{"id":973,"date":"2026-03-02T14:57:03","date_gmt":"2026-03-02T13:57:03","guid":{"rendered":"https:\/\/www.gaetanoleonardi.com\/v4\/?page_id=973"},"modified":"2026-03-02T21:03:03","modified_gmt":"2026-03-02T20:03:03","slug":"mexicana_art_direction","status":"publish","type":"page","link":"https:\/\/www.gaetanoleonardi.com\/v4\/mexicana_art_direction\/","title":{"rendered":"Mexicana – Art Direction"},"content":{"rendered":"

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Mexicana<\/h3>\n

Art direction<\/h5>\n

Served as Art Director during the pre-production of a Mexican animated feature film, contributing to the definition of the project\u2019s visual identity and artistic direction.<\/p>\n

Key contributions:<\/p>\n

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  • Defined the overall visual language and art direction of the film.<\/li>\n
  • Directed character, environment design principles and worldbuilding during pre-production.<\/li>\n
  • Creative liaison with the client, clearly explaining visual choices and securing fast, first-pass approvals.<\/li>\n
  • Collaborated closely with production leadership to align creative vision with narrative and technical constraints.<\/li>\n<\/ul>\n

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    Aztec Myths & Deities<\/h3>\n

    An in-depth study of the Aztec pantheon was conducted in order to provide the artists with a wide range of visual references and symbolic elements for creating patterns and designs.<\/p>\n

    Although artistic liberties were taken where necessary, the goal was always to respect Aztec culture and maintain historical and cultural authenticity.<\/p>\n

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    Historical Research: Aztec Deities<\/p>\n

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    Art by Marco Bambina; Art Direction by Gaetano Leonardi.<\/p>\n

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    Mictlantecuhtli interpretation\u00a0 by Gaetano Leonardi.<\/p>\n

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    Art by Marco Bambina; Art Direction by Gaetano Leonardi.<\/p>\n

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    Color Keys \u2013 Art by Marco Bambina.<\/p>\n

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    Colors<\/h3>\n

    Color Key direction<\/h5>\n

    I oversaw the color key direction, with artwork by Marco Bambina<\/strong>.<\/p>\n

    Color is not merely an aesthetic choice, it is a powerful tool that supports direction and reinforces communication. Through contrasts in saturation, luminance, and complementary hues, color helps guide the audience\u2019s perception and emotional response.<\/p>\n

    Colors can significantly influence the viewer\u2019s mind. For example, if we transform a natural yellow-red flame into an unnatural green one, we immediately communicate that something magical is happening. Without a single line of dialogue, we introduce a precise narrative element.<\/p>\n

    Once established, this visual language must remain consistent throughout the film, especially in subsequent magical moments, to preserve coherence and reinforce storytelling.<\/p>\n

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    Environment<\/h3>\n

    Architectural Historical Research<\/h5>\n

    A thorough study of the geographical area, archaeology, and the typical architecture of both the Spanish colonists and the Aztec population was conducted and organized in a clear and comprehensive way, allowing the artists to work efficiently and with strong historical grounding.<\/p>\n

    Thanks to this research, multiple design proposals were later developed, and detailed city layouts were created to optimize each shot, both from a production efficiency standpoint and an aesthetic perspective.<\/p>\n

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    Architectural Historical Research<\/p>\n

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    Architecture Example \u2013 Art by Gaetano Leonardi.<\/p>\n

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    Tenochititlan Concept – Art by Marco Bambina; Art Direction by Gaetano Leonardi.<\/p>\n

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    Vegetation and Environmental Research – Art by Daniel Ferrara; Art Direction by Gaetano Leonardi.<\/p>\n

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    Flora and Fauna Research for the Environment<\/h3>\n

    In-Depth Research to Brief the Art Team<\/h5>\n

    An extensive study of Mexican vegetation was conducted and prepared for the artists, providing detailed references and examples of each plant species native to the region.<\/p>\n

    Multiple design variations were developed, and the environment was carefully analyzed and planned for every shot of the film to ensure accuracy, consistency, and visual coherence.<\/p>\n

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    Characters<\/h3>\n

    Character design Supervising<\/strong><\/h5>\n

    I also developed several early character sketches during the pre-production phase.<\/p>\n

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    These materials were primarily created to brief the artists for the next stage of development.<\/p>\n

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    Character Design by Nunzio Cafagna;
    \nArt direction by Gaetano Leonardi.<\/p>\n

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    Sketches for Artist Briefing.<\/p>\n

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    Character Design by Nunzio Cafagna; Art direction by Gaetano Leonardi.<\/p>\n

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    Sculpting supervising<\/h3>\n

    3D Character design<\/strong><\/h5>\n

    I supervised the sculpting process, working directly on top of the artists\u2019 models when necessary to ensure visual consistency and maintain the integrity of the characters.<\/p>\n

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    Over-Sculpting Pass by Gaetano Leonardi.<\/p>\n

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    Over-Sculpting Pass by Gaetano Leonardi.<\/p>\n

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