Getting the Right Balance of Lighting and Colours!
Naveen has made quite a journey as an illustrator since he started out as a professional artist at Sony India. From his early days studying engineering to taking up an animation job post a related course in Chennai to further pursuing a Master's in Fine Arts in the USA, he has made his way through.
Today he's involved in prestigious projects with Dreamworks in LA, California, currently focused on Puss in Boots 2 for the past couple of years.
CG. Please take us through your early days in art – How did it all begin? How did events progress thereafter and how did you experience them?
Naveen. I was always interested in art as a child but I did not know how to make a living as an artist. So, like all of my friends, I studied engineering. However, by the time I finished my engineering course, I realized that I did not want to work as an engineer and that art was my true passion. So I joined a short animation course in Chennai and managed to get a job as an animator. I worked there for a couple of years before moving to the US to pursue my Master of Fine Arts degree.
CG. How did you get into DreamWorks Animation and what role did you play there? Please also take us through one or two of your significant projects there.
Naveen. My director for Spiderman into the Spiderverse, Bob Persichetti, invited me to work on his next project, Puss in Boots 2, that he was directing at Dreamworks. That's how I joined the studio. I have been working there for the past year and a half on the same project.
CG. How can one get the balance between lighting and colours right, so that they complement each other well?
Naveen. You have to think about lighting and colours in tandem since lighting decides how an object appears in the painting. A red object may appear orange-based or purple-based, depending on whether it is lit by the evening sun or the cool skylight in the shadows. You have to design your lighting based on what you want to convey through your work. A fashion illustration will be lit very differently from a painting of an action sequence, for example. We can learn a lot about light design by studying movies and photography.
CG. Can you point out some works or artists that represent this balance well?
Naveen. Among traditional artists, I look up to John Singer Sargent, Anders Zorn, Richard Schmid, Jeremy Lipking, Kim English, and Matt Bodges for inspiration.
CG. Did personally moving to LA show any effect on your work process, results or so? How did it impact you as an illustrator?
Naveen. LA is where the Hollywood animation industry is mostly based. So many of the prominent artists have made it their home. Apart from that, many animation and art conventions take place in LA. Being surrounded by so much talent and having exposure to the industry has definitely improved my work and kept me inspired.
CG. Please tell us about your time with Disney Interactive Studios – What projects did you work on and what was unique about the work process there?
Naveen. Disney Interactive was a social gaming studio where I worked as an artist doing simple designs for their games. It paid my bills while I attended art workshops in the evenings to improve my portfolio and achieve my true goal of working in feature animation.
CG. Is it pressuring to work for big names and projects? How do you handle it?
Naveen. There is more pressure associated with big-name projects as you are surrounded by top talent who produce amazing work. You feel like you have to always be at the top of your game. I handle it by taking it one day at a time and trying to play to my strengths.
CG. How would you compare two greats such as Dreamworks and Sony, having worked for them both?
Naveen. Sony was the first feature animation studio to give me a chance by hiring me and providing a working visa. So I would forever be grateful to Sony. It was a great learning experience to work on productions there and watch top artists in the industry work. I have to say that the work at Dreamworks is a lot more relaxed because I joined as an experienced artist, not feeling the pressure to prove myself.
CG. Please tell us about your role for Smurfs and elaborate on it from brief to end result.
Naveen. Smurfs was my first feature film. I learned a lot of skills on that project, ranging from painting props and characters to painting locations, as well as lighting and colour keys.
CG. How much of a role do lighting and colours play in your work and what techniques do you use to apply them effectively?
Naveen. Lighting and colours play a very important role in my illustrations. I keep my light and shadows in layers so that I can play with the values and keep the overall illustration crisp and graphic.
CG. What have been your greatest lessons through working with such diverse organisations?
Naveen. I've learned that if your foundation is strong, you can survive in any studio and project. Along with that, always being willing to learn new ways and techniques from others, is something that always helps.
CG. Please shed some light on the significance of formal education in your illustration journey and what's your advice to current art students?
Naveen. I would say, getting trained in the basics of art – such as anatomy, perspective, graphic design, lighting, and colour – is extremely important to enter, survive and thrive in the animation and illustration industry. What you learn is more important than where you learn it.
