This article employs Janet Wolff’s theory of the social production of art to investigate the creative agency of Polish illustrators. Based on a series of in-depth interviews with experienced practitioners, the study analyses how artists negotiate the persistent tension between aspirations for autonomy and the socio-economic realities of their profession. The findings reveal that illustration is not merely an individual pursuit but rather a collaborative practice, shaped by networks of clients, institutions, and audiences. This collaborative nature simultaneously supports creative expression and imposes significant constraints on artistic control. Importantly, the research demonstrates that while illustrators often achieve high levels of symbolic capital gaining recognition, prestige, and professional respect, this rarely translates into stable economic capital, thereby exposing the structural precarity that continues to characterize the field.