Angry Birds: Mystery Island - Colour Key Designer
Amazon Prime
StuGo - Colour Supervisor
Disney Television Animation
The Final Test - Background Painter
Duolingo
Angry Birds Mystery Island - Colour Key Designer
Amazon Prime
My Dad The Bounty Hunter - Lead Background Painter
Netflix
Arlo The Alligator Boy - Background Painter
Netflix
The Midnight Gospel - Background Painter
Netflix
Q-Force - Lead Background Painter
Netflix
Star Trek: Lower Decks Season 1 - Background Painter
Paramount+
Archibald's Next Big Thing - Background Painter
Dreamworks Animation
In 2024, I was a scholarship recipient for the inaugural Future Art Director’s program- a 20-week course developed by Warrior Art Camp and the Titmouse Foundation focused on cultivating and training future Art Directors in all facets of the role.Utilizing assets from the popular Amazon show The Legend of Vox Machina, the course delivered in-depth lessons covering style guide creation, script/animatic breakdowns, asset packaging, as well as ‘soft skills’ such as effective communication and problem-solving within a team.The following was created for educational purposes only and is not official materials/artwork.Style GuideAs part of the course, we were tasked with assuming the role of art director for a single episode of TLVM in our own imagined version of the series. Choosing an episode from the hit series’ second season - The Tales of Vasselheim- my vision was heavily inspired by the early visual language of Dungeons & Dragons and aimed to capture an ‘old-school’ RPG aesthetic through the vibrant use of color, bizarre creature designs, and classic medieval locations.
Location DesignVasselheim
In the series, Vasselheim is described as an ancient city that has survived many conflicts, and as a holy place with temples to all different deities. In my design of the city exterior, I chose to reflect these key features through the use of a shield motif. This shape language is both symbolic of the city’s defensive nature and functions as a unifying element for the various places of worship with their use of the pointed arch.
Vasselheim’s isolation is also underscored by the intimidating, monolithic stone wall that has clearly been weathered from time and battle. It’s steep cliff and drawbridge emphasizes the dedicated pilgrimage required by those who wish to enter.As a point in the story with low tension/conflict, the painting of this location emphasizes color harmony by using a very limited gamut and low minor key. The use of an analogous color palette also helps to give the environment a strong color identity.
The Slayer’s Take
The Slayer’s Take is a hangout for a shady guild of hunters in Vasselheim. Modelled after a quintessential, medieval D&D tavern, Vasselheim’s shield motif is carried through here with the vaulted ceilings, trophy mounts, and surface details on the tables and chandeliers. Adding to the feeling like a fight could break out at any moment, there are benches overturned, drinks have been spilled, and there are several weapons at the ready. Large trophy heads adorning the walls pay homage to some of the creature designs from the first D&D Monster Manual.The use of bold, saturated color, a complementary palette, and high minor key contribute to the high tension of the environment.
Character Design
Matching the same design language of the backgrounds, the character design of the series emphasizes simple shapes with interesting size relationships. In addition to their silhouette, each main character is also identifiable by color - occupying a unique space on the color wheel with a mostly analogous palette.
The Deep Season 3 - Character & Environment Modeling/Surfacing
Netflix
Spy Kids: Mission Critical - Environment Modeling
Netflix
Barbie Dolphin Magic - Vehicle & Environment Modeling
Netflix
Barbie Video Game Hero - Environment Modeling
Netflix
Timbertown Tales: Chester Gets a Pet! is a fully-illustrated 36-page children's book in collaboration with author Joanna Karaplis and late furniture designer, Judson Beaumont.
It was published by McKeller & Martin Publishing.
Order here.
Breanna Cheek is a highly organized, detail-oriented, and production-savvy digital artist with over eleven years of experience in the animation industry. With expertise spanning both 2D and 3D productions, she possesses a thorough understanding of the animation pipeline and an excellent reputation for managing successful teams in a fast-paced work environment.When she's not pushing pixels, she can be found at her sewing machine, on long nature walks, or watching British panel shows.
