Don Bluth By: Hew Evans, Craig Matola and Danielle Christian MUSM 302: Curatorial Practices - Spring 2018

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Drawn to Life Exhibiting the Work of Don Bluth By: Hew Evans, Craig Matola and Danielle Christian MUSM 302: Curatorial Practices - Spring 2018

22 Table of Contents

Introduction Objectives Research Development

I. Exhibition V. Movie Theme VIII. Potential Host Concept Summaries Venues Narrative VI. Exhibition IX. Exhibition II. Audience Checklist Renderings Identification VII. Sample Catalog X. Conclusion III. Exhibition ___Entries Themes

IV. Education Goals 2 33 Table of Contents

Introduction Objectives Research Development

IV. Education Goals 44

Objectives I. Exhibition Concept Narrative 55

DrawnDrawn to Life: to Exhibiting Life: Exhibiting the Work of the Don Work Bluth ofwill Don explore Bluth the creationwill explore of Don theBluth 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 creation of Don Bluth Productions’ feature films and video games. animation from start to finish, display exemplary pieces of professional artwork, and emphasize the studio’s focus on creativity, consistency, and collaboration.Hoping to Twenty-four educate future works will animators be borrowed and from sequential the Jen Library’s artists, Don Bluthour Collection For Animation to create a well-rounded inventory composedexhibit of strives concept to sketches, illustrate storyboards, a generalized color keys, process animated of drawings, traditio characternal model sheets, painted cels / backgrounds, photographs, scripts,2-dimensional scores, x-sheets, animation promotional from materials, start andto finish, VHS tapes. display exemplary The objects will be grouped based on one of three themes of development: Pre-Production / Ideation, Production / Animation, and pieces of professional artwork, and emphasize the studio’s focus on Post-Production / Promotion. Pre-production works will focus on the conception of Bluth’s films The Secret of NIMH and Thumbelina. Production creativity, consistency, and collaboration. Twenty-four works will works will focus on the physical animation of Bluth’s film Thumbelina. Finally, Post-production works will focus on the promotion and marketing of beBluth’s borrowed film NIMH from and Laser-Disc the Jen video Library’s game Dragon’s Don Bluth Lair. CollectionAll exhibited objectsFor were created by Don Bluth Productions and its animators duringAnimation its corporate to create lifespan a between well-rounded 1979 and 1992.inventory composed of concept sketches,The exhibit storyboards, will be held at color the Savannah keys, animated College of Art drawings, and Design’s character 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 model sheets, painted cels / backgrounds, photographs, scripts, 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 scores, x-sheets, promotional materials, and VHS tapes. Film Festival, starting Friday, 27 October 2018, and ending on Friday, 3 November 2018. All patrons must purchase tickets to attend these screenings. II. Audience Identification 86

Drawn To Life caters to all ages, but specifically attractsDrawn artists To and Life animation caters students. to all ages, Any large but production specifically has aattracts multitude artists 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 and animation students. Any large production has a multitude of immersive exhibit. Having the exhibit at SCAD ensures reaching the artist community and others interested in the art world. Animation students moving parts throughout development; this is a familiar dance done in both seasoned and novice will be drawn to seeing origins of major animation works by Bluth, a noted and acclaimed animator. Reaching his the artistic process. Artists will appreciate the process coming to life level of success does not come without hard work, which is evident to any audience member observing the animation process. 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 97

