Benjamin Htoo in Creative and Media Professionals Managing Director/Multimedia Artist Mar 26, 2020 · 2 min read · +300

The Making of Taste on Autism: A Stylized World

I was greatly awestruck with the stylized layouts and backgrounds of Chuck Jones' Warner Bros. cartoons (1953-63) and How the Grinch Stole Christmas (1966). At first, I thought Jones was responsible for coming up with simple but strong shapes alongside eye-popping colors - all come in minimalism and abstraction. But then what I discovered from some audio commentaries and a documentary about him was that the legendary animation veteran actually tasked his layouts and backgrounds men to experiment in art direction in the style of modern art. In other words, Jones was a modern art curator.

The Making of Taste on Autism: A Stylized World       











Duck Amuck (1953): art direction by Maurice Noble and background design by Philip De Guard











Broom-Stick Bunny (1956): art direction by Ernie Nordli and background design by Philip De Guard









There They GO-GO-GO! (1956): art direction and background design by Philip De Guard












How the Grinch Stole Christmas! (1966): background concept art by Maurice Noble


Whether I was influenced by the stylistic sensibilities of Chuck Jones or his artists, I derived them for the overall layouts and backgrounds of my short film, Taste on Autism. These following layouts and backgrounds you see intentionally or unintentionally reflect the simplistic imagination of an autistic individual. As designed on Adobe Flash Professional CS3, each artwork depicts the mood of the story through effective shapes and color palettes.




A yellow sky that complimented well with a bright green grass. A tree with wildly indistinctive barks and scattered leaves on a pointy boomerang foliage. All of these benefitted a contented childhood day of my female lead, Loreene Lee. Ironically, I established the camera to just Loreene sitting against the tree base for the sake of her full-size scale.









The best environment for the moment when Loreene faced another consequence for invoking an autistic's wrath was the one that consisted wild shapes and vibrant colors.






For the newly employed Lazlo to self-confine and work alone in the kitchen, a half-detailed kitchen with cool colors was a must - even with window lights. A splash of red-orange, on the other hand, signified a change for the better by Loreene.

While the exterior of Cheesydoesit looked different in three different times of the day, in an occasional sunset, a bunch of smiling clouds and intensely passionate colors together hinted the climatic romance between Loreene and Lazlo.

While bittersweet colors were a necessity for Loreene's ending, abstract teardrops, floor markings and wilted flowers were a plus. Even in a beautiful sunset at the beach, the clouds' colors signified the character's coping with her boyfriend's departure for the greater good.


In addition to the stylized backgrounds of Taste on Autism, I painted a couple of splotchy backgrounds entirely on Adobe Photoshop. Those backgrounds reflected the emotional intensity between an autistic and a non-autistic, onscreen or offscreen. Furthermore, each of them had a number of frames as to help imply the level of intensity.




We can see how intense Lazlo can be to Loreene for her annoying attempt of forging a friendship with him.







This background signals an offscreen commotion in about a second. What's going on in Cheesydoesit?