OUT OF THE BLUE: original blue-line animation drawings

This exhibition takes its inspiration from the Stedelijk Museum Schiedam exhibition Yves Klein and His Artist Family: Frits, Marie and Rotraut.

For Yves Klein, blue was far more than a colour choice.

His International Klein Blue became his artistic signature, and his intense blue monochromes were meant to evoke infinity and reflect the immateriality of space.
 

In animation art, blue is also a key colour. Artists used blue pencil to work out poses, expressions and layouts on paper.

A blue-line sketch is a still image, yet it holds movement in suspension.

It is time caught on paper, a frozen moment, built from lines that were made to disappear.

If Klein’s blue was there to be seen, animation blue was there not to be seen: temporary and destined to vanish.

Yet it was out of this blue that the film or television series came into being.
 

In that sense, the true art of animation often remained hidden.

This exhibition gives these drawings the attention they have rarely received.
 

These drawings were never meant for display, yet they represent the art of drawing in its most confident form.

Here we catch a glimpse of the gifted animators behind the completed film or series.

These artists possess what Chuck Jones called “the line”: the rare ability to put on paper, in one assured stroke, what they see in their minds.
 

The works in this exhibition show that blue-line drawings were not a minor step in the process.

They were the basis on which the rest depended. With a few lines, an animator could establish a gesture or an expression.

Before paint, before colour, before the finished screen image, there was the blue line.

Out of the Blue gives this temporary art the attention it deserves.

ARTWORKS

1. Ultimate Spider-Man, “Damage”. Scene drawing with Spider-Man and Nick Fury.
Blue and coloured pencil on printed animation paper, with production notations.

Marvel Animation / Film Roman Productions / Dong Woo Animation Co.

From Ultimate Spider-Man, Season 1, Episode 18, “Damage”; directed by Jeff Allen; 2012.

2. The Simpsons, “Treehouse of Horror XVII”. Blue-line drawing of Homer in “Married to the Blob”.
Blue pencil on animation paper.

Gracie Films / 20th Century Fox Television.

From The Simpsons, Season 18, Episode 4; directed by David Silverman and Matthew Faughnan; 2006.

3. Oggy and the Cockroaches. Storyboard drawing of Oggy.
Blue pencil and black line on animation paper, with framing lines and scene notations.

Gaumont Multimedia / Xilam Animation; created by Jean-Yves Raimbaud, series directed by Olivier Jean-Marie

Drawing attributed to François Reczulski; c. 2000.

4. Star Wars: Droids, “Escape Into Terror”. Scene drawing of C-3PO floating upward.
Blue and red pencil on animation paper, inscribed with production notes, signed by Brian Lemay.

Lucasfilm / Nelvana. From Star Wars: Droids, Episode 2, “Escape Into Terror”; directed by Ken Stephenson; original drawing 1985, signed 2020.

5. Bonkers. Close-up drawing of Bonkers D. Bobcat.
Blue pencil on animation paper, signed by David Block.

Walt Disney Television Animation. David Block directed the 1992 short Petal to the Metal; 1992.

6. Beetlejuice, “Ship of Ghouls”. Background layout drawing for the Nose Bowl Stadium.
Blue pencil on paper, with pasted paper elements and production notations.

Nelvana / Geffen Pictures. Art by Chris LaBonte, from Beetlejuice

Season 4, Episode 26, “Ship of Ghouls,” directed by Alan Bunce, John Halfpenny, Larry Jacobs, Rick Marshall and John Van Bruggen, 1991.

7. My Little Pony. Drawing of a hairdressing scene.
Graphite and coloured pencil on animation paper, with framing lines and correction marks.

Sunbow Productions / Marvel Productions / Hasbro; animated by Toei Animation and AKOM;

from the My Little Pony television series; 1986.

8. Ultimate Avengers II. Scene drawing of Black Panther.
Blue, red and yellow pencil on animation paper.

Marvel Studios / Lionsgate / MLG Productions;

from Ultimate Avengers II; directed by Will Meugniot and Dick Sebast, with Bob Richardson as supervising director; 2006.

9. In Uncle Walt’s Collectory. Preliminary study with Donald Duck and Scrooge McDuck.
Blue pencil on paper by Disney legend Carl Barks.

