Tia Kratter - The Color of Pixar

Copyright 2017 by Disney Enterprises, Inc. and Pixar Animation Studios. All rights reserved. No part of this book may be reproduced in any form without written permission from the publisher. Library of Congress Cataloging-in-Publication Data is available. ISBN: 978-1-4521-5920-1 (hc)
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We always strive to make our films beautiful and to make you want to be in the worlds weve created. One of the most important tools we have as filmmakers is color. Color doesnt just make things beautiful; it makes things emotional.

Color helps bring viewers into the moment with our characters, helps them feel what the characters are feeling. So its essential that the color of a scene always be true to its emotion. The frames youll see in this book were created to be seen in the blink of an eye, each one appearing onscreen for just 1/24 of a second at a time. But each one is a work of art in itself, representing the contributions of many talented artists. I hope youll enjoy their heartfelt feeling as much as their gorgeous color. JOHN LASSETER

As a Shader Art Director at Pixar for 19 years, it was my job on any given movie to help specify the colors and textures of anything that was modeled for the film.

Over the years Ive done a lot of thinking about color and the way we use it to help tell our stories. For me, color acts as the great glue that visually holds everything together. Much like a film soundtrack, it can help shape emotion, provide a smooth transitional arc from one shot to the next, even bind an entire sequence together. Color can direct the eye or move attention away; it can push tension or evoke a sense of tranquility. Here at Pixar, every film uses a color script to visually map the emotional highs and lows of the story from beginning to end. If the color in the film is working well it can send signals to the audience about the feelings of a scene without one line of dialogue.

The idea for this booktaking single frames from the studios films and looking at them out of context, using the spectrum of color as a connecting themeis an unusual one, since these frames are meant to blend seamlessly with one another to create moving images, not static tableaus. Would single images still hold up, I wondered? After almost 20 years of looking at the studios films with hyper-attentive eyes, I was not expecting to be as surprised by this book as I was. There were so many startlingly harmonious juxtapositionsunexpected collisions, we came to call them. Id see similarities in composition, repetition of shape, and of course, similarity in color. Seeing these individual images would often bring back emotional reminders of what I had felt when first seeing these films, or prompt me to recall minor characters or moments that had been stored away in the deep recesses of my brain. Quite unexpectedly, it helped me see films I thought I knew like the back of my hand in a new way.

As you go through this book, whether quickly or slowly, I challenge you to take the time to see what subtle visuals arise for you. Whatever they are, sit back, and enjoy a spectrum of great color images. TIA KRATTER WALLE, 2008 Up, 2009 Brave, 2012 Up, 2009 Toy Story, 1995 A Bugs Life, 1998 Monsters, Inc., 2001 Finding Dory, 2016 Coco, 2017 Inside Out, 2015 Finding Dory, 2016 A Bugs Life, 1998 Cars 2, 2011 A Bugs Life, 1998 The Good Dinosaur, 2015 A Bugs Life, 1998 A Bugs Life, 1998 Monsters University, 2013 Coco, 2017

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