Color Scripting a Feature Film
Title: Color Scripting a Feature Film
Sponsored by The Creative Talent Network
Length 45 min
For every animated film a color script is created, which is essentially an at a glance look at the color keys and tones for the entire film. A color script gives you a good look at how the color arcs in a film relate to the story. A color script is an overview of the entire movie’s visual and color arc. Join these Art Directors from Laika, Pixar and Sony as they casually discuss the power and relevance of “the color script”. This panel is 45 min after which time all participants will retreat to the “Shop Talk Lounge” to carry on the conversation.
Moderator Charles Solomon:
An internationally respected critic and historian of animation, Charles Solomon has written on the subject for “The New York Times,” “TV Guide,” “Newsweek” (Japan), “Rolling Stone,” “Los Angeles Times,” “Modern Maturity,” “Film Comment,” “The Hollywood Reporter,” “Manchester Guardian,” Amazon.com and National Public Radio’s “Day To Day.” His work has also appeared in publications in Canada, France, Russia, Britain, Israel, the Netherlands and Japan. His recent books include “The Prince of Egypt: A New Vision in Animation” (Abrams, 1999), “The Disney That Never Was” (Hyperion, 1995), “Les Pionniers du Dessin Animé Américain” (Dreamland, Paris, 1996) and “Enchanted Drawings: The History of Animation” (Knopf, 1989; reprinted, Wings, 1994), which was a New York Times Notable Book of the Year and the first film book to be nominated for a National Book Critics Circle Award.
Soloman also contributed the animation article to “The International Encyclopedia of Communications” (Oxford University Press, 1989) as well as essays to the exhibit catalogues of “Japanese Animated Films: A Complete View from their Birth to ‘Spirited Away’ and Beyond” (Tokyo Museum of Contemporary Art, 2004) and “Il était une fois: Walt Disney” (Grand Palais Museum, Paris, September 2006).
He has also done animation programming for the Academy of Motion Pictures Arts and Sciences, the 1984 Olympic Arts Festival, the Los Angeles County Museum of Art, and the Annecy, Ottawa and Sundance international film festivals and lectured on animation history and aesthetics at UCLA, USC, CalArts, NYU, the School of Visual Arts, La Cinèmatheque Quebècoise, CSU San Bernadino, the California Academy of Science, The Walt Disney Studios (Los Angeles, Orlando and Paris), PIXAR, Turner Animation and DreamWorks Feature Animation.
Andy Gaskill was drafted out of art school to work at the Disney studio when he was twenty-one. He flew out to Los Angeles from Philadelphia and he has lived in the movie capital ever since.
He participated in the first animation training program at Disney, supervised by veteran animator Eric Larson. Other veteran animators still working there at the time included Milt Kahl, Frank Thomas, Ollie Johnston, John Lounsberry and Les Clark. Andy recalls, at the time he didn’t appreciate the amazing artistic resource these men offered, and only in maturity did he realize these men actually shaped his childhood. At age five, Andy saw Lady and the Tramp and was so moved by the spaghetti scene that he acted it out over and over with his friends! Later in life, he discovered Frank Thomas had animated that scene, thereby conferring a sort of honorary parenthood on Frank, (or was it perpetual childhood for Andy?)
Disney became a baseline for Andy for many years, culminating in art direction credits for Lion King, Hercules and Treasure Planet. The crash of hand-drawn animation in the early 2000’s sent many artists scurrying to learn 3d skills, and Andy was one of them. Today he works at Sony Pictures Animation, performing visual development and art direction functions.
There is a message Andy wants to communicate to anyone who is new to the business: no matter what technique animation might employ; hand-drawn or CG, the most important attributes of a movie have nothing to do with technique. The two most important attributes are: Story and design. Get good at those.
David Goetz is an Art Director and visual development artist for Walt Disney Animation Company.
He art directed Hunchback of Notre Dame, Atlantis, was the Co-Art Director on Meet the Robinsons and is currently art directing Rapunzel.
At the CTN expo, he will take part in a panel discussion on color scripting.
Lou Romano (b. 1972) was born and raised in San Diego, Ca. He began drawing and painting at an early age and studied theater arts, performing in plays throughout high school. After graduating in 1990 he studied animation and film at Cal Arts from 1990-92. Lou has worked as an illustrator and designer on various projects including The Powerpuff Girls and The Iron Giant (1999). He was the Production Designer of Pixar’s The Incredibles (2004) for which he won an Annie Award. His artwork has appeared on the cover of The New Yorker and has been published in several books including The Art of (The Incredibles, Monsters, Inc., and Up), The Ancient Book of Myth&War and The Ancient Book of Sex&Science. His work has been exhibited at Nucleus Gallery in Los Angeles, and the MoMA and Gallery Met in New York City. Lou has also done voice acting for Pixar, most recently lending his voice to Ratatouille (2007) as the character Linguini. He is currently working at Laika in Portland, OR. doing production design and development work on various projects. Lou is excited to be attending CTN-X this year and will be part of a panel on color scripting. He will also have a table where he’ll be selling some of his prints and originals. Please stop by.
Born and raised in Tokyo, Dice moved to NY in ‘93. After graduating from School of Visual Arts in 98, he started his career as a staff illustrator for Lucas Learning Ltd. in San Francico. Two years later, Dice moved back to NY to work for Blue Sky Studios as a visual development/color key artist on their blockbuster film projects such as Ice Age, Robots and upcoming Horton Hears A Who. After his long adventurous 7 year run at Blue Sky Studios, he has recently accepted the new challenge to join as an art director at Pixar Animation Studios.
Dice has actively been pursuing his illustration career outside of animation as well. His graphic novel, Noche y Dia is a part of critically acclaimed anthology Out of Picture. He is currently working on this second graphic novel, Dream of Kyosuke for Out of Picture issue #2. He also has been involved with a few potential children’s book projects.
Meanwhile, Dice continues to create his plein air oil paintings that have been featured in numerous gallery exhibitions. His last show at Windham Fine Arts Gallery was a huge success with a nationally praised painter Xiangyuan Jie. Dice currently lives in San Francisco and is an art director at Pixar Animation Studios.