(Top cw) Members of the art team:
Lela Dowling, Sean Turner, Larry Ahern,
Peter Chan, Jesse Clark and
Larry Ahern earned a BA at the University of California. He was hired in 1990 and stayed for 10 years at LucasArts. He told people at LucasArts that he liked to work on a comedy game, and that was fine according to them, but as he was a new guy, he had to go to work on The Dig.
Gilbert gave him a list with things to animate in Day of the Tentacle, but it wasn't very specific. He went to Grossman and Schafer, who described the scenes to him. Ahern made some suggestions and asked them to take care of getting Gilbert's approval, which they did.
As he had done of lot of cartooning in the past, he wanted to do the character designs. He disliked the fact that the character faces were so small in Monkey Island, so he intended to push the look of DOTT in a more cartoony direction with large heads and big eyes, that could express different emotions.
After LucasArts he became art director at Microsoft Games Studios, and after working at various companies, he joined Walt Disney Imagineering as senior story editor.
Chan worked as an in-house artist on 3 LucasArts games (Monkey Island II, Day of the Tentacle and Full Throttle), and as out-house artist on Grim Fandango. As a prodigious artist he worked on many other games, including some of the LucasArts' remastered games. He was lead artist on DOTT, but according to him it just meant in those days the guy who was stuck doing most of the art. Unlike Monkey Island II, there wasn't already an established art style, so he had to figure out what was best for this new wacky game. He was watching cartoons with his son and became inspired by Chuck Jones (Duck Dodgers and What's Opera, Doc?), and also by the Maurice Noble art style.
He didn't play games and wasn't aware of their limitations. So he draw pictures with things in the foreground and middle ground, and was told by the project leaders he shouldn't do that, as players would want to pick those things up. He didn't like to draw with a mouse, but after school he had learned at an advertising agency to work with markers, so he he used markers, which was much faster than using a mouse.9
After his days at LucasArts he wordked as concept and storyboard artist for various films, including Star Wars: The Phantom Menace and Harry Potter and the Sorcerer's Stone.
Kyle Balda visited CalArts University in 1991, the institution that was founded by Walt Disney as school for the animation industry. After two years he left and continued his training during summer internschips at LucasArts and Pacific Data Images. As intern at LucasArts he animated the intro of DOTT.
After LucasArts he worked at Industrial Light and Magic, and various other companies, including Pixar. Besides animation he also (co-)directed films (e.g. The Lorax, Minions).