Drawn to Life · sketches, storyboards, color keys, animated drawings, character model sheets, painted cels / backgrounds, photographs, scripts, scores, x-sheets, promotional materials,

Drawn to LifeBy: Hew Evans, Craig Matola and Danielle Christian

Exhibiting the Work of Don Bluth

MUSM 302: Curatorial Practices - Spring 2018

Table of Contents

Introduction Objectives Research Development

I. Exhibition Concept Narrative

II. Audience Identification

III. Exhibition Themes

IV. Education Goals

V. Movie Theme Summaries

VI. Exhibition Checklist

VII. Sample Catalog ___Entries

VIII. Potential Host Venues

IX. Exhibition Renderings

X. Conclusion

22

Table of Contents

Introduction Objectives Research Development


II. Audience Identification


IV. Education Goals

V. Movie Theme Summaries

VI. Exhibition Checklist

VII. Sample Catalog ___Entries

VIII. Potential Host Venues

IX. Exhibition Renderings

X. Conclusion

2

Introductions

33

Objectives

44


Drawn to Life: Exhibiting the Work of Don Bluth will explore the

creation of Don Bluth Productions’ feature films and video games.

Hoping to educate future animators and sequential artists, our

exhibit strives to illustrate a generalized process of traditional

2-dimensional animation from start to finish, display exemplary

pieces of professional artwork, and emphasize the studio’s focus on

creativity, consistency, and collaboration. Twenty-four works will

be borrowed from the Jen Library’s Don Bluth Collection For

Animation to create a well-rounded inventory composed of concept

sketches, storyboards, color keys, animated drawings, character

model sheets, painted cels / backgrounds, photographs, scripts,

scores, x-sheets, promotional materials, and VHS tapes.

5

Drawn to Life: Exhibiting the Work of Don Bluth will explore the creation of Don Bluth Productions’ feature films and video games.

Hoping to educate future animators and sequential artists, our exhibit strives to illustrate a generalized process of traditional 2-dimensional

animation from start to finish, display exemplary pieces of professional artwork, and emphasize the studio’s focus on creativity, consistency, and

collaboration. Twenty-four works will be borrowed from the Jen Library’s Don Bluth Collection For Animation to create a well-rounded inventory

composed of concept sketches, storyboards, color keys, animated drawings, character model sheets, painted cels / backgrounds, photographs,

scripts, scores, x-sheets, promotional materials, and VHS tapes.

The objects will be grouped based on one of three themes of development: Pre-Production / Ideation, Production / Animation, and

Post-Production / Promotion. Pre-production works will focus on the conception of Bluth’s films The Secret of NIMH and Thumbelina. Production

works will focus on the physical animation of Bluth’s film Thumbelina. Finally, Post-production works will focus on the promotion and marketing

of Bluth’s film NIMH and Laser-Disc video game Dragon’s Lair. All exhibited objects were created by Don Bluth Productions and its animators

during its corporate lifespan between 1979 and 1992.

The exhibit will be held at the Savannah College of Art and Design’s Gutstein Gallery between Sunday, 7 October 2018, to Sunday 4

November 2018. No admissions fee will be charged for SCAD students, faculty, and staff. The general public are encouraged to pay a $5 donation

but are not required. Screenings of Bluth’s films will also be available across the street in SCAD’s Trustees Theater during their annual Savannah

Film Festival, starting Friday, 27 October 2018, and ending on Friday, 3 November 2018. All patrons must purchase tickets to attend these

screenings.

5

Drawn To Life caters to all ages, but specifically attracts artists

and animation students. Any large production has a multitude of

moving parts throughout development; this is a familiar dance done in

the artistic process. Artists will appreciate the process coming to life

through an immersive exhibit. Having the exhibit at SCAD ensures

reaching the artist community and others interested in the art world.

Animation students both seasoned and novice will be drawn to seeing

origins of major animation works by Bluth, a noted and acclaimed

animator. Reaching his level of success does not come without hard

work, which is evident to any audience member observing the

animation process.

