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The Thinking Behind Colorscripting

Title: The Thinking Behind Colorscripting
Sponsored by The Creative Talent Network
Length: 45min
Filmed in November 2010
Description: Join Toy Story 3 Art Director Daisuke “Dice”  Tsutsumi as he shares all the secrets of how he built the color and lighting design of the film Toy Story3.


Pixar Art Director Daisuke “Dice” Tsutsumi:
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. In 2007, after his long adventurous 7 year run at Blue Sky Studios, he has accepted the new challenge to join as an art director at Pixar Animation Studios. Dice was the color and lighting art director of Pixar’s latest feature Toy Story 3.

Dice has actively been pursuing his illustration career outside of animation as well. His graphic novels, Noche y Dia and Dream of Kyosuke were a part of critically acclaimed anthology Out of Picture. His first children’s book I can Hear was published in Japan 2009.

Dice is also passionate about connecting with others in the animation/illustration community. He led the famous Sketchtravel project with Gerald Guerlais to connect 60 international artists through one sketch book. Also Dice was behind the industry phenomena Totoro Forest Project back in 2008 where over 200 top artists donated their artwork to raise over $200,000 to help preserve Sayama Forest in Japan that inspired director Hayao Miyazaki for his film My Neighbor Totoro.

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.

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