Where Are the Other Filipino Illustrators?

By Noel G. Galon de Leon

The development of children’s book illustration in Western Visayas has been historically sporadic, marked by isolated efforts rather than sustained institutional initiatives. In 2018, Ruben de Jesus and Robert Alejandro sought to address this gap by conducting a workshop that underscored the significance of book design and illustration in children’s literature. At the time, interest in children’s book illustration in Iloilo City remained marginal. In response, de Jesus and Alejandro spearheaded the formation of a collective composed of emerging illustrators from Iloilo, Aklan, and Antique. This initiative provided a vital space for artistic engagement and creative exploration. Due to a lack of sustained institutional support, the collective eventually disbanded, highlighting the persistent challenges illustrators face in securing long-term opportunities for professional growth. Some members continued to publish independently, primarily through zines and other alternative publications, demonstrating resilience in sustaining their creative practice despite the absence of formal backing.

The establishment of this collective was an essential step toward fostering a critical discourse on children’s book illustration in the region. It laid the groundwork for further artistic initiatives, including the 2023 exhibit Handurawan: Ilongga Illustrators for Filipino Children, which I curated to showcase the works of 11 female illustrators from Western Visayas. This exhibit sought to amplify the contributions of women illustrators in the field and to generate broader awareness of the artistic talent emerging from the region. Yet, despite these efforts, systemic challenges continue to hinder the full integration of illustrators into the national literary landscape.

In recent years, I have observed a growing number of locally published children’s books written in Hiligaynon and Kinaray-a, often accompanied by English translations. These works tackle diverse themes, ranging from the Dinagyang Festival and environmental conservation to an introduction to transgender identities for young readers. This expansion of themes and narratives is a proof to the evolving landscape of children’s literature in Western Visayas. However, the challenge remains in ensuring that illustrators receive the recognition and support necessary to sustain their craft, particularly in provinces such as Aklan, where illustrated children’s books in Aklanon are notably scarce.

My participation as a judge for the December 2024 Gawad Teodora Alonso (formerly the National Competition on Storybook Writing) further reinforced the urgent need for systemic support for illustrators. Organized by the Bureau of Learning Resources (BLR) of the Department of Education (DepEd), this competition aims to enhance reading programs nationwide. Through this experience, I witnessed the remarkable potential of Filipino educators as creators of children’s literature. Yet, a striking disparity in the quality of submissions from different regions was evident. Notably, the winning entries from Region VI demonstrated a noticeable gap in both storytelling and illustration quality when compared to submissions from other regions, a disparity that can likely be attributed to limited access to training and professional development opportunities.

If DepEd Region VI is genuinely committed to the advancement of children’s literature, it must adopt a more comprehensive and sustainable approach to capacity-building. While workshops serve as valuable initial steps, they are insufficient in addressing the broader systemic issues at play. More substantial interventions such as sending educators and illustrators to national and international book fairs, professional workshops, and conferences are crucial. Exposure to these global platforms would enable them to engage with international standards in children’s book illustration, thereby refining their craft and expanding their creative horizons.

The broader concern, however, extends beyond regional disparities. As I followed the online streaming of events at the recent Philippine Book Festival (PBF), a pressing question emerged: Where are the other Filipino illustrators? Year after year, the same group of illustrators appears at this national event, raising concerns about the inclusivity and accessibility of such platforms. It is unlikely that regional illustrators lack talent or dedication; rather, their limited participation may stem from systemic barriers that prevent them from accessing national-level opportunities.

A more inclusive approach is necessary to address this imbalance. The National Book Development Board (NBDB), in its role as the country’s leading agency for book development, should expand its programming beyond its existing workshops. A dedicated Illustrators’ Conference could serve as a crucial intervention, offering a space for regional illustrators to engage in professional discourse, showcase their work, and connect with industry stakeholders. The PBF should actively prioritize the integration of emerging illustrators into its programming to ensure more equitable representation.

Internationally, well-established children’s publishing industries recognize and uphold the significance of illustrators as integral contributors to the literary arts. Events such as the Bologna Children’s Book Fair (Italy), Frankfurt Book Fair (Germany), London Book Fair (United Kingdom), Shanghai International Children’s Book Fair (China), and the International Children’s Book Fair in Sharjah (UAE) exemplify how institutional support can propel illustrators into the global publishing landscape. The robust frameworks in these countries serve as models for how the Philippines can more effectively nurture its illustrators.

While the PBF is still in its early stages as a national initiative, it holds immense potential to reshape the landscape of children’s book illustration in the country. However, achieving this requires a deliberate and sustained effort to decentralize opportunities and recognize illustrators beyond Metro Manila. The future of the Philippine children’s book industry should not rely solely on the continued success of a select few but on the meaningful inclusion of diverse artistic voices from across the archipelago. By fostering a more inclusive and sustainable ecosystem for illustrators, the NBDB can help ensure that the richness of Filipino storytelling is not only written but also vividly and creatively brought to life through the artistry of its illustrators—especially those from the regions, whose talent and imagination deserve greater attention and support.

***

Noel Galon de Leon is a writer and educator at University of the Philippines Visayas, where he teaches in both the Division of Professional Education and U.P. High School in Iloilo. He serves as an Executive Council Member of the National Commission for Culture and the Arts-National Committee on Literary Arts.