II. Audience Identification 8

Drawn To Life caters to all ages, but specifically attracts artists and animation students. Any large production has a multitude of moving

parts throughout development; this is a familiar dance done in the artistic process. Artists will appreciate the process coming to life through an

immersive exhibit. Having the exhibit at SCAD ensures reaching the artist community and others interested in the art world. Animation students

both seasoned and novice will be drawn to seeing origins of major animation works by Bluth, a noted and acclaimed animator. Reaching his

level of success does not come without hard work, which is evident to any audience member observing the animation process.

6

Drawn To Life caters to all ages, but specifically attracts artists

and animation students. Any large production has a multitude of

moving parts throughout development; this is a familiar dance done in

the artistic process. Artists will appreciate the process coming to life

through an immersive exhibit. Having the exhibit at SCAD ensures

reaching the artist community and others interested in the art world.

Animation students both seasoned and novice will be drawn to seeing

origins of major animation works by Bluth, a noted and acclaimed

animator. Reaching his level of success does not come without hard

work, which is evident to any audience member observing the

animation process.

II. Audience Identification 8 III. Exhibition Themes

1.) Pre-Production

The phase serves to further

develop ideas and plans prior to

actual animation. Planning helps

develop a road-map to base

further production stages and

gives an overview of different

steps involved in process.

Materials in this category are

drawn and consist of storyboards,

character design, color models,

narrative writing, and animatic.

2.) Production

After preparation, the long

process of animating scenes

frame by frame begins. Animators

work in teams and wear many

different hats. Materials in this

category include painted layouts,

backgrounds, and cels.

3.) Post- Production

Once the final product is finished,

the focus is shifted to reaching an

audience. Things like marketing

events, promotional materials,

newspaper interviews and

merchandise constitute this

category.

9

1.) Pre-Production

The phase serves to further develop

ideas and plans prior to actual

animation. Planning helps develop a

road-map to base further production

stages and gives an overview of

different steps involved in process.

Materials in this category are drawn

and consist of storyboards, character

design, color models, narrative

writing, and animatic.

2.) Production

After preparation, the long process

of animating scenes frame by frame

begins. Animators work in teams and

wear many different hats. Materials in

this category include painted layouts,

backgrounds, and cels.

3.)Post- Production

Once the final product is finished,

the focus is shifted to reaching an

audience. Things like marketing

events, promotional materials,

newspaper interviews and

merchandise constitute this category.

7


Storyboards

Voice Recordings

Animatic

Layout

Model Sheets

Animation

Pencil test

Backgrounds

Ink & Paint Cels

Final Photography

Narrative

Master Distribution

Marketing Material

Merchandise

Promotional Events

Pre-Production Production Post- Production

108

IV. Education Goals

Drawn to Life seeks to educate and inspire all audience

members as to the importance and craft of traditional animation.

Using Don Bluth’s master collection of art and a variety of

exhibition strategies, viewers are informed about traditional

animation processes while experiencing the immersive wonder of

Bluth’s hand drawn creations. By highlighting each stage of

development through different material types, the viewer can see

start to finish what goes into making an animation by hand.

Featuring not just one Bluth production but three gives the viewer

a point of reference and a chance to compare. The mental insights

from comparative discussion open the door to deeper

understanding of animation processes.

11

Drawn to Life seeks to educate and inspire all audience members as to the importance and craft of traditional animation. Using Don

Bluth’s master collection of art and a variety of exhibition strategies, viewers are informed about traditional animation processes while

experiencing the immersive wonder of Bluth’s hand drawn creations. By highlighting each stage of development through different material

types, the viewer can see start to finish what goes into making an animation by hand. Featuring not just one Bluth production but three gives the

viewer a point of reference and a chance to compare. The mental insights from comparative discussion open the door to deeper understanding

of animation processes.

