Wayne White

American artist:
A cartoonist and illustrator in NYC in the 1980s for The NY Times, The Village Voice and more, White won an emmy in 1986 for his set design work on Pee-wee's Playhouse, a riotous sweatshop working environment that bred creativity in a tiny 5th floor Manhattan office.  He  art directed Peter Gabriel's Big Time

and designed sets for Tonight Tonight  (Smashing Pumpkins) referencing cinemagician Georges Méliès.

Pee-wee's Playhouse moved production to LA where he lived the Hollywood dream. After years of working himself in to the ground he burned out, regrouped and became an artist.

All That Fake Laughin for Nothin 

Exhibiting and selling from the walls of a local cafe, his book Maybe Now I'll Get The Respect I So Richly Deserve catapulted him in to the Art World.  Where, he says, his primary motivation is to bring some much needed humour to the foreground. Brilliant.

Ain't Tellin Ain't Askin

Good Looking People Having Fun Without You

The User Upper Motherfucker 

One of his paintings became the cover art for Lambchop album Nixon.

But most inspiring is his prolific fascination with turning art inside out, from set to painting to sculpture and back again. "I wanna try everything I can. You know? I wanna take this painting idea and see if you can do a puppet version of it.  I wanna take the cartooning and turn it in to a set.  I wanna take the set and turn it back in to a painting." Wayne White.

Someone made a film about it, it's fanfuckingtastic.

David Wasco

Production designer to Quentin Tarantino & Wes Anderson amongst many, Wasco's work is usually complimented by the set decorating of his wife Sandy Reynolds-Wasco.  Invoking the lens flare cool of mid-century Californian architecture and design, this style is said to be primarily derived from character development, devoted location scouting, addressing both big and small picture somehow simultaneously and a nod to American archetypal scenes drawn from classic art works (eg. Edward Hopper' Nighthawks in Seven Psychopaths).

Jack Rabbit Slim's - Pulp Fiction

Artist Beth Matthews designed a series of Wes Anderson specific colour palettes, this one highlights the apt designs of this powerhouse duo for The Royal Tenenbaums (2001).

 a film with interiors so lush you just wanna climb in them

more here WSJ