Welcome.

From 2018-2021 I attended Cleveland Institute of Art for a Bachelor's in Animation.

Slumber With Snakes was developed over the last year of school, and was already a story dear to my heart.

Thank you to everyone who takes a minute to enjoy this story with me.

NOW A BRONZE MEDALIST IN THE STUDENT ACADEMY AWARDS 2021!

Summary

"In 1921, an eleven-year-old African American boy was separated from his best friend while chased by a fuming, racist mob. Finding a cave, he was not put in danger by the mob but by the rattlesnakes that loom inside."

Thesis Statement

Student Academy Awards gives CIA its first 'student Oscar'

Teagan Barrone's Slumber with Snakes earned bronze in the Animation (Domestic Film Schools) category.

Benevolence, Randolph County, Georgia

The first settlement at Benevolence was made in 1831. Benevolence was so named for the "benevolent" act of a first settler who donated land at the town site so that a Baptist church could be built. A post office called Benevolence was established in 1854, and remained in operation until 1984.

By 1900, the community had 61 inhabitants. The Georgia General Assembly incorporated Benevolence as a town in 1911. The town was officially dissolved in 1995.

To start off my storyboards, I mapped out the direction of events. That way I had the idea of the town before I started started backgrounds or any other development. It made the story feel more real when I knew the guidelines.

I tried to make it realistic to the small town of Benevolence.

The Jim Crow Era

Jim Crow laws were a collection of state and local statutes that legalized racial segregation. Named after a Black minstrel show character, the laws—which existed for about 100 years, from the post-Civil War era until 1968—were meant to marginalize African Americans by denying them the right to vote, hold jobs, get an education or other opportunities. Those who attempted to defy Jim Crow laws often faced arrest, fines, jail sentences, violence and death.

My reference for style was based on a lot of material things. Wax paper, packaging paper, cardboard, ink, gesso as well as specific artist's like E.H. Shepard.

Evolution of Character

With such a heavy topic, the design of the character is critical.

Something too stringy or cartoon-like could pull someone out of the film. However, something too serious or sketchy could also become boring.

It's important to find a balance of attractive lines and shapes, but even more importantly, a style that you feel comfortable animating. In the end, you have to redraw the same style over and over again- so you better know it.

I ended up with the line-less, grayscale design to represent both the 1920s photography and paper cut-outs.

Glimes "Slim" Hollins

Glimes was as real as you or I. The hardest part in his design was that there were no existing photographs of him at age eleven.

So based off of photos of his son, Bob, and much research of children in that era; Slim became a quiet, happy child. Who is eager to goof off with his best friend every day!

Charles "Charlie" Balif

Charlie is the catalyst to the story. He is the big personality, with the outspoken nature (versus Slim's cautious demeanor). Charlie will run into situations head first, which does not end well.

I never knew the name, or had any description of what this child actually looked like. However, after hearing this story for years this depiction was what I imagined. Charlie's joyful, and ready to spend all day playing and running around.

Reference images were hard to come by. There were plenty of Caucasian boys photographed in 1920, but African American children weren't as easily found.

But the images that I did find, were beautiful and filled with so much character. Charlie and Slim were children like these, and looking at their faces I did not know how someone could wish them harm.

Bob & Marcia

How do you take people you know and turn them into animation?

The color script and the beats are the backbone of the story!

So many backgrounds!

Process

From storyboard to complete animation! I used Storyboard Pro, and originally Adobe Animate CC. However, after complications, I found Toon Boom Harmony to be much easier. I completed the rough animation and color also in Harmony, and brought the anim into after effects with the background.

I couldn't have done this without all I've learned from my professors Anthony Scalmato, Lincoln Adams, David Schwartz, Steven Rawley, and Hal Lewis.

I also had tremendous help from McKenna McEachen, Madison Shilt, Kyra Fuller, Bella Guarino, Remy Burger, Nicolas Cunningham, Dustin Wisch and Cora Mihalick.

I would like to thank my dad, Troy Woodmansee, for sound engineering with Rick Loy, and to Derek Neufeld for composing the score.

And of course, I am grateful to Bob Hollins, who entrusted me to share this story about his father.