Both animators and non-animators will benefit from observing the complex process, something that is lost to the public once the final

piece is displayed. Each piece, an artwork worthy of individual display, is visually stunning and connects the audience to a time when pictures

move with more intricately animated characters. In our newly digital world full of efficiency and convenience, long drawn out processes are few

and far between. Computers have taken the place of many time consuming practices, but the importance of the old master techniques have not

been lost. Drawn to Life serves as a gateway to learning about the traditional animation process and Bluth’s dedicated craftsmanship.

9

Research

1310

Research

13 V. Movie Theme Summaries

Thumbelina

Born from a flower and standing only a couple of inches tall, Thumbelina worries she’ll never meet someone her own size. Luckily she catches the eye of Prince Cornelius of the Fairies but as soon as they find love she is kidnaped by Ms. Toad. Thumbelina must escape Ms. Toad’s clutches and search for her Prince,

1411

The Secret of NIMH (1982)

Mrs. Brisby, a widowed mouse, must move her family from their home before the farm is plowed for the year. Her youngest

is ill and unable to move which drives Mrs. Brisby to seek help from local rats whose intelligence is heightened from being

subject to scientific experiments. She then finds herself in conflict with the rats and must solve her problems bravely in

order to save her family.

Thumbelina (1994)

Born from a flower and standing only a couple of inches tall, Thumbelina worries she’ll never meet someone her own size.

Luckily she catches the eye of Prince Cornelius of the Fairies but as soon as they find love she is kidnaped by Ms. Toad.

Thumbelina must escape Ms. Toad’s clutches and search for her Prince by following her heart.

Dragon’s Lair Arcade Game (1983)

A fantasy adventure where you become a valiant knight on a quest to rescue the fair princess from the clutches of an evil

dragon.

VI. Exhibit Checklist 1512

VI. Exhibit Checklist 15VI. Exhibit Checklist 15

Sample Catalog Label:

“Map of Thumbelina Land”

Production: Thumbelina

Material: Graphite on Paper, Ink-annotated Vellum Laid

Over-top.

Type: Pre-production (Background / Concept)

Folder: 6

Box: 17-16

Sample Catalog Essay:

This map represents the thematic universe explored in Don Bluth’s Film

Thumbelina. Hand-drawn on paper with graphite and overlaid with ink-

annotated vellum, this universe map was used by the film’s animators

as part of the film’s pre-production’s “conceptual” phase where they

experimented with aesthetic decisions and narrative arcs. Notice how

several of Thumbelina’s settings, like “Field Mouse Meadow,” “Toad

Pond,” or “Vale of The Fairies,” have been labeled on the vellum overlay.

Under each label is a small sketch of the setting, providing basic,

conceptual glimpses of each location that can be expanded upon later

on in the production of painted-cel backgrounds.

13

VI. Pre-Production

● These sketches show the process through which Bluth and his team of animators went through to finalize the design of the amulet.

● The amulet’s back inscription, reads “You can unlock any door, if you have the key,” which, as one learns later in the film, is a metaphor. This analogy compares the “door” to Mrs. Brumby’s ability to save her family and the “key” to her ability to harness her own courage. Hence, Mrs. Brumby can triumph over any predicament, as long as she has the courage to face it.

● Such literary brilliance and close attention to detail is what separates Bluth’s films from other studios’ productions and ultimately contributed to their long-term success (Goldman).

16 VI. Pre-Production




1614

VI. Pre-Production








16

“Amulet”

Production: The Secret of NIMH

Material: Graphite on Paper

Type: Pre-Production (Prop Development /

Concept)

Folder: 13

Box: NIMH-12-39

Shown are prop sketches of Mrs. Brumby’s amulet featured in

Bluth’s The Secret of NIMH. These sketches show the process through

which Bluth and his team of animators went through to finalize the

design of the amulet. Bluth and his designers toyed with several

more ornate designs, but ultimately chose the more simplified design

towards the top of the page. The amulet’s back inscription, reads

“You can unlock any door, if you have the key,” which, as one learns

later in the film, is a metaphor. This analogy compares the “door” to

Mrs. Brumby’s ability to save her family and the “key” to her ability to

harness her own courage. Hence, Mrs. Brumby can triumph over any

predicament, as long as she has the courage to face it. Such literary

brilliance and close attention to detail is what separates Bluth’s films

from other studios’ productions and ultimately contributed to their

long-term success.

