commercial art

Jon Reinfurt was created in 1980 by a team of German engineers attempting to build the world’s largest robot. When the team unveiled their prototype to the scientific community they were met with harsh criticism and were ridiculed for creating a towering monstrosity that obviously could not function.

Unfortunately for everyone, Jon was fully operational, and the engineers had made a slight oversight by including lasers and “The Will to Dominate” into their design. This worked out well for Jon, who is currently invading the commercial illustration market and leaving only destruction in his wake.

This issue of Print breaks down the very best of design trends geographically; a close examination shows how essential illustration can be to any project, anywhere.

Anne Lukas, three dimensional cartoonist, inhabits a wildly creative and weirdly funny world. She uses a combination of materials and skills including digital photography and polymer clay to develop her wacky creature illustrations. Her unique style has developed as a result of experimenting in many mediums. Anne began her career as graphic designer working both in-house and freelance. She's a member of the Society of Children's Book Writers and Illustrators and the Washington DC Illustrator's Club.

Now in its 32nd year, Images is an awards book and touring exhibition. Distributed to over 4000 commissioners, the Images book is considered British illustration's most important document.

Jacques Laplante likes to think of illustrators as artists who capture a society's life and times - that a good illustrator will go beyond the mere visual reflection of a book's text. "Illustrators reflect the era in which we live," he says.

Laplante's characters have appeared in many publications and ads worldwide. They communicate with humor, warmth and simplicity. "Every project," he says, "unfurls like a butterfly, and every impending deadline represents a new surge of color and emotion."

Chris Lane’s inks and watercolors successfully achieve whimsical satire as well as grim scenes of despair, all the while maintaining an engaging, quirky quality. He drinks a lot of coffee, eats a lot of pancakes, and is an outspoken penguin enthusiast. Chris is currently gearing up from world wide domination and would like to make it clear that all who oppose him will be crushed.

Lane graduated in 2005 from the California College of Arts and Crafts with a BFA in illustration. He has shown work in such bay area collectives as the Nexus Gallery, RPS Collective, LoBot Gallery, and Ego Park. He’s worked for such clients as The Seattle Metropolitan , The Pasadena Weekly , Kitchen Sink Magazine , The Philidelphia Enquirer , Nexus Gallery , Mamma Buzz Gallery , LoBot Gallery , Rock Paper Scissors , ABCo Gallery.

Ferris Plock grew up in the Bay Area, amusing himself with comic books, graffiti, hip-hop, and Chevy Impalas.

Plock's surrealist and seemingly childish artwork more often than not incorporates animals or monsters in everyday human conditions- going to work, dodging splashes from cars, walking their pets, or being attacked by various creatures.

You’ll find Ferris Plock's illustrations in XLR8R magazine, Mad Mixer magazine, Tokion magazine, Quarter magazine, Freedom Book, and flavorpill.com. He has shown work in New York City, Seattle, New Orleans, Tokyo, London, Paris, Dublin, and cities across California.

Illustrator Michael Gibbs starts a new creative chapter with a handmade book of artwork inspired by lyrics alluding to color.

Ward is showing large works on paper this coming June in Shanghai, China. In this interview, he talks about the difference between ART and illustration, and how they intersect in his work. The paintings discussed have a deep, raw energy that at first glance seem to have nothing to do with his illustration work. But look again and it all makes sense.