Carol Wyatt is a background painter, color stylist, and color supervisor for animation. She’s responsible for creating the palettes and lighting for backgrounds, and the color vision for entire TV shows. You might have seen her name in the credits for programs like Rick and Morty and HBO’s Animals. In this interview, she talks about what it takes to get started in today’s competitive animation field, and how things have changed since she graduated from Otis/Parsons School of Design and went to work on the first season of The Simpsons. She emphasizes the importance of building contacts in the industry and learning new techniques to keep your skills current.
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Instructor’s Welcome Note:
– My name is Carol Wyatt. I’m a background painter in animation and I’m a color stylist in animation, also a color supervisor. Those are three separate jobs that I do. A background painter is someone who, you’re filling in the backgrounds that are already designed. You have layout artists who do the layouts and then a background designer who will design the original backgrounds that you’re going to paint. And the color comes in, it’s all separated in animation, so that it can get done faster.
So one person doesn’t usually do the whole process. There’s a layout, background designer, and then a background painter. And what we do is make sure that the lighting is correct, the mood, if something’s really scary, if you’re going to have an explosion, destroy a city, go underground, have a romantic scene, sunset, all of those kinds of things, that’s up to us. We get everything in black and white and then we create the mood for the scene.
Color stylist is when you color everything but the backgrounds, or it can be all of it. Certain shows they’ll want you to do everything all together, but normally a color stylist will do the characters, the props, and the effects, so explosions and things like that. Color supervisor works with the art director and basically carries the entire color vision throughout, it encompasses a little bit more than just color, because you have to work some effects and compositing and you have to work with everybody.
It’s a new show, it hasn’t come out yet, it’s called Animals for HBO, it’s coming out in the winter. It’s a Dublass Brothers production. I’ve been on Rick and Morty the whole way through and plan on being back on Rick and Morty next year. And I work on other shows intermittently while I’m working on Rick and Morty. Yeah, you have to work on a lot of things and keep your, you need to keep your contacts up to date and always be meeting with people and setting up your next job.
I started out on the Simpsons when it first started, so I’m always proud of that, because that was the very beginning of prime time animation. And I worked on that the first four seasons, and then went on to work on some of the first shows at Nickelodeon and Cartoon Network, and I worked at Hanna-Barbera before it was Cartoon Network. Most recently I’ve been working on Over the Garden Wall for Cartoon Network, which is a gorgeous show, and Rick and Morty.
I also, because I work on Rick and Morty, which is a Dan Harmon show, I also got to work on G.I. Jeff for Community, which was really fun. So whenever they have stuff that comes up I can work on those as well. I always wanted to be an artist. And my aunt was a graphic designer and taught art in public school. And so I knew that you could have some kind of job doing that. She lived it, so I knew it was possible.
And I just always drew and painted, always. I went to Otis-Parsons. I went into communication design for graphic design. My plan was to be in advertising and to be an art director and work at an agency. As I was going through that program at Otis I started veering off into illustration. I found myself painting and drawing all of my projects for graphic design.
I wanted to do the lettering, I wanted to paint everything instead of take a photograph, and I got in a lot of trouble for that too, but finally I switched over to illustration. Our entire class from Otis practically everyone went into animation. It just kind of, we all just kind of tumbled into it. One of our friends from Otis called and said, “Oh, we need someone to paint, “we need painters, they’re desperate for painters “on these Saturday morning cartoons.” And I said, “Well, that sounds like fun, “I’ll go and do that, that sounds great.” And it was actually a three month job, and that sounded amazing.
Because that was more work than editorial illustration where you wait for a check for weeks and you do one job. So I went over to work at DIC on Cops and the Real Ghostbusters and Alf Tales and all of tho
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