Walt Disney Productions / Carl Barks; preliminary study of In Uncle Walt’s Collectory; 1984.

10. Dink, the Little Dinosaur. Concept drawing of Dink in a tree.
Blue and graphite pencil on animation paper.

Ruby-Spears Enterprises; art by Dennis Greco; 1989.

11. Peter Gullerud. Flintstones parody on evolution and creationism.
Blue and blue-violet pencil on paper, signed and dated 2001.

Independent drawing by Peter Gullerud, an animator and visual development artist who worked at Hanna-Barbera and Walt Disney Studios; 2001.

12. Inspector Gadget Saves Christmas. Scene drawing of Inspector Gadget
Blue, graphite and coloured pencil on animation paper, with scene notations.

DIC Animation City / NBC. From the award-winning film Inspector Gadget Saves Christmas; directed by Chuck Patton; 1992.

13. Don Martin. Layout drawing for a bilingual public-information commercial.
Blue and red pencil on animation layout paper, with production notes.

Disada Productions / Government of Quebec; after characters by Don Martin, longtime artist for MAD magazine; c. 1974.

14. 101 Dalmatians: The Series. Layout drawing of house and yard.
Blue pencil on animation paper.

Walt Disney Television Animation / Jumbo Pictures. From 101 Dalmatians: The Series; art by Dan Mills, storyboard artist on the series; 1997–98.

15. I.M. Weasel. Storyboard drawing with I.M. Weasel and Dr. West.
Blue and graphite pencil on paper, with handwritten dialogue.

Hanna-Barbera / Cartoon Network. From I.M. Weasel, created and principally directed by David Feiss; art by Richard Pursel; 1997–99.

16. Pete’s Dragon. Blue-line drawing of Elliott.
Blue pencil on animation paper. Walt Disney Productions.

From Pete’s Dragon; directed by Don Chaffey; 1977.

17. Adventures of Sonic the Hedgehog. Production cel of Sonic.
Gouache on acetate cel.

DIC Animation City / Sega of America / Bohbot Entertainment. From Adventures of Sonic the Hedgehog; 1993.

18. The Smurfs. Smurfette production cel on copied background.
Hand-painted cel on copied background.

Hanna-Barbera Productions. From The Smurfs, based on the characters created by Peyo; c. 1981–89.

15 MASTERPIECES: ANIMATION ROYALTY
Hand-drawn masterpieces from a century of animation in Gallery AnimationNation, Schiedam

AnimationNation proudly presents 15 Masterpieces: Animation Royalty. Opening 13 September 2025, the show invites viewers to discover some of the most enduring characters and stories in visual culture.

The exhibition features highlights from the renowned AnimationNation collection, including production cels, storyboards, model sheets, and sketches from the artists of studios such as Disney, Hanna-Barbera, Fleischer, and Spümcø. From an early twentieth-century American storyboard to an avant-garde Dutch short, and from iconic television series to a rare Ukrainian film, each work stands as a testament to the artistry and imagination that shaped animation’s global legacy.

For Dutch audiences, 15 Masterpieces: Animation Royalty offers a rare opportunity to encounter the original artwork behind animated legends. The exhibition celebrates the often-overlooked craftsmanship of one of the defining art forms of the twentieth century.

“Original animation cels, rare storyboards, and model sheets: 15 Masterpieces: Animation Royalty invites audiences to see the art behind some of the most iconic animated cartoons.”

SpongeBob SquarePants
Nickelodeon’s flagship series became a global cultural phenomenon and the longest-running American animated children’s show.
Production cel from Season 1 featuring SpongeBob SquarePants and Patrick Star.
United Plankton Pictures, Inc.
Gouache on acetate over printed background. 1999.

The Ren & Stimpy Show: “Space Dogged”
This cult series revolutionised TV cartoons in the 1990s with its surreal humour and boundary-pushing animation style.
Production drawings from the Russian space spoof sequence, scene 7, Season 5.
Spümcø / Nickelodeon
Pencil on animation paper. 1996.

Striped Baby Elephant (Про полосатого слонёнка)
Kievnauchfilm was one of the most influential Soviet studios during the Cold War, shaping the look of Eastern European animation.
Key master set-up from the children’s film about friendship, directed by Irina Gurvich.
Kievnauchfilm, USSR (Ukraine)
Gouache on acetate over hand-painted background. 1971.

