Episode 011: Mother Color

Some of the episodes mostly take place in established locations, which means that there are less new locations to design. However, the color of new locations must enhance the overall story, and work well with more established locations.

Episode 010: Late Manny Color

Above: A sketch by art director Roman Laney.
Sketches like these would help both the storyboard artists, and the art team about the area that the story would take place. This is really useful when planning color and light.

Episode 09: Old Money

Above: A first pass on "Old Money."

When working on a t.v. show, it's important to establish a look and feel that translates from episode to episode. If you're beginning to see a bit of repetition of color between episodes; you would be right!  The worlds were pretty much defined by this point... My major concern was making sure characters read, and that the color truly followed the emotion of the episode.  I got more latitude to play when new villains, locations, and sequences were added.

Above: One of the panels from this episode was later turned into a poster (which I have yet to see) Here is the rough color pass on that particular panel.

08: Zebra Donkey Color

Above: Zebra Donkey was a fun short to design, lots of different locations and moods.

Above: For "El Tigre" I almost always worked off of director Dave Thomas's beat boards. Dave's stuff is great, because everything is always so clearly drawn and staged.  Once I got the beat board, I would go over it shot by shot with creator Jorge Guttierez, and art director Roman Laney. We would discuss mood, and emotion. By episode 08 I was beginning to get a clearer idea of what Dave, Jorge, and Roman were looking for as far as color.

I feel very fortunate to have worked with this creative group. They are all the very best at what they do... and I think it shows in the final episodes.