In our collective imagination, animation is full of enchantments and wonders, from cartoon capers to lush fantasy pastorales. Beyond the technical wizardry of computers and their increasingly lifelike avatars, animation cels reveal the curiosity and creativity that guide all these wonders. Those rare animation cels from Akira or Disney or Looney Tunes classics exist because of a whim or a passionate vision. They are the raw, handmade magic that got edited into a finished film. They represent some of the most important moments that got us to where we are today. Welcome to the animation cels that make animation possible.
There’s something special about hand-drawn animation, something personal about it, so rich that digital animation can only really pretend to be it. Original animation cels from classic shows and movies sell at a thrilling Propstore auction – this is true craftsmanship. One from Batman: The Animated Series evokes the gothic feel of that city; Akira cels reflect the kinetic energy and poetic madness of Neo-Tokyo.
The Disney characters Pinocchio and Jiminy Cricket spring to life from a propaganda film sketch into colourful animation cells, hand-painted at Disney, Walt’s iconic storytelling at its best.
Original production cels hand-signed by Friz Freleng acknowledge nothing less than the comedic genius behind the animated antics of Looney Tunes. Floghorn Leghorn Foghorn leghorn Original production cels hand-signed by
Akira was a landmark of computer-generated imagery for feature animation, as well as a heart-wrenching drama. Original cels used to market manga in the UK have become very rare collectors’ items.
Conversely, the arrival of the Flintstones in the Gruesomes’ universe adds a healthy dose of goofy – a satisfying 1960s pop-culture pastiche that reminds us that we’re also watching a ghoulish update on the same cartoon-genre lineage. These cels skillfully marry the surreal with the silly and the scary.
A cel signed by Penny Singleton and Jane Vander Pyl, the voice actors of Jane Jetson and Wilma Flintstone, has cartoon matriarchs with oval eggy heads. You get nods to both voiceover artists and animation’s leading ladies.
Whereas the traditional animation cel is firmly bound to the past, the future of animation is blowing and shifting through the ether of digital technology. As the techniques of animation evolve, the spirit of animation endures; it will continue to be the search to tell stories through the canvas of art.
Monsters have always been a staple of animation, from the Gruesomes in The Flintstones to the hokey horror of ambience that defined Gotham in Batman: The Animated Series. Monsters define the genre in so many ways, helping to explain the emotional distance between the horror of growing up and the haunted fun of trick-or-treating. They’re part of what allows our favourite cartoons to be so fantastically weird.
Animation cels, with their ‘painted by hand’ appearance and place in history, reveal a path to the production process of the past, from Akira to Looney Tunes. As we pay homage to these rarities, it is clear that hand-drawn animation remains not only a revered art form, but also a cinematic experience that draws in the collective wonder of generations of children.
In sum, if animation cels are not a safe bet for profits, then, if anything, they’re a timeless reminder – whether tapping into the scary charms of the monster story or the childlike capers of Disney and Looney Tunes – of this art form in constant flux. As collectors and fans continue to peel back the layers of time etched onto these cels, they keep the ethos of innovation and imagination that has characterised contemporary animation alive.
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