Drawn To Life caters to all ages, but specifically attracts artists 1.)1.) Pre-ProductionPre-Production 2.)2.) ProductionProduction 3.)3.)Post-Post- Production Production The phase serves to further develop After preparation, the long process Once the final product is finished, and animation students. Any large production has a multitude of The phase serves to further Once the final product is finished, ideas and plans prior to actual Afterof animating preparation, scenes framethe long by frame the focus is shifted to reaching an moving parts throughout development; this is a familiar dance done in develop ideas and plans prior to the focus is shifted to reaching an animation. Planning helps develop a processbegins. ofAnimators animating work inscenes teams and audience. Things like marketing the artistic process. Artists will appreciate the process coming to life audience. Things like marketing actualroad-map animation. to base further Planning production helps framewear bymany frame different begins. hats. AnimatorsMaterials in events, promotional materials, through an immersive exhibit. Having the exhibit at SCAD ensures events, promotional materials, developstages anda road-map gives an overview to base of workthis incategory teams include and wearpainted many layouts, newspaper interviews and reaching the artist community and others interested in the art world. different steps involved in process. backgrounds, and cels. newspapermerchandise interviewsconstitute this and category. further production stages and different hats. Materials in this Animation students both seasoned and novice will be drawn to seeing Materials in this category are drawn merchandise constitute this gives an overview of different category include painted layouts, and consist of storyboards, character origins of major animation works by Bluth, a noted and acclaimed steps involved in process. category. design, color models, narrative backgrounds, and cels. animator. Reaching his level of success does not come without hard Materials in this category are writing, and animatic. work, which is evident to any audience member observing the drawn and consist of storyboards, animation process. character design, color models, narrative writing, and animatic. III. Exhibition Themes 108

Pre-Production Production Post- Production

Storyboards Animation Master Distribution

Narrative Pencil test Marketing Material

Voice Recordings Backgrounds Merchandise

Animatic Ink & Paint Cels Promotional Events

Model Sheets Final Photography

Layout IV. Education Goals 119

DrawnDrawn to Life to seeks Life to seeks educate to and educate inspire alland audience inspire members all audience as to the importance and craft of traditional animation. Using Don Bluth’smembers master collectionas to the of importance art and a variety and of exhibition craft of strategies,traditional viewers animation are informed. about traditional animation processes while experiencingUsing Don the Bluth’s immersive master wonder collection of Bluth’s hand of artdrawn and creations. a variety By highlighting of 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 exhibition strategies, viewers are informed about traditional viewer a point of reference and a chance to compare. The mental insights from comparative discussion open the door to deeper understanding animation processes while experiencing the immersive wonder of of animation processes. Bluth’sBoth hand animators drawn and non-animatorscreations. By will highlighting benefit from observing each stage the complex of process, something that is lost to the public once the final piecedevelopment is displayed. Each through piece, andifferent artwork worthy material of individual types, display,the viewer is visually can stunning see and connects the audience to a time when pictures movestart with to more finish intricately what goesanimated into characters. making Inan our animation newly digital by world hand. full of efficiency and convenience, long drawn out processes are few andFeaturing far between. not Computers just one have Bluth taken production the place of many but timethree consuming gives the practices, viewer 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. a point of reference and a chance to compare. The mental insights from comparative discussion open the door to deeper understanding of animation processes. 1013

Research 13 V. Movie Theme Summaries 1411

The Secret of NIMH (1982) Mrs. Brisby,Thumbelina a widowed mouse, must move her family from their home before the farm is plowed for the year. Her youngest is ill and unableBorn to move from which a flower drives and Mrs. standing Brisby to onlyseek ahelp couple from oflocal inches rats whosetall, Thumbelina intelligence worriesis heightened she’ll from being subject tonever scientific meet experiments. someone her She own then size.finds Luckilyherself in she conflict catches with the the eye rats o andf Prince must Cornelius solve her problems of the Fairies bravely in order to savebut as her soon family. as they find love she is kidnaped by Ms. Toad. Thumbelina must escape Ms. Toad’s clutches and search for her Prince,

Research 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 1215 VI. Exhibit Checklist 15 VI. Exhibit Checklist 1315

Sample Catalog Label: 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, “Map of Thumbelina Land” conceptual glimpses of each location that can be expanded upon later Production: Thumbelina Material: Graphite on Paper, Ink-annotated Vellum Laid on in the production of painted-cel backgrounds. Over-top. Type: Pre-production (Background / Concept) Folder: 6

