Harley Jessup began his career at Korty Films designing animated short films for Sesame Street, including The Adventures of Thelma Thumb. He served as art director on John Korty's animated feature Twice Upon a Time.
Jessup has written and illustrated three children's books, What Alice Up to? and Grandma Summer for Viking Children's Books and Welcome to Monstropolis for Disney/Egmont. He studied graphic design at Oregon State University (BFA) and Stanford University (MFA).
In 2025, Jessup officially retired from Pixar following his work on Elio, marking the end of his 28-year tenure at the studio. [1]
Harley Jessup is an American production designer and visual effects art director known for his influential work in animation at Pixar Animation Studios and his Academy Award-winning contributions to visual effects in live-action films.[1][2]Jessup began his career designing animated short films, including segments for Sesame Street, before transitioning to visual effects work that earned him an Emmy Award and an Academy Award for Best Visual Effects on Innerspace (1987), shared with his team, as well as a nomination for Hook (1991).[3][2]He joined Pixar in 1996, where he served as production designer on acclaimed features such as Monsters, Inc. (shared credit), Ratatouille, Cars 2, The Good Dinosaur, and Coco, shaping the distinctive visual styles that defined these films' worlds and contributing to their critical and commercial success.[1][4]His recent work includes production design on Pixar's Elio, marking the culmination of his tenure at the studio before retirement.[5][6]Educated with a BFA in graphic design from Oregon State University and advanced studies at Stanford, Jessup has also been recognized with Annie Awards for his animated feature production design.[3][2]
Early life and education
Harley Jessup was born in 1954 in Corvallis, Oregon.[3] His family relocated to California shortly after his birth, and he grew up in the state's San Joaquin Valley and Bay Area.[3][4]He earned a Bachelor of Fine Arts degree in graphic design from Oregon State University in 1976.[3] Jessup later pursued advanced studies in design at Stanford University.[3]
Career
Early career in animation
Harley Jessup began his career in animation at Korty Films, where he designed animated short segments for Sesame Street, including "The Adventures of Thelma Thumb."[3][7] He served as art director on John Korty's animated feature Twice Upon a Time (1983), contributing to its distinctive cutout animation style and creative direction.[8]Jessup earned the Emmy Award for Outstanding Special Visual Effects for his work on the 1984 Lucasfilm television film The Ewok Adventure.[9][3] This early experience in animation and visual effects paved the way for his transition to Industrial Light & Magic in 1986.[3]
Visual effects art direction at Industrial Light & Magic
Harley Jessup served as a visual effects art director at Industrial Light & Magic (ILM) from 1987 to 1994, contributing to the conceptual design and artistic oversight of visual effects for a range of major feature films. [1] In this role, he helped shape the visual elements of groundbreaking effects sequences, collaborating with ILM teams on projects that blended practical and digital techniques during a pivotal era for the industry. [1] From 1991 to 1994, he advanced to the position of creative director for ILM's art department, where he led artistic direction and concept development across multiple productions. [1]His visual effects art direction credits during this period include Innerspace (1987), Ghostbusters II (1989), The Hunt for Red October (1990), Joe Versus the Volcano (1990), Hook (1991), The Public Eye (1992), and the alien sequence in Fire in the Sky (1993). [1] These films spanned genres from science fiction and action to fantasy and drama, with Jessup's work focusing on creating detailed concept art, matte paintings, and visual style guides that supported ILM's innovative effects integration. [1] His contributions to Innerspace earned an Academy Award for Best Visual Effects, while his role on Hook led to an Academy Award nomination in the same category. [1][4]
Production design on James and the Giant Peach
Harley Jessup served as production designer on the 1996 Walt Disney Pictures film James and the Giant Peach, a live-action/stop-motion hybrid directed by Henry Selick.[1] This marked his first major production design credit following his tenure as visual effects art director at Industrial Light & Magic.[1]A central challenge for Jessup was blending the film's live-action bookends with its stop-motion animated sequences inside the giant peach.[10] He explained that "a big issue in terms of production design was how to blend and relate the live-action beginning and end with the animated world," with the goal of making the live-action portions "much more monochromatic" while rendering the animated sequences "rich in saturated color and much more expansive in feel."[10] To support director Selick's stylized vision, Jessup incorporated surreal elements into the live-action world through forced-perspective sets, while enhancing the animated portions with hyperreal details aided by computer-generated effects.[10] This contrast created a more magical transition when the story shifts into the vibrant, fantastical interior of the peach.[10]Jessup later reflected on the project as his means of returning to animation through stop-motion, building on his prior experience in live-action visual effects and stop-motion to inform his subsequent career.[11]