15

VI. Pre-Production








1616

VI. Pre-Production








16

Animation Cel Painting Instructions

Production: The Secret of NIMH

Material: Pencil and Colored Pencil on Paper

Type: Pre-Production (Animation Preparation)

Folder: N/A

Box: NIMH Document Box-01

These drawings depict the steps necessary to draw and paint

a celluloid animation frame. The darwings were part of a series of

explanatory sheets describing the following: “What is a cel?,” “how

is it used in the animated feature?,” “how many [cels] are used in

the animated feature?,” “the Xerox process,” “the paint & how to

apply it,” “the value of your cel,” and “how to frame it.” Of the seven

explanatory sheets, Bluth’s sheet elucidating cel painting is featured

above. In Bluth’s explanation, to create a cell, start by drawing a

sketched animation of a character on multiple sheets of paper and

then photocopy them onto the celluloid sheet. Flipping the celluloid

sheet on its back, apply paint and details to the character. Once you

are finished, remember to take note of the colors used and where

they were applied on your original drawing. Then repeat the process

with the other animated frames.

17

VI. Production

● Before any cels were painted a color key was created to denote the specific colors used when drawing a character.

● We have displayed both a color key and a painted cel to illustrate the process through which a sequence goes through from start to finish.

● Color keys are sketches made of pen and colored pencil that had annotations concerning background and character information.

18VI. Production




1818

VI. Production




18VI. Production




18

“Painted Cel of Prince Cornelius”


Material: (Front) Printed Ink on Celluloid Sheet.

(Back) Gouache on Celluloid Sheet

Type: Production (Animation and Filming)

Sequence: 120 out of 130

Box: THU-12-21, THU 16-21

Before any cels were painted or photographed, a

color key, also called a modeling sheet, was created to

denote the specific colors to be used when animating a

character. These color keys were usually sketches made

of pen and colored pencil and also contained annotations

with background and character information. We have

displayed both a color key and a painted cel to illustrate the

process through which a sequence goes through from start

to finish.

19

VI. Production




1820

VI. Production




18

“Painted Background and Celluloid Overlay of Los

Sapos Guapos”


Material:

Background- Gouache on Illustration Board

Front Overlay-

(Front) Printed Ink on Celluloid Sheet.

(Back) Gouache on Celluloid Sheet

Type: Production (Animation and Filming)

Sequence: 105

Box: THU 16-21

At the time Don Bluth Productions was making their

films in the ‘80s and ‘90s, all animated backgrounds were

hand-painted with gouache. Animated characters, props,

and special effects were then drawn and painted on sep-

arate celluloid sheets, known colloquially as “cels.” Each

sequence of animation consisted of multiple layers of cels,

giving an impression of depth and emphasis to moving

objects. The sequence above is an example of layered cels

on a painted background. The water, boat, circus tent, and

forest beyond have been painted onto a piece of illustration

board, and a cel containing the lily pads has been laid over-

top.

21

VI. Post-Production

● Merchandising is a form of promotion that feature-length animated films used by studios to encourage people to see their movies and raise funds for future projects.

● This usually takes the form of action figures, branded toys, apparel, board games, and, in some cases, even spin-off projects and sequels.

● Shown to the left is a t-shirt airbrushed by animator Shane Zalvin in 1988 to advertise for Bluth’s Laserdisc video game Dragon’s Lair (Zalvin).

2022

VI. Post-Production

● Merchandising is a form of promotion that feature-length animated films used by studios to encourage people to see their movies and raise funds for future projects.

● This usually takes the form of action figures, branded toys, apparel, board games, and, in some cases, even spin-off projects and sequels.

● Shown to the left is a t-shirt airbrushed by animator Shane Zalvin in 1988 to advertise for Bluth’s Laserdisc video game Dragon’s Lair (Zalvin).

