Animation Guild

SPRING/SUMMER 2018 21 D E PA R T M E N T I decided to volunteer to get more involved with the union and learn about our place in the larger IATSE organization. I believe strongly in our union and feel that it is important to dig deeper into learning and experiencing how it all works. I also look forward to meeting and hearing from delegates in other Locals. —Justin Weber, Walt Disney Animation Studios I've attended IATSE's Officer Institute training sessions to learn how to run an effective labor union, and through that venue have met many IATSE colleagues from across the US and Canada. I have never attended a District 2 Convention, though, and feel that it is a good way to stay connected to my sisters and brothers in other Hollywood Locals and stay informed on the issues we're all dealing with in the entertainment industry. —Paula Spence, Cartoon Network My experience at the previous two District 2 conventions showed me that standing with our IATSE colleagues and participating in discussions is a key role in being union members. I find great value in attending these conventions and look forward to doing so again. —Steve Kaplan, International Representative, IATSE As a new shop steward for Disney Feature, this is a great opportunity to learn from other locals and bring this knowledge back to my studio to help and guide my fellow artists, especially in such a crucial year. I am very humbled and grateful to have the chance to meet other locals and represent Local 839. —Jorge Garcia, Walt Disney Animation Studios I decided to participate in the conference because I believe it's part of my role as a Shop Steward and Executive Board member to learn as much as I can about the IATSE organization and how we can better serve our fellow Guild members. I hope to bring back strategies and stories from other locals about how they have addressed a diverse set of labor issues that are sometimes very different from what we face in Animation. —Brandon Jarratt, Walt Disney Animation Studios I heard about the District 2 convention through a meeting with the Young Workers Committee and was interested in attending when it came up. That happened at the very next general meeting and I volunteered without hesitation! —Elisa Phillips I recently joined the TAG executive board and volunteered to attend the convention because I think it's important to get some TAG faces out there in the greater guild culture. I like the idea of making inter-guild connections and getting to know each other as people, so we can support one another. —Ashley Long, Bento Box WORKING TOGETHER "I fell into Color Styling on Rick and Morty. Before that, I underestimated the importance and complexity of the position. On the first season, one of the first models I colored was Snuffles, Rick and Morty's family dog. He looked like my dog, Shorty, so I designed a similar palette then threw in Shorty's teal collar with a silver tag. Combined with the cool blues and grays of his intelligence-enhancing helmet, his palette suggests the safe, calming and loving family pet role that Snuffles plays in the Smith family (before enslaving the human race). Now, I see those colors everywhere—on t-shirts, toys, stickers, pins. People around the world recognize the character by that iconic teal collar and the cool grays and blues of his helmet. Not only do the colors communicate character traits and tell a story, but those same colors now generate tangible income as merchandise." Elisa Phillips began her career as a Color Stylist on Rick and Morty. Since then she has worked as both a Character Designer and Color Stylist, sometimes performing both responsibilities on a single production. "As someone who relates equally to both roles, I have noticed that my focus as a designer has been far more small picture than the scope of my responsibilities when I'm working color. I'm responsible for hundreds of assets per episode, sometimes as the only stylist on production. I create palettes for newly established locations. If a revision is called out it can create a domino effect of updating that model through every relevant palette. It's a huge task of organization, recall and asset management. Design does bring many challenges which I find rewarding for my growth as a draftsman and designer, but when I'm working as a Color Stylist I always feel a greater sense of influence and responsibility that leads me to feel that both positions demand equally respectable and valuable work to be performed." Please take the time to visit our petition at bit.ly/colorisdesign. This June, 16 TAG members will attend the annual District 2 convention to learn more about how our union operates under the IATSE organization, strengthen bonds with other locals and vote on proposals. Here, we meet a few of our delegates. SPRING/SUMMER 2018 21 T H E L O C A L

• Cover
• PRESIDENT'S LETTER
• EDITOR'S NOTE
• ART & CRAFTAko Castuera's dynamic ceramics
• AFTER HOURS DWA's Abarcaon the sweet sideof animation
• IN PRODUCTION How Paradise, P.D.runs its show
• ON THE JOB Character Designers at different studios
• SPACE INVADERS Get lost in Ben Balistreri's home studio
• PERSPECTIVE Surviving pixel vision
• DIALOGUE Artists onthe show that inspired them
• THE LOCAL Color Stylists ask for your support, our convention delegates
• SOCIAL HOURT oasting our members around town
• MUSIC IN MOTION For Cosmo Segurson, his Nickelodeon short, The Prince and Mr. Whiskers, brings together influences from hispast. Inspired by hot jazz, 1930'scartoons and his father, he creates amusical battle in a stop-motion world.
• AND THE WINNER IS…We look back at eight Primetime Emmy winners over the last five decades, highlighting shows that impacted the industry. From The Flintstones to SpongeBob SquarePants, these unforgettable characters continue to live on.
• INTO THE NIGHT How do you design a summer vacation film without sunlight? That was one big challenge for the production of Hotel Transylvania 3.Learn how the artists behind the filmcreated a bright destination for Dracand his family.