Focus School – SCAD
Date & Time: 10/24 (THU) 15:30
Location: Literary Arts Ecology Hall K301
Keynote Speaker: Davonne Dupart
Davonne Dupart is an award-winning filmmaker, educator, and established animator in the animation
industry. Nominated for a Southeast Emmy, Davonne’s work has been featured in film festivals
worldwide. Her animation career includes content on Cartoon Network, Adult Swim, PBS, HBO, and
Hulu. These shows include “Teen Titans Go!” “The Awesomes” and “Bird Girl. With an extensive
freelance career, she has been creating animated projects for state and national museums, developed
new animated series and other intellectual property for clients such as WarnerMedia Discovery. As
Associate Chair of Animation at the Savannah College of Art and design, she is dedicated to equipping
artists for full and successful careers in the entertainment industry.
Writer: Lin, Tsai
During this year’s Kuandu International Animation Festival, the SCAD Focus School Screening featured international animation instructor Davonne Dupart, who shared insights from her years of teaching and industry experience. She explored the emotional structures and visual language behind compelling stories, emphasizing that successful animation does not rely solely on technical skill or visual splendor, but rather on the emotional connection built between characters and the audience.
The Heart of a Story: The “Emotional Goal”
According to Dupart, every great story must begin with an emotional goal—the core that defines a character’s desire, which drives the entire narrative forward.
Creators, she said, must ask themselves: “What does the protagonist desire most, and what do they fear most?” This tension gives the story its soul and allows the audience to resonate deeply with the characters.
She illustrated this with the classic animated films Lilo & Stitch and Mulan:
The former revolves around the belief that “Ohana means family”—every action the characters take stems from their fear of abandonment and longing for belonging. The latter centers on the theme of “being true to oneself.” Through Mulan’s internal struggles reflected through Mushu, the film portrays the conflict between identity and self-acceptance.
Building the Story’s Skeleton: “StoryBeads”
In her talk, Dupart further introduced the concept of “StoryBeads,” a framework for connecting story elements.
She compared the story’s emotional goal to the thread of a necklace, while each StoryBead—a key plot event—acts as one of its essential beads.
Each event must stay closely tied to the emotional theme to maintain a strong narrative structure.
For instance, in Mulan, the scene where Mulan fails to impress the matchmaker is not merely a setback—it reinforces her internal conflict of “being unable to be herself.” Her decision to take her father’s place in the army pushes her deeper into the struggle of concealing her true identity. These linked narrative beads form a continuous emotional journey. If even one is removed, the entire story risks falling apart.
Painting with Emotion: The Language of Visual Storytelling
Beyond the narrative, Dupart stressed the importance of visual storytelling—the idea that light, shadow, and color in animation are not just aesthetic choices but also precise emotional languages.
She cited the jungle battle scene in Tarzan as an example:
Bright areas symbolize exposure and danger, while shadows represent safety and protection—a visual inversion of “safety versus threat.”
Similarly, in WALL-E, the color green symbolizes hope. After forty minutes of desolate scenery, the first appearance of a small plant transforms green into a metaphor for humanity’s renewed chance at life and return home.
Collaboration in Animation
During the post-screening discussion, Dupart also shared insights into SCAD’s collaborative approach to animation education.
She emphasized that an impactful animation is never the result of a single person’s effort—it is a collective creation born of teamwork.
Over the course of a 30-week production pipeline, students experience pre-production, production, and post-production phases that simulate real-world industry practices. Throughout this process, they establish their A, B, and C skills: one primary specialization and two complementary abilities.
Conclusion
Through this session, Dupart guided audiences to reflect on the connection between visual storytelling and emotion—two elements that must work in harmony to create a truly powerful animation.
She reminded creators that visual elements are not merely displays of technical ability but tools for building emotional resonance. When designing visuals, one must first understand the character’s inner feelings so that light, color, and composition all serve the emotion.
Only when the image itself can “speak” can the audience feel the heartbeat of the character—even in silence.
| Film Title | Director of the Film | Synopsis | Exact running time |
| “The Sun is Bad” | Rachel Mow |
The Sun is Bad is a hybrid film with 3D backgrounds and 2D animation. The story is about a temperamental girl trying to destroy the sun and stop it from melting her city using toys and whatever she has.
|
3m00s |
| “Legend of PiPi” | Julia Schoel |
The fate of a kingdom rests in the hands of “Pipi”--A raggedy little cat who undertakes a
|
8m20s |
|
“Desert Mayhem Overdrive”
|
Noah Cheruk |
Three brothers set out to steal back their loot and get revenge upon three gangs that have allied themselves against a village.
|
7m38s |
| “Godspeed” | Sunny Wai Yan Chan |
A young boy seeks affection from his mother through a simple goodbye. This is a film
|
2m24s |
| “Hideout” |
Isabella Blanda, Tilly Fidler, Summer Grier, Andrea Lacher, Natalie Mortell |
In a post-apocalyptic world, two sisters are on the run from a mysterious entity. |
3m47s |
| “Time Flies” | LJ Burnett |
In this fast-paced comedy adventure, two flies with opposite personalities
|
4m14s |
| “Goro Goro” | Ryotaro Sawada and Agatha Tiara Christa (Rara) |
Goro Goro follows the story of Daigoro, a baby thunder god, who dreams of being as
|
3m07s |
| “Harbor” | Samantha Jackson |
“Harbor”directed by Sam Jackson is a homage to a point in her childhood where she
|
2m40s |
| “Vainglorious” | Gabriel Ugbodaga |
Haruna, a young, well-trained boxer who lives for the art of the fight, and Ayeana, a father fighting to provide for his daughter’s future, face off against each other in Dambe, a traditional Nigerian boxing match. Both fighters risk losing themselves and the ones they love in an excruciating test of resilience and pride. Facing selfishness and selflessness - and the blurred lines in-between.
|
8m29s |
| “Pope’s Dog” | Neko Pilarcik-Tellez |
All Hell breaks loose in the Vatican when the Pope doesn’t follow the rules.
|
5m08s |
| “The Last Dungeon” | Alexandra Young |
In a world of magic and combat, three adventures enter into a forsaken temple and
|
3m00s |
| “Le Charade” | Erika Totoro |
Le Charade is a psychological comedy set in the mid-70’s in anold-fashioned run-down 50’s diner. We follow the final performance of a lonely mime devoted to his profession, and the psychotic episodemthat ensues after his imaginary friend breaks up with him and he is forced to re-enter society.
|
3m00s |