Production design at Pixar Animation Studios
Harley Jessup joined Pixar Animation Studios in 1996, beginning a long-term collaboration during which he served as production designer on multiple feature films. [1] He shared production designer credit with Bob Pauley on Monsters, Inc. (2001), where he helped shape the film's dual worlds of human and monster environments. [12] Jessup subsequently acted as production designer on Ratatouille (2007), Cars 2 (2011), The Good Dinosaur (2015), and Coco (2017). [1] His final role as production designer came on Elio (2025), marking his sixth feature in that capacity at Pixar and concluding his tenure with the studio upon retirement at age 71. [5]Beyond his primary production design credits, Jessup contributed in supporting art roles across other Pixar projects. He served as lighting art director on Up (2009), provided additional production design on Luca (2021), worked as an additional artist on Soul (2020) and Elemental (2023), and handled visual development for Inside Out 2 (2024). [1] He also designed the Pixar short Presto (2008). [1]Jessup has described each Pixar project as beginning from scratch, requiring thorough visual research to build distinctive new worlds, a process he finds both challenging and enjoyable through collaboration with the studio's artists. [5] On Elio, he emphasized designing a playful, non-dystopian futuristic space that felt inviting and exciting through the protagonist's perspective, creating strong visual contrast with a stark, concrete-heavy Earth military base setting. [5] He has noted that audiences recognize and appreciate the depth of such detailed research in the final films. [5]
Awards and recognition
Academy Awards
Harley Jessup received an Academy Award for Best Visual Effects for his contributions to Innerspace (1987), shared with Dennis Muren, William George, and Kenneth Smith, at the 60th Academy Awards in 1988. [13] This win recognized the film's innovative visual effects work during Jessup's tenure at Industrial Light & Magic. [13]He was later nominated for Best Visual Effects for Hook (1991), shared with Eric Brevig, Mark Sullivan, and Michael Lantieri, at the 64th Academy Awards in 1992, though the award ultimately went to Terminator 2: Judgment Day. [14]
Emmy Award and other honors
Harley Jessup won the Primetime Emmy Award for Outstanding Special Visual Effects in 1985 for his work on the television film The Ewok Adventure, broadcast on ABC. [9] This recognition highlighted his contributions to the visual effects in the Lucasfilm production during the early phase of his career. [3]In 2018, Jessup received an honorary doctorate from Oregon State University, his alma mater, and was chosen as the commencement speaker for the university's graduation ceremonies. [3]Jessup also received Annie Awards for his production design in animated features at Pixar, winning Best Production Design in an Animated Feature Production for Ratatouille in 2008 and Outstanding Achievement for Production Design in an Animated Feature Production for Coco in 2018. [2]
Personal life
Family and children's books
Harley Jessup is married and has three children. He lives with his wife in Marin County, California.[4]In addition to his career in film and animation, Jessup has written and illustrated three children's books.[4] What's Alice Up To? (Viking, 1997) and Grandma Summer (Viking, 2000) are picture books featuring gentle, imaginative stories.[4] Grandma Summer follows a boy named Ben and his grandmother as they spend time together in an old seaside house, exploring the beach, playing games, and weathering a storm.[15] Welcome to Monstropolis (Disney/Egmont, 2001) is based on Pixar's Monsters, Inc. and explores the world of Monstropolis with interactive elements.[4]
Other creative pursuits
Harley Jessup has applied his production design expertise to interactive entertainment, serving as production designer on the 2012 video game Kinect Rush: A Disney/Pixar Adventure. [1] The game, developed by Asobo Studio and published by Microsoft Studios, features playable characters and environments drawn from multiple Pixar films, with Jessup responsible for the overall visual style and level design. This project represents his primary documented foray into video game art direction outside his film career.
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