ENTERGALACTIC

the first painting on screen. as the camera pulls back, the rest of the long dolly out was painted by Jacki Li and Michal Sawtyruk

a few very early sketches on style exploration. how much "realism" vs abstractness. can parts of the scene get inverted, etc

another unfinished painting in the beginning of the show

early design sketch of the Las' Lap on Orchard St. in NY. most of the locations in the show are based on real places in NY

early design sketches of Jabari's loft. early days of space design and materials.

a rough layout for other designers and camera dept. for staging and blocking. files this under "production design isn't always sexy", lol

taking that same loft and re-set dressing it for Ky's fantasy. we wanted to see if a few prop changes and lighting would be enough

..and the lighting key

and again for Jimmy's fantasy

one of the few show location changes. Jabari was going to take Meadow onto the top of the Intrepid after the V party

a quick lighting exploration of the Flatiron at dark

we played around with Meadows show being in a fancy Guggenheim like museum. the Harlem Gallery was the better choice

my paintover on the left, their first pass on right. we showed them how we needed a certain amount of the lighting and form actually painted into the color maps to achieve our look and style

we tried a variety of facial hair for our main character, exploring what looked best

we provided direction on everything including how to treat the variety of hair styles in the show

exploring the look of the final explosion from the Nightmare sequence.

exploring how to render stylized explosions

my paintover on the right. we wanted a well thought out and well sculpted look for everything on the characters, down to how the hands are sculpted and stylized. specific over generic

lighting keys, a lot of the time we didn't have rough character layout to reference and we had to wing it. luckily lighting keys aren't about character likeness, lol

sequence lighting keys

lighting key for the "ex" gag

lighting key

lighting keys, a lot of the time we didn't have rough character layout to reference and we had to wing it. luckily lighting keys aren't about character likeness, lol

lighting key and new prop integration. everything poster in Carmens room was deliberate :)

sequence lighting keys. it was important to get that "alone" feeling and still keep with the upbeat, colorful feel of the show

lighting keys, a lot of the time we didn't have rough character layout to reference and we had to wing it. luckily lighting keys aren't about character likeness, lol

sequence lighting keys, doing my best to evoke an early Bernie Fuchs feel. pattern heavy with just enough "lighting" to feel real

sequence lighting keys. a lot of the time we didn't have rough character layout to reference and we had to wing it. luckily lighting keys aren't about character likeness, lol

lighting key

sequence lighting keys, we eventually gave him yellow shorts

sequence lighting keys

lighting key

this was exploration of how to treat meadows flashback (outside the car)

lighting keys, a lot of the time we didn't have rough character layout to reference and we had to wing it. luckily lighting keys aren't about character likeness, lol

lighting key

lighting keys, a lot of the time we didn't have rough character layout to reference and we had to wing it. luckily lighting keys aren't about character likeness, lol

sequence lighting keys

lighting keys, a lot of the time we didn't have rough character layout to reference and we had to wing it. luckily lighting keys aren't about character likeness, lol

lighting keys

the Nightmare sequence was all about simple staging in a complex set with fast action and cutting

this paintover (left) was for an early lighting test. i did hundreds of these for the lighters to help set readability and staging

ALL of our lens flares were custom painted to match the look of the show. these were actually fun to do, figuring out texture and noise to make an artistic version of the flare in enough layers to effect parallax.

last but not least, how to indicate, and scale stacks of comics in Jarabi's place. we were never striving for a photoreal look, everything was always and artistic interpretation of reality.

a few very early sketches on style exploration. how much "realism" vs abstractness. can parts of the scene get inverted, etc