In addition to painting color keys, the color artists at Blue Sky get to work with the materials artists in placing textures on all of the computer models. It is a really exciting part of out work because we are able to work with the character designers and fur and materials departments, to ultimately make the characters and objects in the film look convincing.
Here are some examples of the paintings we do for the materials artists.
I did this series of rough color sketches based off of Peter De Seve's designs. It was very exciting working with Peter on these. I feel like I learned a lot about from painting directly over his designs.
Once we arrived at the the color pattern, I put together a call out sheet for the fur and materials artists. In this sheet or in some cases sheets, I gather as much relevant reference as I can find to help the other artists who apply the fur and texture. I also will occasionally write notes and make additionally paintings to illustrate ideas and details that might not be seen in the first painting. I'm very fortunate to be able to work with a group as skilled as the artist in fur and materials. They never cease to amaze me with their speed, consistency and skill. It is always a thrill to see them plus our designs.
This is a still frame from the film, showing how the Diving Bird ultimately looked in the film.
These two paintings are examples of the paint details that we do in addition to the call out sheets. While, the are not necessarily the most exciting paintings to look at, with their simple lighting pattern and grey backgrounds, they are very important for the production.