WORK EXPERIENCEBackground Paint Supervisor | Titmouse Animation | March 2021 - February 2023 ; September 2024 - October 2025
- Provided artistic oversight, technical expertise, and collaborative leadership to background paint teams working remotely on multiple animated series.
- Completed episode breakdowns, collaborating closely with directors, department leads, and production teams to ensure a seamless integration of background assets into the animation pipeline.
- Prepared kickoff notes, reference materials, and task assignments, ensuring artists were well-supported and had the tools required to complete their tasks effectively.
- Reviewed work daily, including outsourced deliveries, conducting paintovers and other revisions to achieve the desired artistic quality and ensure stylistic consistency.
- Presented a positive and professional attitude in all client interactions, fostering a friendly working relationship and improving team synchronicity.
- Credits include: The Harper House (2021), Agent Elvis (2023), Frog and Toad (2023), and Tales of the Teenage Mutant Ninja Turtles (2025)Colour Supervisor | Titmouse Animation | February 2024 - February 2025
- Managed both background paint and colour design teams for pre-production on Disney’s StuGo (2025).
- Established the artistic direction through the creation of colour scripts that defined palettes, lighting, atmosphere, and mood.
- Worked closely with directors to assess design needs, manage project scope, and identify opportunities for workflow improvements, contributing to the development of more efficient processes.
- Facilitated clear communication with both artists and leadership through regular check-ins, progress reports, and updates.
- Monitored artist progress to ensure that milestones were met for shipments to the vendor studio.Colour Key Designer | Titmouse Animation | April 2023 - November 2023
- Developed colour scripts and colour keys in support of the visual storytelling of Angry Birds Mystery Island (2024).
- Ensured colour continuity and consistency across all episodes, keeping the team and production staff informed of progress, challenges, and solutions.Background Painter | Titmouse Animation | March 2019 - February 2021
- Demonstrated an expert knowledge of composition, perspective, colour theory, and lighting to deliver high-quality painted backgrounds in a wide range of artistic styles, ensuring each background aligned with the creative direction and technical specifications of the production.
- Fostered a culture of continuous learning and development within the team, providing mentorship and training to more junior artists.
- Credits include: Archibald’s Next Big Thing Season 2 (2020), The Midnight Gospel (2020), Star Trek: Lower Decks Season 1 (2020), Arlo The Alligator Boy (2021), Q-Force (2021), and My Dad The Bounty Hunter (2023)Environment Modeling Artist | Mainframe Studios | October 2015 - December 2017 ; September 2018 - February 2019
- Utilized a solid understanding of form, proportion, and scale to craft high-quality 3D environment models for feature films and television series.
- Participated actively in team discussions, offering technical expertise and artistic solutions to the improvement of the project.
- Credits include: Barbie Video Game Hero (2017), Spy Kids: Mission (2018), and Octonauts Season 5 (2020)Modeling/Surfacing Artist | WildBrain Studios | January 2018 - August 2018
- Balanced aesthetic standards and technical requirements in the creation of shaded props, sets, and characters for children’s adventure series, The Deep Season 3 (2019)
- Demonstrated a positive attitude, motivation to learn, and ability to address notes and apply creative feedback.Integration Artist | Digital Domain | October 2014 - April 2015
- Provided 3D motion-tracking and layout for feature films and interactive projects.
- Adapted quickly to shifting priorities, demonstrating an ability to manage time effectively and maintain composure under deadline pressure.EDUCATIONFuture Art Directors Program | Titmouse Foundation x Warrior Art Camp | 2024
- Completed a 20-week course designed to cultivate and train future Art Directors in all facets of the roleEmily Carr University of Art + Design | Bachelor of Media Arts, Animation | 2014
- John C. Kerr Chancellor's Award for Best Academic Standing in Media Arts
- President's Media Award for Best Animation