Expat from Pampanga makes scenes for a living

Wesley Paguio’sbackground painting for Spongebob. CONTRIBUTED

Have you met Dagger Doofus Beaver and his brother Norbert Foster? Are you familiar with Dora and Friends, Robot and Monster, Ninja Turtles, Fairly Odd Parents, Avatar, Charlotte’s Web 2 and the Spongebob Squarepants the movies 1 and 2? Have you ever seen the Kung Fu Panda village?

If yes, then you know that these cartoon characters are from Disney, Nickelodeon and Dreamworks. You admire and love the characters, but did you know that a Filipino painted the backgrounds for these shows that eventually became hits all over the world?

Wesley Paguio, who was born and raised in Angeles City, Pampanga, may not be a household name, but his works as background painter in the animation industry are incredibly amazing.

Background painting

In the process of animation the background painter gives the mood of the scene, the color and style to be drawn by the animation layout artist. The two artists must work harmoniously to produce the desired effect.

Wesley Paguio. CONTRIBUTED

The background painter stages the character and gives support to the action and provides the atmosphere that can be dramatic, powerful, startling or thrilling but mindful that it is only a background for the action. It must not compete or distract from the characters.  The background must not have too much detail, busy shapes, eye-catching forms, colors and contrasts that conflict with characters.  Background painting is challenging work.

Drawing a life

After graduating with a bachelor’s degree in fine arts at the University of Santo Tomas in the ‘70s, Wesley worked as a graphic designer.

“We immigrated to America to have a better life. A fine arts degree was not a lucrative and sustainable career in the Philippines at the time,” Wesley explains.

Arriving in the United States and settling in California was not easy. Wesley experienced the usual adjustments with culture and climate, but these did not deter him from pursuing his dream of becoming an artist in the animation industry.

Luckily for Wesley, he was still able to practice his profession and further improve his talent and skills. He took continuing education courses to study background painting in animation.

While studying, he took freelancing work in various small studios.

“While at school, I met an instructor from Disney, who was instrumental in helping me hone my skills and techniques. That person became my mentor, who opened the doors of opportunity for me.  And, as they say, the rest is history,” Wesley relates.

Nickelodeon and Dreamworks

Besides doing background painting and drawing for several animation studios, Wesley also did book illustrations.

“I was commissioned to illustrate for a book. I don’t even remember the title, but it was published in China,” Wesley laughs.

Still, Wesley never got tired of looking for the characters that would permanently ink him in the animation industry.

“I was at the animation job fair looking for work. I came by Nickelodeon’s booth, which was about to close. I spoke with the artistic director and requested him to look at my portfolio for just a few minutes,” Wesley recalls.

The following day, a staffer from Nickelodeon called him up and gave him a freelancer job.

Background for Kung Fu Panda village. CONTRIBUTED

He worked on the show “Angry Beavers,” his first gig. The show ran from 1998 to 2001. The characters were created by Mitch Schauer. The show was nominated for many awards. It won at the daytime Emmy at the World Animation Celebration in 1998.

“That show catapulted my career as a background painter here in the US,” he enthuses.

Presently, Wesley is working on “Kung Fu Panda Village,” a television show produced by Dreamworks.

Loving your craft

“Discrimination in the industry is everywhere. Most of the time, the discrimination is race-related. It’s very subtle but it can be felt,” Wesley confirms.

To compete in the field, Wesley points out that artists must possess a strong and comprehensive portfolio showcasing their skills and techniques, so one is always ready when studios are looking for artists.

“You also have to establish your connections with the local animation artists,” Wesley shares.

However, Wesley notes that the Philippine animation industry is still far behind due to lack of technology, which remains a challenge for local Filipino artists.

But these must not deter anyone from continuing with what he or she loves to do.

“If you love your craft, just keep going. Rejections happen all the time, but do not give up. Perseverance is key to success, but at the same time you have to improve your craft and skill by practicing often and keeping updated with the latest in the field,” Wesley advises.