COPYRIGHTS AND RESTRICTIONS AND CONDITIONS OF THIS WEBSITE
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The Ethical Method of Repair
The Attention is in the Details
Not Straw, Not Sticks, Not Brick -
The Three Pigs get a New House
the Lost and FOUND series
PRESERVATION, CONSERVATION AND PARTIAL RESTORATION BY RON BARBAGALLO
Director, Animation Art Conservation
Posted on August 31st, 2017
TOOTSIE AND DONALD DUCK
The Walt Disney Studio, 1939
Production cel sheets trimmed to outline and applied to a hand-painted Courvoisier Background.
Partial restoration to the hand-inked ink lines, the self-ink lines and the post-production airbrush. The undamaged areas of the hand-inked lines, self-ink lines and post-production airbrush are original and were left unaltered. The hand-painted Courvoisier Background was partially inpainted to complete the image in areas where cel sheet shrinkage caused adhesive to be seen and in areas where abrasion created breaks in the painting. Paper tape and cellophane tape found on the edges of the art were removed from the perimeter of the front, back and sides of the painted background. All wood grain is original. The remainder of the background painting is original and was left unaltered. Cel painting depicting Tootsie was safely and reversibly reattached.
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INSTRUCTIONS ON HOW TO QUOTE FROM THE WRITING ON THIS WEBSITE CAN BE FOUND AT THIS LINK.
PLEASE DO NOT COPY THE JPEGS IN ANY FORM OR COPY ANY LINKS TO MY HOST PROVIDER. ANY THEFTS OF ART DETECTED VIA MY HOST PROVIDER WILL BE REPORTED TO THE WALT DISNEY COMPANY, WARNER BROS. OR OTHER LICENSING DEPARTMENTS.
ARTICLES ON AESTHETICS IN ANIMATION
BY RON BARBAGALLO:
The Art of Making Pixar's Ratatouille is revealed by way of an introductory article followed by interviews with production designer Harley Jessup, director of photography/lighting Sharon Calahan and the film's writer/director Brad Bird.
Design with a Purpose, an interview with Ralph Eggleston uses production art from Wall-E to illustrate the production design of Pixar's cautionary tale of a robot on a futuristic Earth.
Shedding Light on the Little Matchgirl traces the path director Roger Allers and the Disney Studio took in adapting the Hans Christian Andersen story to animation.
The Destiny of Dalí's Destino, in 1946, Walt Disney invited Salvador Dalí to create an animated short based upon his surrealist art. This writing illustrates how this short got started and tells the story of the film's aesthetic.
A Blade Of Grass is a tour through the aesthetics of 2D background painting at the Disney Studio from 1928 through 1942.
Lorenzo, director / production designer Mike Gabriel created a visual tour de force in this Academy Award® nominated Disney short. This article chronicles how the short was made and includes an interview with Mike Gabriel.
Tim Burton's Corpse Bride, an interview with Graham G. Maiden's narrates the process involved with taking Tim Burton's concept art and translating Tim's sketches and paintings into fully articulated stop motion puppets.
Wallace & Gromit: The Curse Of The Were-Rabbit, in an interview exclusive to this web site, Nick Park speaks about his influences, on how he uses drawing to tell a story and tells us what it was like to bring Wallace and Gromit to the big screen.
For a complete list of PUBLISHED WORK AND WRITINGS by Ron Barbagallo,
click on the link above and scroll down.