AI to replicate the work of others, some of them are interested in artists using it creatively, exploiting its quirks, glitches and flaws to produce experimental and surreal pieces.

7. A great attitude

To become a successful illustrator, an artist’s attitude and professionalism need to equal their creative ability. Agencies, just like clients, need illustrators who produce work on time, on budget and to the highest possible standard every time. Communication is of critical importance, too. Big projects will have many stakeholders, and many of them will want to know what’s happening with the imagery.

“It’s vital that an artist is easy to work with, attentive, flexible, accommodating, ethical and communicative,” says Mohamed at Illozoo. “Sometimes we sign incredibly talented artists, but then we realise they are hard to communicate with or unreliable when needed, which ultimately becomes a deal breaker. Having a good attitude and professionalism matters. The holy quaternity of illustration for me is impeccable craftsmanship, the harmony of visual voice, a variety of creative concepts and a great attitude!”

“Beyond the work, it’s so important they’re also a great person to work with – trust and good communication are key,” Tom Robinson, Handsome Frank

8. To be surprised

If you’re an emerging artist reading this article, it has probably pointed you in so many directions you’ll be ready for when someone breaks out a box of Twister at Christmas. You have to be this; you have to be that… we know. However, the bottom line is that illustration is a form of art and part and parcel of being an artist is being yourself.

“Take everything that we say with a pinch of salt! We think we know what we want, but we’re always surprised by talent we haven’t seen before,” says Bice at Pocko. “I would recommend you always send the illustration projects you’re most proud of to potential agencies and clients – regular updates to let them know what you’re up to. That way, people won’t forget you.

“If there’s ever a brief that could fit your style, the people in charge will remember you and get in touch. It is a very social industry. Don’t worry if we don’t reply – we are always on the lookout for new talent and have a record of everyone who submits their work, and you never know, the perfect brief for you might happen when you least expect it!”