Fender Bender 500
Hanna-Barbera defined television animation for decades worldwide, while also leaving a mark on cinema with Tom & Jerry.
Cel featuring Top Cat and other famous Hanna-Barbera characters, signed by William Hanna and Joseph Barbera.
Hanna-Barbera Productions
Gouache on acetate. 1990.

Pas à Deux
This experimental short by Renault and Van Dijk won the Berlinale Golden Bear for Best Short Film, proof of animation’s place in the wider art world.
Animation and direction by Monique Renault and Gerrit van Dijk. Master key set-up from the award-winning short, inscribed “For Cathy with love, Gerrit 1983.”
Renault & Van Dijk
Gouache on acetate over partially hand-painted paper background. 1983.

The Black Cauldron
Disney’s darkest and most controversial feature of the 1980s marked the studio’s first attempt at an adult-themed animated fantasy.
Animation drawing of Mickey Mouse as a zombie, drawn as a spoof by Gary Trousdale (director of Beauty and the Beast and The Hunchback of Notre Dame) during work on The Black Cauldron.
Walt Disney Productions
Pencil and pen on animation paper. 1985.

The Adventures of Tintin: Destination Moon
Belvision pioneered European television animation, bringing Hergé’s iconic comic characters to the screen for the first time.
Original cel of Thomson and Thompson before a spaceport sign, cut and hand-painted over a custom background in the style of Courvoisier cels. Likely from the Larry Harmon collection.
Belvision / Larry Harmon Productions
Gouache on acetate over watercolour background. 1960.

The Flintstones: “The Hypnotist”
As the first animated series in American prime time, The Flintstones proved that cartoons could compete with live-action sitcoms.
Storyboard drawings of Fred and Barney from Season 1, Episode 20 (cut scene), probably drawn by Warren Foster.
Hanna-Barbera Productions
Pencil on animation paper, storyboard. 1961.

Popeye
Popeye became so popular in the 1930s that he single-handedly boosted spinach consumption in the United States.
Original drawings of main characters (excluding Popeye), mounted on paper. Likely by Bud Sagendorf.
King Features Syndicate
Pencil and coloured ink on paper. ca. 1940s–50s.

Sesame Street: Keith Haring, Counting 1–10
Keith Haring’s collaboration with Sesame Street fused pop art and children’s television in a unique cultural crossover.
Production cel from the Keith Haring-designed counting series for Sesame Street, featuring six dogs.
Keith Haring Foundation / Artbear Pigmation
Gouache on acetate. 1991.

The Aristocats
This was the last animated feature personally approved by Walt Disney, giving it a special place in the studio’s history.
Cel of Thomas O’Malley, the male protagonist of Disney’s animated feature.
Walt Disney Productions
Gouache on acetate, large format. 1970.

Gulliver’s Travels
As only the second American animated feature after Snow White, it proved that Disney was not alone in shaping feature-length animation.
Storyboard drawing featuring the spies from Fleischer’s classic animated feature.
Fleischer Studios
Coloured pencil on animation paper. 1939.

The Simpsons: “Treehouse of Horror XVII”
The Simpsons redefined television comedy and became the longest-running scripted prime-time series in history.
Production drawing of Homer Simpson transforming into a blob after eating extraterrestrial slime.
20th Century Fox Television / Matt Groening / David Silverman
Blue pencil on animation paper. 2006.

Daffy Duck
Voiced by Mel Blanc, the “Man of a Thousand Voices,” Daffy remains one of animation’s most enduring comic creations.
Production drawing signed by Mel Blanc, referencing the 1930s catchphrase “Wanna buy a duck?” Drawing dates from 1948–55.
Warner Bros.
Coloured pencil on animation paper. Signed before 1989.

Rock-a-Doodle
Don Bluth’s independent productions challenged Disney’s dominance, keeping feature animation alive in the 1980s and 1990s.
Character model sheet of Patou the dog.
Sullivan Bluth Studios / Goldcrest Films
Gouache on acetate. 1991.

Slap Happy Lion
Tex Avery revolutionised cartoon comedy with his breakneck timing, visual gags, and meta-humour that influenced live-action film as well.
Production drawing of the lion character from the short directed by legendary animator Tex Avery.
MGM Cartoons
Coloured pencil on animation paper. 1947.

