Megan Lara’s work came to my attention with her amazing posters for the cast of Firefly.
Her work has character (probably because she is herself a character and avid cosplayer), and she loves the forms of many past artists- from Mucha (my favorite, natch) to de Lempicka and the low art of tattoos and t-shirts. I hope that she enjoys creating the nerdy work as much as I love to see it.
I’ve loved Jody Lee’s work since the first covers of hers I saw (probably for Mercedes Lackey).
Her understanding of classic forms, color, and decoration are peerless. She was creating stunning (and instantly identifiable) line designs long before anyone else I knew – and I invariably use her work in courses I teach about the Dos and Don’ts of Branding and Marketing for self-publishers.
She is (along with my friend Paul Komoda) the artist I most want to own a lifelong monograph of.
Joyce Ballantyne began painting pin-ups for Brown & Bigelow, having been recommended by the king of pin-up artists Gil Elvgren. But unlike her friend and studio mate Elvgren, she often used herself as a model. Ballantyne painted Shaw-Barton 1955 pin-up calendar in its entirety, and that demand was so great that it was reprinted many times.
But that’s not her most indelible accomplishment – that honor falls to the iconic Coppertone suntan lotion billboard that she was commissioned to create 4 years later. She used her then-3-year-old daughter Cheri as the model for the girl whose bathing suit is being tugged at by a rascally dog.
I met Kristina Carroll on a long-ago visit to New York City, through our mutual friends Elaine Lee and Michael Kaluta.
These days I see her more often at conventions like Boston’s Arisia (where it was honor to reward her one of the show’s top prizes) and on her annual visits to Portlandia.
She loves working in real old-school (non-digital) media. Her elegant painterly works often feature the sorts of shiny rich gold that we digital painters envy.
She has been the driving force behind the marvelous Months of Love and Fear for 4 remarkable years:
Her work can be found on her site:
…and at Every Day Originals:
Thanks to her husband’s superb painting, I’d seen Laurie Lee Brom’s face long before I actually met her. But seeing her paintings was a different thing entirely – luminous oil portraits with a hint (or more than a hint) of the Gothic. Her work is colorful and elemental, and the same sensibility and delight at putting a raccoon into the hoops of a skirt somehow removes the inherently clichéd quality of fairy wings. It’s a fine (and beautifully scrolled) line, but she walks it very well indeed.