Box: 17-16 VI. Pre-Production 1416 VI. Pre-Production 16

● These sketches show the process through which ● These sketches show the process through which Bluth and his team of animators went through to Bluth and his team of animators went through to finalize the design of the amulet. finalize the design of the amulet. ● The amulet’s back inscription, reads “You can ● The amulet’s back inscription, reads “You can unlock any door, if you have the key,” which, as one unlock any door, if you have the key,” which, as one learns later in the film, is a metaphor. This analogy learns later in the film, is a metaphor. This analogy compares the “door” to Mrs. Brumby’s ability to save compares the “door” to Mrs. Brumby’s ability to save her family and the “key” to her ability to harness her her family and the “key” to her ability to harness her own courage. Hence, Mrs. Brumby can triumph over own courage. Hence, Mrs. Brumby can triumph over any predicament, as long as she has the courage to any predicament, as long as she has the courage to face it. face it. ● Such literary brilliance and close attention to detail is ● Such literary brilliance and close attention to detail is what separates Bluth’s films from other studios’ what separates Bluth’s films from other studios’ productions and ultimately contributed to their productions and ultimately contributed to their long-term success (Goldman). long-term success (Goldman). VI. Pre-Production 16 VI. Pre-Production 1516

Shown are prop sketches of Mrs. Brumby’s amulet featured in ● These sketches show the process through which ● TheseBluth’s sketchesThe Secret of show NIMH. Thesethe process sketches show through the process which through Bluth and his team of animators went through to Bluth and his team of animators went through to which Bluth and his team of animators went through to finalize the finalize the design of the amulet. finalize the design of the amulet. “Amulet” design of the amulet. Bluth and his designers toyed with several ● The amulet’s back inscription, reads “You can ● The amulet’s back inscription, reads “You can more ornate designs, but ultimately chose the more simplified design unlock any door, if you have the key,” which, as one Production: The Secret of NIMH unlock any door, if you have the key,” which, as one learns later in the film, is a metaphor. This analogy Material: Graphite on Paper learnstowards later the top in ofthe the film,page. Theis a amulet’s metaphor. back inscription, This analogy reads compares the “door” to Mrs. Brumby’s ability to save Type: Pre-Production (Prop Development / compares“You can unlock the any“door” door, toif you Mrs. have Brumby’s the key,” which, ability as one to learns save her family and the “key” to her ability to harness her Concept) herlater family in the film,and is thea metaphor. “key” toThis her analogy ability compares to harness the “door” her to own courage. Hence, Mrs. Brumby can triumph over Folder: 13 ownMrs. courage.Brumby’s ability Hence, to save Mrs. her family Brumby and the can “key” triumph to her ability over to any predicament, as long as she has the courage to Box: NIMH-12-39 anyharness predicament, her own courage. as Hence,long asMrs. she Brumby has can the triumph courage over any to face it. facepredicament, it. as long as she has the courage to face it. Such literary ● Such literary brilliance and close attention to detail is ● Such literary brilliance and close attention to detail is brilliance and close attention to detail is what separates Bluth’s films what separates Bluth’s films from other studios’ what separates Bluth’s films from other studios’ from other studios’ productions and ultimately contributed to their productions and ultimately contributed to their productions and ultimately contributed to their long-term success (Goldman). long-termlong-term success. success (Goldman). VI. Pre-Production 16 VI. Pre-Production 16

