

A Disney background artist who painted the lush, emotional landscapes for classics from 'The Lion King' to 'Lilo & Stitch'.
Barry Kooser's hand is present in some of the most visually arresting moments of the Disney Renaissance. Joining Walt Disney Feature Animation in the early 1990s, he wasn't an animator of characters, but a painter of worlds. As a background artist, he translated the emotional tone of a story into color, light, and texture. His work helped define the majestic African savannas of 'The Lion King,' the autumnal Virginia woods of 'Pocahontas,' and the imperial palette of ancient China in 'Mulan.' His role expanded to background supervisor on 'Brother Bear,' where he guided the artistic vision for the film's transformative northern landscapes. After leaving Disney, he pivoted to creating and selling fine art, and later brought his deep industry knowledge to teaching animation and storyboarding, shaping the next generation of visual storytellers.
1965–1980
The latchkey kids. Raised during divorce, recession, and the end of the Cold War. Skeptical, self-reliant, media-literate. They invented indie culture, grunge, and the early internet — then watched the Boomers take credit.
Barry was born in 1968, placing them squarely in the Generation X. The events that shaped this generation — economic uncertainty, the end of the Cold War, and the rise of personal computing — shaped the world they entered and the choices available to them.
The biggest hits of 1968
#1 Movie
2001: A Space Odyssey
Best Picture
Oliver!
#1 TV Show
The Andy Griffith Show
The world at every milestone
Martin Luther King Jr. and Robert Kennedy assassinated
US withdraws from Vietnam; Roe v. Wade decided
MTV launches; first Space Shuttle flight; AIDS identified
Apple Macintosh introduced
Challenger disaster; Chernobyl nuclear meltdown
Berlin Wall falls; Tiananmen Square protests
Google founded; Clinton impeachment
Barack Obama elected first Black US president; financial crisis
Royal wedding of Harry and Meghan; Parkland shooting
He worked at Walt Disney Feature Animation Studios from 1992 to 2003.
He became a partner at the Colorado-based animation studio Worker Studio after meeting its founder while teaching.
His artistic style is influenced by traditional painting techniques applied to digital animation.
“The background is the first thing the audience feels, before they even know the story.”