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Using reclaimed lumber as his "canvas", he started painting images of vintage Americana with subjects ranging from pop icon celebrity to the hey day of jazz.
After numerous gallery shows in Los Angeles and private commissions he has now combined his unique style to that most American of symbols, MICKEY MOUSE. Along with a series of classic lobby card paintings, he has also created a performance piece that has him painting a large canvas of our favorite Disney characters in a matter of minutes.

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With Stephen Reis, Trevor has come full circle combining his two loves of painting and acting.Stephen Reis is a California native born in Los Angeles in 1974. He has studied all forms of art from Film production at Loyola Marymount College in CA. to Fine Art in Florence, Italy. Stephen has spent most of the last six years as one of the animators of The Simpson's. With Trevor Carlton, Stephen has brought proportion, perspective and all the traditional aspects that come with his experience as a sought after animator.

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Walt Disney Productions welcomed his creative energies. His first film, "Winnie, the Pooh and Tigger, too", sparked his interest not only in painting backgrounds but also in background design and color styling.
After completing, "The Rescuers", his first feature film, he was promoted to Background Department Supervisor, a position he held for nearly seventeen years. While at Disney, James styled and worked on twelve films and over thirty short subjects which included "Mickey's Christmas Carol", "The Fox and the Hound", "The Great Mouse Detective", "The Black Cauldron", "The Little Mermaid", and Academy Award-winning, "Beauty and the Beast". All of which came to life with James Coleman's background images gracing the silver screen.

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Duerrstein’s work can be found in the Walt Disney Studio corporate offices, Burbank, California; The Library of Congress, Washington, D.C. and St. Jude’s Research Hospital in Memphis, Tennessee and private collections worldwide. Currently his work is seen in “The Art of Mickey Mouse” exhibition traveling through Japan.
Inspired not only by the animation artists he has worked so closely with but also with such diverse draftsman as Leonardo da Vinci and Von Dutch, Duerrstein has recently found inspiration from the animation drawings of Chuck Jones. “I believe I bring the spontaneity of his [Chuck Jones] original drawing to the forefront of my paintings, where the viewer can see the action up close. The backgrounds reflect the age and use of the original drawings, grounding them in history.”

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Even at the young age of 32, Michael's artwork captures more than a likeness of the characters he paints, his work creates old world flair. Bringing together all the ingredients necessary to make a painting work, which is why he attracts the eye. With the soft lines and rustic palate, The villains he depicts have always shown a greater range of emotions whether Captain Hook's eyes are boaring into you sizing you up or Cruella dreaming about the newest batch of puppies for her next fur coat. One thing is for sure you know that the characters he renders are so glad to be bad.

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"I spent my days as a child wandering Main St. in Disneyland enjoying the magical world Walt Disney created. I have been blessed with the unique opportunity to create art that helps carry on the legacy and heritage of Walt Disney's dream. My goal is to continue to impact the lives of both young and old with the magic I have been so fortunate to take part in."

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As a byproduct of his years as an instructor at the prestigious Art Center College of Design (since 1985) he has a strong connection to artistic diversity as well as a careful observation of the changing world of art and how art interrelates with technology. His experience and knowledge cross many boundaries into Print, Film, Animation, and the fine arts.

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Using the medium of oil paints, Rogerson concentrates on capturing people in social settings. “My personal style has emerged and I break down the composition into simple shapes, with each shape having its own palette – it’s a jigsaw puzzle of color to form an image,” states Rogerson. “I keep the backgrounds simple so as not detract from the main focus and so I can concentrate on the details of the central image.”
He has contributed his artistic abilities to Disney and SS Designs in Florida and is currently engaged in creating imaginative imagery for the popular Disney Fine Art portfolio, published by Collectors Editions Fine Art Publishers of California.

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Allison's paintings can be found in the collections of Senator Hillary Rodham Clinton, Her Royal Highness Queen Noor of Jordan, Barbara Streisand, Dionne Warwick, Robero Britto, Phil Ramone, Luciano Pavarotti, John Stango, Universal Studios Orlando, Warner Bros. Studio Stores, The Walt Disney Gallery, Tears for Tears, The Indigo Girls, Ellen DeGeneres, Kathy Buckley, Deborah Gibson, Robert Cuccioli, Lea Delaria, and Liza Minelli.
My art is inspired by the works of Andy Warhol and Keith Haring. Boldness and simplicity are the keys to the success of my portraits. The Vibrant color of the background accents the shapes and shadows and enhances the three-dimensional appearance."

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Drawing cartoon's a young determined woman wrote Walt Disney Studio's at the age of 11, asking how to become an animator. Disney always nurturing young artists and finishing their latest movie at the time, "Oliver and Company" sent her back full details on how to reach her goal. She has even surpassed her own imagination by not only becoming an animator on The Simpson's, King of the Hill, and Dilbert, specializing in character layout. She now has come full circle back to Disney Fine Art.Tricia combines the forever-popular turn of the Century Art Nouveau style with Disney's precious characters we have loved for years. Her unique take on Disney's characters give us a glimpse into their life up until now we could only imagine.