These drawings depict the steps necessary to draw and paint ● These sketches show the process through which ● Thesea celluloid sketches animation show frame. the The process darwings throughwere part of which a series of Bluth and his team of animators went through to Bluth and his team of animators went through to explanatory sheets describing the following: “What is a cel?,” “how finalize the design of the amulet. finalize the design of the amulet. Animation Cel Painting Instructions is it used in the animated feature?,” “how many [cels] are used in ● The amulet’s back inscription, reads “You can ● The amulet’s back inscription, reads “You can Production: The Secret of NIMH the animated feature?,” “the Xerox process,” “the paint & how to unlock any door, if you have the key,” which, as one unlock any door, if you have the key,” which, as one Material: Pencil and Colored Pencil on Paper learns later in the film, is a metaphor. This analogy learnsapply later it,” “the in valuethe film,of your is cel,” a metaphor.and “how to frame This it.” analogy Of the seven Type: Pre-Production (Animation Preparation) compares the “door” to Mrs. Brumby’s ability to save comparesexplanatory the sheets, “door” Bluth’s to Mrs.sheet elucidatingBrumby’s cel ability painting to is featuredsave her family and the “key” to her ability to harness her Folder: N/A her above.family In andBluth’s the explanation, “key” to to her create ability a cell, startto harness by drawing her a own courage. Hence, Mrs. Brumby can triumph over Box: NIMH Document Box-01 ownsketched courage. animation Hence, of a characterMrs. Brumby on multiple can sheets triumph of paper over and any predicament, as long as she has the courage to anythen predicament, photocopy them as onto long the as celluloid she sheet.has the Flipping courage the celluloid to face it. facesheet it. on its back, apply paint and details to the character. Once you ● Such literary brilliance and close attention to detail is ● Such literary brilliance and close attention to detail is are finished, remember to take note of the colors used and where what separates Bluth’s films from other studios’ what separates Bluth’s films from other studios’ they were applied on your original drawing. Then repeat the process productions and ultimately contributed to their productions and ultimately contributed to their long-term success (Goldman). long-termwith the othersuccess animated (Goldman). frames. VI. Production 1818 VI. Production 18

● Before any cels were ● Color keys are sketches ● We have displayed both a ● Before any cels were ● Color keys are sketches ● We have displayed both a painted a color key was made of pen and colored color key and a painted cel painted a color key was made of pen and colored color key and a painted cel created to denote the pencil that had to illustrate the process created to denote the pencil that had to illustrate the process specific colors used annotations concerning through which a sequence specific colors used annotations concerning through which a sequence when drawing a background and character goes through from start to when drawing a background and character goes through from start to character. information. finish. character. information. finish. VI. Production 18 VI. Production 1918

Before any cels were painted or photographed, a “Painted Cel of Prince Cornelius” color key, also called a modeling sheet, was created to Production: Thumbelina denote the specific colors to be used when animating a Material: (Front) Printed Ink on Celluloid Sheet. character. These color keys were usually sketches made (Back) Gouache on Celluloid Sheet of pen and colored pencil and also contained annotations Type: Production (Animation and Filming) Sequence: 120 out of 130 with background and character information. We have Box: THU-12-21, THU 16-21 displayed both a color key and a painted cel to illustrate the ● Before any cels were ● Color keys are sketches ● We have displayed both a ● Before any cels were ● Color keys are sketches ● We have displayed both a process through which a sequence goes through from start painted a color key was made of pen and colored color key and a painted cel painted a color key was made of pen and colored color key and a painted cel created to denote the pencil that had to illustrate the process created to denote the pencil that hadto finish. to illustrate the process specific colors used annotations concerning through which a sequence specific colors used annotations concerning through which a sequence when drawing a background and character goes through from start to when drawing a background and character goes through from start to character. information. finish. character. information. finish. VI. Production 2018

● Before any cels were ● Color keys are sketches ● We have displayed both a painted a color key was made of pen and colored color key and a painted cel created to denote the pencil that had to illustrate the process specific colors used annotations concerning through which a sequence when drawing a background and character goes through from start to character. information. finish. VI. Production 2118