SPACESHIPS, ROBOTS, ALIENS

In this exhibition we explore the many animated cartoons that travel beyond our blue marble into the vast expanse of space.

We go from Star Trek and Star Wars to TinTin's trip to the Moon. We meet Transformers, Japanese robot cats, cat-eating Alf and even the Minions.

'How to serve humans' may be a cook book...

RUIMTESCHEPEN, ROBOTS, BUITENAARDSEN

In deze tentoonstelling verkennen we de vele tekenfilms die de enorme uitgestrektheid van de ruimte verkennen.

We gaan van Star Trek en Star Wars naar Kuifje's reis naar de Maan. We ontmoeten Transformers, Japanse robotkatten, kattenetende Alf en zelfs de Minions.

'How to serve humans' is misschien toch een kookboek....

MONSTERS of animation

In deze monsterlijke tentoonstelling zetten we de leukste lelijkerds uit beestachtig goede tekenfilms in het zonnetje. Te lang moesten zij in de schaduw van zoetsappige helden, bevallige prinsessen en schattige diertjes staan. Galerie AnimationNation leidt ons veilig door het donkerste bos en het engste kasteel vol vampieren, mummies, centauren, zombies, weerwolven, harige griezels en gruwelijke verschijningen: een bloedstollend vrolijk avontuur door de tekenfilmgeschiedenis van de 20ste eeuw.

MONSTERS of animation

In this monstrous exhibition, we put the spotlight on the creepiest and funniest creatures in animation history. They were forced to stand in the shadow of goody-goody heroes, sugar-sweet princesses, and cute animals for too long. Gallery AnimationNation safely leads us through the darkest forest and the spookiest castle crawling with vampires, mummies, centaurs, zombies, werewolves, creepy furballs and horrifying apparitions: a blood-curdlingly hilarious adventure through the history of 20th century animation.

DE SCHATKAMER VAN WALT DISNEY /

UNCLE WALT'S TREASURY

EEN TENTOONSTELLING MET KUNSTWERKEN UIT DE DISNEY STUDIO'S /

ART FROM THE DISNEY STUDIOS

KLIK HIER VOOR DE CATALOGUS /

CLICK HERE FOR THE CATALOGUE (IN DUTCH)

https://issuu.com/tvculture/docs/catalogus_disney_2021_for_web

WE CAN BE HEROES

In these trying times we all need to be heroes. Luckily, since the 1930s animators have given us plenty of inspiration and role models. Our animated superhumans are always in the mood to save the world and humanity. The archetype of all superheroes may be Superman, but AnimationNation believes 1933 Popeye should be credited too. From your friendly neighborhood Spiderman to muscleman Conan, from the first African American superheroes Siuperstretch and Microwoman to Robocop, we all need a little protection sometimes. An exhibition of over 50 original cels, drawings and sketches.

WE CAN BE HEROES

In deze moeilijke tijden moeten we allemaal helden zijn. Gelukkig hebben tekenfilmregisseurs ons sinds de jaren dertig veel inspiratie en rolmodellen gegeven. Onze supermensen zijn altijd in de stemming om de wereld en de mensheid te redden. Het archetype van alle superhelden is misschien wel Superman, maar AnimationNation vindt dat Popeye uit 1933 ook op de lijst hoort. Van onze vriendelijke buurt-Spiderman tot krachtpatser Conan, van de eerste Afro-Amerikaanse superhelden Siuperstretch en Microwoman tot Robocop, we hebben allemaal wel eens wat bescherming nodig. Een tentoonstelling met meer dan 50 originele cels, tekeningen en schetsen.

THE SIMPSONS AT 33 - DRAWINGS

The longest-running primetime television series (from the conservative channel Fox) once started as a short, funny cartoon on The Tracey Ullman Show in 1987. It grew into a worldwide phenomenon. The animated series is both accessible entertainment as well as an intelligent, ironic version of American society. The Simpsons turn 33 this year and we celebrate with an exhibition of over 50 original drawings, designs and sketches.

THE SIMPSONS 33 JAAR - TEKENINGEN

De langstlopende primetime televisieserie (van de conservatieve zender Fox) begon ooit als een kort programma-experiment in The Tracey Ullman Show in 1987 en groeide uit tot een wereldwijd fenomeen. De animatieserie is zowel laagdrempelig entertainment als een intelligente, ironische versie van de Amerikaanse samenleving. The Simpsons zijn dit jaar 33 geworden en dat vieren we met deze tentoonstelling met meer dan 50 originele tekeningen, ontwerpen en schetsen.

