Imagination is not merely a mental force, but a medium that allows humans to transcend the superficial and material layers of affairs and reach deeper, spiritual layers of reality. This article examines the management of creativity in illustration art with a focus on the works of Farshid Mesghali and Heinz Edelmann, analyzing them within the framework of Samuel Taylor Coleridge's theory of imagination. Coleridge's theory, which emphasizes the importance of creative imagination in the artistic process, is employed as a framework for understanding and managing sources of creativity in contemporary illustration. The present study, through a case study of Mesghali, an Iranian artist renowned for his unique style of blending traditional and modern elements, and Edelmann, a Swiss illustrator famous for creating conceptual and multilayered images, demonstrates that both artists utilize unique methods for nurturing and managing their creativity, which align with key concepts of Coleridge's theory, including "primary imagination" and "secondary imagination." Mesghali, by drawing from Iran's cultural heritage, and Edelmann, through the use of complex symbolism, both exemplify the application of "secondary imagination" in the creation of innovative works. This article also offers strategies for effectively managing creative resources in the field of illustration, which can be beneficial to artists, art directors, and researchers in this domain. The results of this study contribute to a better understanding of creative processes in illustration art and pave the way for further studies in the management of creativity in the visual arts.