20

“Dragon’s Lair T-Shirt” airbrushed by Shane Zalvin

Production: Dragon’s Lair

Material: Airbrushed Paint on Cotton T-Shirt

Type: Post-Production (Merchandising)

Folder: N/A

Box: DL-Rec-12

Box: THU 16-21

Merchandising is a form of promotion that

feature-length animated films used by studios to

encourage people to see their movies and raise

funds for future projects. This usually takes the

form of action figures, branded toys, apparel, board

games, and, in some cases, even spin-off projects

and sequels. Shown above is a t-shirt airbrushed by

animator Shane Zalvin in 1988 to advertise for Bluth’s

Laserdisc video game Dragon’s Lair.

23

Development

2124

Development

21 VII. Potential Host Venues

A complex idea can be conveyed with

just a single still image, namely

making it possible to absorb large

amounts of data quickly.

22

Gutstein Gallery

The Gutstein Gallery incompasses about 375 feet of usable space

and is conveniently located on the ground floor of the Jen Library, where

Bluth’s collection is already being stored. The Gutstein gallery is also com-

pletely open to public access and does not require a SCAD ID for entry. The

gallery is highly visible by foot traffic but is not convenient to those who

require motor-vehicle parking. Its wall of glass windows and location on a

busy street diminish its level of security; however, there is a paid attendant

inside the gallery during the day who can supervise the partons and the

artworks. Additional security personnel can be hired if necessary. Mean-

while, the Gutstein Gallery is right across the street from SCAD’s Trustees

Theater, where we can have film screenings and/or participate in the annu-

al Savannah Film Festival takes place.

25

VII. Potential Host Venues





22

1600 Gallery

The Trois Galley contains about 186 feet of usable wall space and is

located in SCAD Atlanta’s 1600 Peachtree Street Building. The gallery has

limited public access and requires a SCAD ID for entry during most times of

the day. Being a compact space on the second floor of SCAD’s 1600 build-

ing, the gallery is tightly secure, and additional security personnel would

not be required to supervise the collection. Additionally, there is parking

on-site for motor vehicles. SCAD Atlanta’s 1600 Building also contains sev-

eral smaller lecture halls and auditoriums where movie screenings can be

held. If larger theaters are needed, then regular shuttle services would be

required to take patrons to SCADShow, a renovated movie-house located

several blocks down Peachtree Street. The SCAD Show is also the setting

of SCAD’s Animation-Fest, which would be a perfect event to associate our

exhibition with.

26

VII. Potential Host Venues





22

Alexander Hall Gallery

The Alexander Hall Gallery provides about 264 feet of usable wall

space and is located close to the Jen Library in Savannah, Georgia. The Gal-

lery is not open to the public, requiring a SCAD ID to enter at all times. That

given, the space is extremely secure since the university already employs

additional security for this location. There is an ample amount of parking

surrounding the gallery, and it is within easy access for SCAD students, fac-

ulty, and staff. However, the design of the gallery space is not suitable for

a traditionally unified exhibition, catering more to displaying independent

pieces of artwork. As for extraneous benefits, the Alexander Gallery also

host an annual open-house exhibition for its students, which, while it does

not specifically attract aspiring animators and sequential artists, could also

be associated with our exhibition for its focus on promoting the work of

creative professionals.

27

VIII. Exhibit Renderings

2328

VIII. Exhibit Renderings

23 2429

2530

25 2631

2732

2833

34

Credits and Thank You

Thank you to our following contributors:▸ Don Bluth▸ Sauda Mitchell▸ Katy Parker▸ Gary Goldman▸ Dr. Christine Neal

31

▸ All Artists at Don Bluth Productions

▸ Staff at Jen Library’s Special Collections

▸ Our Classmates

35

Documents

Drawn to Life · sketches, storyboards, color keys, animated drawings, character model sheets, painted cels / backgrounds, photographs, scripts, scores, x-sheets, promotional materials,