ANIMATION STARS FROM THE 80S

Aaah, the 1980s!  Those of us who remember them, desperately try to forget them. Those of us who never lived through them, feel they missed out on a party that lasted a decade. It was a time when the strangest music met the weirdest performers wearing clothes beyond your wildest imagination. Let's not even think about discussing hairstyles and make-up. Children and adults growing up in the 1980s were also treated to a wide selection of animated cartoons, mainly on television. Budgets were low but talent was abundant. Which other decade could have given us the Masters of the Universe, ALF and Inspector Gadget, to name but a few. Now we can go back to the 80s in Gallery Animations Nation.

TEKENFILMSTERREN UIT DE JAREN 80

Aaah, de jaren 80! Zij die zich de jaren 80 herinneren, proberen ze wanhopig te vergeten. Degenen die ze niet hebben meegemaakt, hebben soms het gevoel dat ze een feestje hebben gemist dat tien jaar duurde. Het was een tijd waarin bizarre muziek de vreemdste artiesten ontmoette die kleding droegen die onze fantasie ver te boven gaat. En laten we maar helemaal niet praten over kapsels en make-up. Kinderen en volwassenen die in de jaren tachtig opgroeiden, werden ook getrakteerd op een brede selectie tekenfilms, voornamelijk op televisie. Budgetten waren laag maar talent was gelukkig overvloedig aanwezig. Welk ander decennium zou ons de Masters of the Universe, ALF en Inspector Gadget hebben kunnen geven, om er maar een paar te noemen. Beleef de jaren 80 opnieuw in Galerie Animation Nation.

AMAZING ANIME

Art Exhibition

In this special exhibition we want to show you the art that lies at the heart of the complicated work-flow process of any Japanese animated cartoon. Japanese animation covers a broad scope of artistic styles and a wide variety of (often adult) themes. In general terms, however, we can detect some similarities. In Japanese animation noses tend to be small and eyes and mouths large. Camera angles are more creative and backgrounds tend to be minimalistic.

All these images rush us by when we are watching an animated cartoon in TV but seen up close, as a frozen moment in time, the art behind the anime can show its true, amazing colours and extraordinary quality. All of a sudden, even a poorly scripted and mass-produced animation film shows surprising precision, subtlety, skill, and artistic merit.

The drawings, sketches and cels in this exhibition have not necessarily been selected because the animated cartoons are famous or critically acclaimed, they have been chosen to show the hidden gems of even ordinary, run-of-the-mill animation.

AMAZING ANIME

In deze speciale tentoonstelling willen we je de kunst laten zien die de basis vormt van het ingewikkelde workflow-proces van elke Japanse tekenfilm.

De Japanse tekenfilmindustrie omvat een breed scala aan artistieke stijlen van vele (soms volwassen) onderwerpen. In algemene termen kunnen we echter enkele overeenkomsten ontdekken. In Japanse animatie zijn de neuzen vaak klein en de ogen en de mond groot. Camerahoeken zijn creatiever en de achtergronden zijn over het algemeen minimalistisch.

Deze beelden snellen aan ons voorbij wanneer we een tekenfilm op tv kijken, maar van dichtbij gezien, als een bevroren moment in de tijd, kan de kunst achter de anime zijn ware, verbluffende kleuren en buitengewone kwaliteit tonen. Plotseling vertoont zelfs een slecht geschreven en goedkoop geproduceerde animatiefilm verrassende precisie, subtiliteit, vaardigheid en artistieke waarde.

De tekeningen, schetsen en cels (met waterverf beschilderd plastic) in deze tentoonstelling zijn niet geselecteerd omdat de tekenfilms beroemd zijn, ze zijn gekozen om de verborgen pareltjes van gewone, alledaagse animatie te tonen.

HEROES AND VILLAINS

Nowadays, everything is possible in live action films. If you can imagine it, you can create it. Even on TV, the special effects have become spectacular.

However, there was a time when live-action heroes looked very fake and unrealistic.

Only one medium could stand up to the challenge of creating the impossible: animation.

