This year’s World Illustration Awards showcased a diverse range of outstanding creativity
With the incessant rumblings that all traditional creativity will soon be eschewed for multi-platform-primed digital media (created by AI turbo robots presumably), it’s great that the globally lauded World Illustration Awards retains at its very core its love for the idiosyncratic, often traditional, always human.
Sure, there was plenty of software manipulated material on show this year, but walking around the awards gallery in Somerset House, London, the draftsmanship, craft and hands-on creativity was the main attraction.
It must have been a timeconsuming task for the panel of industry professional judges, whose
ranks included illustrators, editors and agency heads. With a record 3,700 entries, and a wider global reach of entrants than ever before, 2019's awards was as fiercely competitive as it was creative.
There were eight categories – Advertising, Books, Children's Books, Design, Editorial, Experimental, Research, and Site Specific (murals, installations, graffiti, etc), with two winners from each category, Professional and New Talent.
From the dense, cartoon dystopian city scenes of Anna Mill, to the handmade mix of stop motion and digital character work of Patrick Dias, the skills and styles on show was broad. Anna and Patrick took the Overall Winners trophy for Professional and New Talent respectively (as well as winners in their category), but both highly commended and shortlisted were incredibly strong. Other highlights were Marc Lehmann's Me-TimePostcards, which were playful and poignant – a series of postcard messages to his future self, all brush-pen on paper – and the highly detailed, cross-section illustrations of Virginie Kypriotis that focussed on nightlife, electro music and queer culture… a kind of Where's Wally for "outsiders, freaks and music lovers".
The exhibition will soon be touring around the UK. For further details, head over to: http://bit.ly/ca-wia