Tag Archives: cel

Image of the Day: Trick or Treat


Now, that's scary!!  Happy Halloween, everyone!

"Trick or Treat" a limited edition hand-painted cel.  Chuck Jones's original line drawing was transferred to an acetate sheet and hand-painted by expert cel painters.*  


*Cel painters: there are so few left in the world, they are truly an endangered species!

Image of the Day: Bewitched Bunny

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Original layout drawing by Chuck Jones for his
1954 “Bewitched Bunny”, graphite on two-hole punch 12 field animation
paper.  This drawing was used to create
the 2004 cel art edition “Bewitched Bunny—1954" seen below.  The cel has been signed by June Foray, the original voice actor.  (Correction:  Bea Benaderet voiced Witch Hazel in "Bewitched Bunny" and Ms. Foray in her subsequent cartoons.  Please see the comments.)  

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Image of the Day: Porky the Giant Killer

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Original 12 field production cel with dedication
and stamped signature by Leon Schlesinger (film supervision by Ben Hardaway and Cal Dalton).

Many of the early Schlesinger produced cartoons
pushed Warner Bros. popular music and Porky
the Giant Killer
is no different.  We
hear Porky belt out “You Must Have Been a Beautiful Baby” along with “The
Alphabet Song” (over and over and over again.) 
BTW, the Giant’s toddler is 5’ 7” tall, dwarfing Porky and ‘patty
caking’ him across the nursery! 


Image of the Day: Mouse Wreckers


Original hand-painted background, 10.5" x 12.5" from the 1949 Chuck Jones-directed & Academy Award-nominated short cartoon, "Mouse Wreckers."  The background is presented with a recreated hand-inked, hand-painted ovelay cel matched to the scene.  

“Yeah, yeah. Sure, sure.”  So it goes with Hubie & Bertie, two hobo
mice that want to set up house-keeping in a new home patrolled the champion
mouser, Claude Cat (pun alert: get it?) 
Suffice it to say that Claude ends up shivering in the upper branches of
a tree as our two intrepid rodents roast marshmallows over a roaring flame in
the fireplace.  


Image of the Day: The Dot and The Line


If you had found your perfect soul mate, so perfect
in fact (36-36-36) but she refused to acknowledge your existence, what would
you do?  Would you end your rigid,
stick-in-the-mud ways and learn to bend a little?  Do you think you could learn to be a little
less ‘straight’ and a little more ‘fun’? 
Well, that’s what you would need to do to win the heart and soul of the
Dot in this 1966 Academy Award-winning short film, “The Dot and the Line”
directed by Chuck Jones and adapted from the book by Norton Juster (who also
wrote “The Phantom Tollbooth” adapted by Jones in 1970, his only feature-length

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 Working with his Warner Bros. crew at MGM, Jones
and his layout designer, Maurice Noble devised and implemented innovative ways
to animate the charming narrative of the Norton Juster book.  Using overlays, graphic design elements,
cut-outs & collage they developed a unique take on this “romance in lower


Image of the Day: The Old Sew and Sew (A Moment in Time)


A Moment in Time is a limited edition cel set-up incorporating one or more original production cels.  (The meaning of the word 'moment' is said to have been that amount of time between heartbeats.)

In the case of The Old Sew and Sew, the one production cel was a moving part of a multiple cel set-up that was under camera for the 1966 production of Dr. Seuss' How the Grinch Stole Christmas.  This scene series is limited by the number of original production cels (61) and each set-up is numbered in sequence 1 through 61.  The other four cels in the set-up, most of which were 'held cels,' have been re-created from the film by expert ingkers and painters to complete the scene image.  ('Held cels' are production cels that are held under the camera for more than one frame and therefore the images do not appear to move.) 

Image of the Day: Dr. Seuss’ How the Grinch Stole Christmas

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Original production cel from “Dr. Seuss’ How the Grinch Stole Christmas” directed by Chuck Jones.

This is what it took to complete the 24-minute film of Dr. Seuss’ How the Grinch Stole Christmas:  Gestation period eleven to fourteen months, finding the voices (Boris Karloff, June Foray and Thurl Ravenscroft,) recording them, writing the music (Albert Hague, music; Theodore Geisel, lyrics), drawing hundreds of key character layouts (Chuck Jones), designing a couple of hundred backgrounds (Maurice Noble), painting all of those backgrounds (Phil DeGuard), animating more than 15,000 usable drawings (Ken Harris, Abe Levitow, Ben Washam, Dick Thompson), and having them all painted, shot, and dubbed (putting sound effects, music, dialogue and film together.)  Of the 15,000 usable drawings, approximately 40,000 to 50,000 were discarded.  250 backgrounds, 250 background layout drawings, 1,200 character layout drawings, 4,500 unusable and dispensable character layout drawings, sixty musicians for eight hours, a composer for six months, a sound editor for four weeks.