Here the (super)villains could fight the (super)heroes, here they could fly through the sky and explore the universe. Here they could throw around cars and blow up buildings. Here they could change shape and fight any monster.

Time to look at the heroes and villains of animation:

from the sort-of-realistic Superman and Iron Man to the bizarre world of Pegleg Pete, Wile E. Coyote and Yosemite Sam

HELDEN EN SCHURKEN
Tegenwoordig is alles mogelijk in live actie films. Als je je het kunt voorstellen, kun je het maken. Zelfs op televisie, zijn de special effects spectaculair geworden.

Er was echter een tijd waarin live-actie helden erg nep en onrealistisch leken.

Slechts één medium kon de uitdaging aan om het onmogelijke te creëren: animatie.

Hier konden de (super) schurken de (super) helden bevechten, hier konden ze door de lucht vliegen en het universum verkennen. Hier konden ze auto's rondsmijten en gebouwen opblazen. Hier konden ze van vorm veranderen en elk monster verslaan.

Tijd om naar de helden en schurken van de animatie-wereld te kijken; van de soort-van-realistische Superman en Iron Man tot de bizarre wereld van Pegleg Pete, Wile E. Coyote en Yosemite Sam.

GEVANGEN IN ANIMATIE

Niet alle tekenfilms beginnen hun levensloop als animatie. Sommige waren eerst een stripboek, een roman of zelfs een spelletje. En verschillende stripboeken zijn weer geïnspireerd op tekenfilms. Die wederzijdse beïnvloeding is het onderwerp van deze bijzondere tentoonstelling met originelen uit de wereld van de strip en de animatie.

De tekenfilmheld de Roze Panter werd een stripfiguur en stripfiguur Lucky Luke een tekenfilmheld. Garfield verhuisde van de krant naar het witte doek en de Simpsons gingen van de TV naar de boekenplank. Het Spook van de Opera ging van een boek naar een film naar een musical en pas toen naar een tekenfilm. Voordat de Lord of the Rings een filmcyclus was, was het al een tekenfilm. Ontdek wie wat wanneer heeft gemotiveerd om van genre te veranderen.

CAUGHT IN ANIMATION

Not all cartoons start their life in animation. Some were first a comic book, a novel or even a game. And Some comic books were inspired by cartoons. This mutual influence is the subject of this special exhibition with originals from the world of comics and animation.

The animated Panther became a comic book character and comic book character Lucky Luke became animation. Garfield moved from the newspaper to the silver screen and the Simpsons moved from TV to the bookshelf. The Phantom of the Opera originated in a book, then moved to film, to the theatre and then to animation. The Lord of the Rings was an animated feature film long before Peter Jackson got his hands on it. Discover who what when motivated characters to change the genre.

PINK PANTHER CLIP / ROZE PANTER CLIP

PRETTY IN PINK De Kunst van de Pink Panther

Meer dan 50 jaar geleden vroeg filmregisseur Blake Edwards de tekenfilmstudio DePatie/Freleng om een leuke tekenfilm te maken voor het begin van zijn 'Pink Panther'-speelfilm met Peter Sellers in de hoofdrol. De Pink Panther was in de film de naam van een diamant, maar DePatie/Freleng studio's bedachten een stijlvolle roze panter. Al direct vanaf de eerste Oscar-winnende Pink Panther tekenfilm in 1963 was hij een succes. De panter zou uiteindelijk in honderden tekenfilms spelen.

In deze speciale tentoonstelling zijn originele 'cels' (met de hand gemaakte waterverfschilderijen op plastic die gebruikt werden bij het maken van de tekenfilms), originele tekenfilmschetsen en stripboektekeningen van de Pink Panther te zien.

PRETTY IN PINK The Art of the Pink Panther

More than 50 years, film director Blake Edwards asked the cartoon studio DePatie/Freleng to make a funny cartoon for the start of his 'Pink Panther' feature with Peter Sellers in the lead. The Pink Panther was the name of a diamond in the film, but DePatie/Freleng studios created a stylish Pink Panther. A star was born, right from the first Oscar-winning Pink Panther cartoon (1963). The panther would act in hundreds of cartoons and specials.

This exhibition shows original 'cels' (handmade watercolor paintings on plastic used in the making of the cartoons), original cartoon sketches and comic book drawings.

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