This is a cel I painted while learning how to help out in the Color Model department.
Early in 1995, I found out that Fox was going to be opening an animation studio in Phoenix. I gathered all the artwork I had, put together a portfolio, and shipped it off for review.
Two rejection letters, one life drawing class, and prepartion for teaching in my own classroom at the Phoenix Day School for the Deaf later, I received a phone call from someone at the studio. They were actually informing me that they had a position in Ink & Paint and asking if I was interested in taking the position! Hmmm, let me think about that…YES!
It was the middle of June and I wouldn’t be starting until September, so I finished my life drawing class and waited anxiously. I couldn’t believe it.
September finally arrived, I started working in Ink & Paint, and I was having the best time of my life. Not only was I learning everything I could about Ink & Paint, using Soft Image Toonz, I was asked to help out up in the Color Model department and learned how to paint cels, and I was asked to help out at the live-action shoots as one of the extra live-action reference actors.
In Ink & Paint, I probably touched just about every scene in the movie Anastasia. I painted and also did something we phrased as “manillation” (adding a manilla folder color to rough animation in order for the characters to read better over layout drawings). Later in production, I tested and became a Paint Checker for my department. I worked as both Painter and Paint Checker on Anastasia and then Bartok the Magnificent.