 

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The work of Peter Ellenshaw is represented in both public and private galleries worldwide. He has been the recipient of numerous honors and awards, including those by the American Film Institute, the Museum of Modern Art in New York, the Film Institute in Chicago, the Academy of Motion Picture Arts and Sciences, the R.W. Norton Art Museum in Shreveport, Louisiana, and the Disney Legends Awards.
Now in his nineties, Peter Ellenshaw still enjoys the daily regimen of “his second career” and paints nearly every day.

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Alvin has produced many special works for Lucasfilm Ltd.'s Star Wars phenomenon. His Star Wars Concert and Star Wars Tenth Anniversary poster are among the most collectible Star Wars art in the market today. Additionally, The Smithsonian Museum, Washington D.C., exhibited Alvin's The Phantom of the Paradise as one of the best posters of the 20th Century.
The ability to infuse art with feeling was one reason Disney wanted Alvin for The Lion King and the "adult campaigns" for many Disney animated classics. The adult campaign will usually be more elegant, more symbolic, and in Alvin's masterful hands, imbued with a moody, almost magical aura. "His work inspires us," say the Disney marketing execs. "Alvin brings emotion into his artwork that can only be captured in an illustration. We call it 'Alvinizing'."

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The Garmashs began their artistic collaboration in much the same way. Several years after their marriage, Mr. Garmash began a painting of their two-year old daughter, Polina, for a project at school. However, Polina found the painting during her father’s absence and decided to embark upon her own artistic career. Ms. Garmash, after seeing what her daughter had done and not wanting her husband to be upset, fixed the painting using her own training, packed it up and gave it to him for submission. Mr. Garmash submitted the painting for review and was praised for completing his best work ever. He was surprised to see the "new" painting and immediately recognized his wife's hand. They have painted together every since.

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Peter Ellenshaw has received five Academy Award® nominations, winning the Oscar® for his stunning recreation of Edwardian London in the Walt Disney's classic, Mary Poppins. Throughout the years, Ellenshaw has sought to capture the drama and emotions of many different scenes. His work is represented in both public and private collections worldwide. He has received numerous honors and retrospectives including those by the American Film Institute, the Museum of Modern Art in New York, the Film Institute of Chicago, the Academy of Motion Picture Arts and Sciences, the R.W. Norton Art Museum in Shreveport, Louisiana and has been bestowed the illustrious title of "Disney Legend."

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“Up until this point I had been painting trees with black, gray and brown trunks and green leaves,” he points out. “And then I came across the Fauves, who were only in existence a few years, and their intense use of color. They had done something I really enjoyed and appreciated. So I began to paint far more colorfully than I had in the past. Today, I enjoy painting as much as ever and I enjoy doing things that are really colorful. The great thing is that now with the giclee process of making prints, you can match the colors perfectly.”

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Toby is considered by many to be one of today's greatest animation artists. With his extraordinary vision and uncompromising attention to detail of lighting and rich colors, Toby Bluth draws the viewer into his vibrant and imaginative works. Motion Pictures, theater production and books have evolved from his beautiful paintings. Toby's career spans several decades as an art director, illustrator for Walt Disney, MGM< and Hanna Barbera, Bluth/Sullivan and Film Roman Inc.

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"My artwork is meant to recall the beauty, majesty and mystery of the life we live, and the world we live it in. Painting the small delicacy of the light on a child¹s face, or the overwhelming power and grace of the sky at sunrise, is my attempt to capture some of that wonder. Through my work I hope to remind you and myself how truly wonderful, complex, and vivid life is. Whether we are looking into the eyes of someone we love, or struggling just to breath, life is a priceless gift."

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Stephen had turned his attention to animation, which in many ways combined his loves of drawing and cinema. In late 1996, he joined the animation crew for Fox's long-standing hit series "The Simpsons". The work environment on the show provided him with a second education as well as a paycheck, as he learned more about drawing and storytelling than ever before.
Six years later, Stephen is now an Assistant Director on "The Simpsons". He has also returned to Loyola Marymont as an instructor, teaching animation and film for the last four years.

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Manuel’s meticulous attention to detail is the hallmark to his paintings. Traditionally trained, Manuel Hernandez, a Southern California native was originally inspired and influenced by the contemporary illustrative works of J.C. Leyendecker, Dean Cornwell and Norman Rockwell. Having studied and apprenticed as an illustrator, Manuel Hernandez developed his skills with pen and brush to a level of mastery that would come to satisfy even the most discerning eye of some of the more critical Disney art traditionalists.

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