At the time Don Bluth Productions was making their “Painted Background and Celluloid Overlay of Los films in the ‘80s and ‘90s, all animated backgrounds were Sapos Guapos” hand-painted with gouache. Animated characters, props, Production: Thumbelina and special effects were then drawn and painted on sep- Material: arate celluloid sheets, known colloquially as “cels.” Each Background- Gouache on Illustration Board sequence of animation consisted of multiple layers of cels, Front Overlay- (Front) Printed Ink on Celluloid Sheet. giving an impression of depth and emphasis to moving (Back) Gouache on Celluloid Sheet objects. The sequence above is an example of layered cels Type:● BeforeProduction any (Animation cels were and Filming)● Color keys areon asketches painted background. ● TheWe water, have boat, displayed circus tent, both and a Sequence:painted 105 a color key was made of penforest and coloredbeyond have been paintedcolor onto key aand piece a ofpainted illustration cel Box: THUcreated 16-21 to denote the pencil that hadboard, and a cel containing theto illustrate lily pads has the been process laid over - specific colors used annotations concerning through which a sequence when drawing a background top.and character goes through from start to character. information. finish. VI. Post-Production 2022

● 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). VI. Post-Production 2023

● Merchandising is a form of promotion Merchandising is a form of promotion that that feature-length animated films “Dragon’s Lair T-Shirt” airbrushed by Shane Zalvin feature-lengthused by animated studios filmsto encourage used by studios people to Production: Dragon’s Lair encourageto see people their to movies see their and movies raise and funds raise for Material: Airbrushed Paint on Cotton T-Shirt funds forfuture future projects. projects. This usually takes the ● This usually takes the form of action Type: Post-Production (Merchandising) form of action figures, branded toys, apparel, board figures, branded toys, apparel, board Folder: N/A games, and, in some cases, even spin-off projects games, and, in some cases, even Box: DL-Rec-12 and sequels.spin-off Shown projects above and is a sequels.t-shirt airbrushed by Box: THU 16-21 animator● Shown Shane to Zalvin the left in 1988 is a tot-shirt advertise for Bluth’s Laserdiscairbrushed video game by Dragon’s animator Lair Shane. Zalvin in 1988 to advertise for Bluth’s Laserdisc video game Dragon’s Lair (Zalvin). 2124

Development 21 VII. Potential Host Venues 2225

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 A complex idea can Bluth’s collection is already being stored. The Gutstein gallery is also com- be conveyedpletely open with to public access and does not require a SCAD ID for entry. The just a single still Development gallery is highly visible by foot traffic but is not convenient to those who image,require namely motor-vehicle parking. Its wall of glass windows and location on a making busyit possible street diminish its level of security; however, there is a paid attendant to absorbinside the gallerylarge during the day who can supervise the partons and the amountsartworks. of Additional data security personnel can be hired if necessary. Mean- while,quickly. 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. VII. Potential Host Venues 2226

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 A complex idea can limited public access and requires a SCAD ID for entry during most times of be conveyedthe day. Being with a compact space on the second floor of SCAD’s 1600 build- just aing, single the gallery still is tightly secure, and additional security personnel would image,not be namely required to supervise the collection. Additionally, there is parking making on-siteit possible for motor vehicles. SCAD Atlanta’s 1600 Building also contains sev- to absorberal smaller large lecture halls and auditoriums where movie screenings can be amountsheld. If of larger data theaters are needed, then regular shuttle services would be requiredquickly. 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. VII. Potential Host Venues 2227

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- A complex idea can lery is not open to the public, requiring a SCAD ID to enter at all times. That be conveyedgiven, the space with is extremely secure since the university already employs just aadditional single security still for this location. There is an ample amount of parking image,surrounding namely the gallery, and it is within easy access for SCAD students, fac- making ulty,it possible and staff. However, the design of the gallery space is not suitable for to absorba traditionally large unified exhibition, catering more to displaying independent amountspieces of artwork. data As for extraneous benefits, the Alexander Gallery also host anquickly. 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. 2328

VIII. Exhibit Renderings 23 29 24

VIII. Exhibit Renderings 25 30 25 26 31 32 27 33 28 34 35 31 Credits and Thank You

Thank you to our following contributors: ▸ Don Bluth ▸ All Artists at Don Bluth ▸ Sauda Mitchell Productions ▸ Katy Parker ▸ Staff at Jen Library’s ▸ Gary Goldman Special Collections ▸ Dr. Christine Neal ▸ Our Classmates