Lou Romano: Artwork for Disney/Pixar’s “UP”

Lou Romano’s artwork for Pixar’s UP, is integral to the story.

Lou Romano. Ellie's Mural. 2005-2008. Gouache.

 

Lou Romano. Tepui Study. 2005-2008. Gouache.

Jamini Roy

Jamini Roy (1887 – 1972) was one of the first painters whose work I absolutely loved (and do). He is from my home state of West Bengal, and rebelled against the traditional western influences “realism” of the time, and found inspiration in the folk art of Bengal instead – the Kalighat pot painting in particular. The Kalighat pot painting tradition is identified by its flat earthy colors, bold graphic forms with minor embellishment, and is apparent in his work.

He is also one of the first and rare painters who believed art shouldn’t belong only in museums and the elite, but also the common folk. To this end, he sold his works very cheaply.

Jamini Roy. Mother and Child. Gouache on fabric mounted on board. 16 5/8 x 11 in. (42.4 x 28 cm.).

Jamini Roy. Crucifixion. Tempera on canvas. 28 x 38 in.

Camille Rose Garcia

Camille Rose Garcia was born in 1970 in Los Angeles, California and grew up in the generic suburbs of Orange County, visiting Disneyland and going to punk shows with the other dissenchanted youth of that era. Her paintings of creepy cartoon children living in wasteland fairy tales are critical commentaries on the failures of capitalist utopias. (From her website)

Camille Rose Garcia. Subterranean Orphans. 2004. Giclee prints on Canvas.

Created in 2004 for BLAB! Magazine, this 3 part print tells the story of animals that retreat underground to escape the ultraviolence of humans.

Camille Rose Garcia. Pharmaceuticool. 2003. Giclee prints on archival watercolor paper.

Created in 2003 for BLAB! Magazine, this 4 part print examines the highs and lows of pill popping and depression in America.

Camille Rose Garcia. Who's Afraid of the Peppermint Man. 2003.

Created in 2002 for BLAB! magazine’s New and Used Collection, published by Fantagraphics Books, this 6 page story chronicles the creepy factory shenanigans of The Peppermint Man.

Check out her other book The Magic Bottle. I love it.

Mary Blair

Mary Blair (1911-1978), born Mary Robinson, was an American artist, and  best known for work she did for Watt Disney movies such as Alice in Wonderland and Peter Pan.

Mary Blair. Alice in Wonderland (The Tea Party). 1951. Gouache.

Mary Blair. Tomorrowland. 1967. Tile Mural.

Chris Raschka

Chris Raschka is a writer, illustrator and trained violist. I particularly love his Thingy Things series.

Chris Rashcka. John Coltrane Giant Steps. 2002.

Chris Rashcka. Sluggy Slug. 2000.

Chris Rashcka. Whaley Whale. 2000.

Olle Eksell

Olle Eksell

Olle Eksell

Jim Flora

Jim Flora. The Day the Cow Sneezed. 1957.

Jim Flora. My Friend Charlie. 1964.

More on Jim Flora

Takashi Iwasaki

Takashi Iwasaki. Gemmidakosasanouzu. Acrylic on Canvas. 20" x 20". 2008.

More.

Carrie Gifford

Carrie Gifford is an illustrator from Los Angeles, California, and founder of Redcap Cards with her husband Hal Mertz.

Carrie Gifford. Thinking of you.

Carrie Gifford. Pinata Party.

Carrie Gifford. Spring Baby.

Frank Chimero Interview

Excerpt from Grain Edit.

I like this section where he speaks about process:

More refinement. The illustration is nearing completion. The base of the illustration itself is finished, so it’s time for even further polish work. I enjoy flat shapes, but I think on their lonesome, they look dull on the page. So, I focus on two things. Edge and texture.

8. Here we have the vector drawing with only the flat shapes. Looks computerish, right? I don’t like that. The idea didn’t come from a computer. We need to get some hands in to this. So, I’m going to pull a bit of texture into the illustration, and then muck up the edges so they aren’t so precise.

9. This is what that same area looks like after I’m done texturing and messing with the edges. The textures come from scans of different surfaces, photocopies and paper I’ve collected. The edges get distorted by tracing over them with a real marker and paper. (I use a fine-tipped Sharpie on cheap copy paper, so it bleeds a little bit.) I then take the lines that I’ve drawn, scan them, and live trace them in Illustrator. The end result is what you see here.

10. And finito! This is what the final piece looks like once all of the polish work is finished: