Visual Storytelling at the Core: Illustration and Graphic Design in Children’s and YA Fiction

Reflections after the Bologna Children’s Book Fair: Shaping trends and highlights

Back from the Bologna Children’s Book Fair, one idea stands above the rest. While Romantasy and its subgenres continue to dominate visibility, the rise of genres such as Dark Academia and New Adult reflects a more diverse landscape. But genres are only part of the story. The real shift lies in how stories are built. Across every reading stage, from first readers to YA, illustration is emerging as a key driver of accessibility, rhythm, and immersion.

This moment aligns closely with Bambú’s evolution. As the imprint marks its 20th anniversary, it does so with a renewed identity that brings together a new website, a structured reading programme, and a more accessible, reader-focused catalogue. The result reflects both continuity and a clear shift towards today’s young readers.

Among the highlights, Bambú’s series continue to gain traction internationally, especially in Brazil. The third title in the Daniel trilogy by Marta Jarque, illustrated by Daniel Jiménez and acquired by Leiturinha, confirms the long-term value of series fiction for early readers. At the same time, The Coscorrón Sisters by Ana Cabeza, illustrated by Toni Batllori and Gustavo Roldán, has just launched in Brazil by Callis as its sixth language, reinforcing the international appeal of fast-paced, character-driven cosy mystery with a touch of humour for middle grade readers.

Why the Tiger Is Afraid of Fire drew steady attention. Curated by Ana Garralón and illustrated by Luis San Vicente, it brings together Latin American myths in a format that is both visual and modular. Short, self-contained stories create a reading experience that travels easily across cultures, languages, and age groups.

The Universal Classics series points in the same direction. Timeless texts, both unabridged and adapted, are reimagined through contemporary illustration. The result balances literary depth with accessibility while building a strong and distinctive visual identity.

A notable addition to the list is A Magician at Court by Alba Quintas. Positioned within the feel-good spectrum, this historical romance offers a short, fast-paced read that connects strongly with young, socially engaged readers. By bridging the dynamics of social media culture with the intellectual gatherings and salons of the late nineteenth century, it creates a fresh and relatable entry point into historical fiction.

Across these titles, and in conversations throughout the fair, one idea keeps resurfacing. Illustration is no longer secondary. It is part of the narrative structure itself. From special editions with striking covers and designed spines to tinted interiors and carefully constructed layouts, visual design is not decorative. It is structural.

This shift changes the role of illustration and graphic design. They now shape pacing, guide the reader’s experience, and expand access across different ages and markets. They do not accompany the text. They build it.

This is where Bambú is positioned today, at the intersection of strong storytelling and a visual culture that is becoming central to publishing’s future.