DISNEY NOAH\'S ARK ANIMALS SHAMUS CULHANE PRODUCTION CEL CELL ANIMATION LOT DRAW
When you click on links to various merchants on this site and make a purchase, this can result in this site earning a commission. Affiliate programs and affiliations include, but are not limited to, the eBay Partner Network.
DISNEY NOAH\'S ARK ANIMALS SHAMUS CULHANE PRODUCTION CEL CELL ANIMATION LOT DRAW:
$19.99
TomI Store
PLEASE ASK ANY QUESTIONS BEFORE offerDING.
COMBINED SHIPPING: ADD ONLY $1.00 FOR EACH EXTRA CEL WON !!!!!!
YOU ARE offerDING ON A RARE LOT OF PRODUCTION CELS AS PICTURED WITH MATCHING PRODUCTION DRAWINGS FROM 1976 NOAH\'S ANIMALS. THIS CARTOON IS BROADCAST ON THE DISNEY CHANNEL EVERY NOW AND THEN. IT WAS PRODUCED/CREATED BY ONE OF DISNEYS MOST FAMOUS ANIMATORS SHAMUS CULHANE......MOST FAMOUS FOR THE SCENE OF THE 7 DWARFS WALKING ACROSS THE BRIDGE SINGING HI-HO HI-HO. SEE MORE BELOW ON HIM AND THIS CARTOON.
YOU CAN WATCH THE CARTOON ON YOU TUBE style=\"color: rgb(255, 0, 16);\" align=\"center\">
- Shamus Culhane Studios, Westfall Productions
- Cartoon Characters: Noah, Lion, Crocodile, Elephant, Giraffe, Camel, Ostrich, Polar Bear, Walrus, Elephant, Baby Crocodile.
- Directed By Shamus Culhane.
- Produced By Shamus Culhane.
- Animated By Myron Waldman, Willis Pyle, Jack Dazzo, Nick Tafuri, George Bakes, Tisa David, Charles Harriton, Gordon Whittier, Jan Svochak, Robert Guidry, Ray daSilva, Pierre De Celles; more Animators ...
- Written By John Culhane.
- Originally Released on April 05, 1976.
- Originally Aired on ABC-TV (USA).
- Running Time: 30 minutes.
- Color
- U.S.A.
November 12, 1908
Ware, Massachusetts, United StatesDiedFebruary 2, 1996 (aged87)
New York City, New York, United StatesOther namesJames Culhane
Jimmie Culhane
Jimmy CulhaneYears active1930-1996
James \"Shamus\" Culhane (November 12, 1908 ? February 2, 1996) was an American animator, film director, and film producer.
Culhane worked for a number of American animation studios, including Fleischer Studios, the Ub Iwerks studio, Walt Disney Productions, and the Walter Lantz studio. He began his animation career in 1925 working for J.R. Bray studios.[1]
While at the Disney studio, he discovered while working on Hawaiian Holiday\'s crab sequence an animation method that involved stewing for multiple days, before drawing the entire thing in rough sketches all at once, straight ahead, without invoking the left side of the brain. He was a lead animator on Snow White and the Seven Dwarfs, animating arguably the most well-known sequence in the film, the animation of the dwarves marching home singing \"Heigh-Ho\". The scene took Culhane and his assistants six months to complete. During this time he developed his \'High-speed\' technique of using only the right side of the brain and animating with quick dashed-off sketches.
In 1944, he collaborated on The Greatest Man in Siam with the layout artist Art Heinemann. In that animation, \"the king of Siam bolts past doorways that are distinctly phallic in shape and peers at another that mimics a vagina.\"[2]
Later in his career, Culhane worked briefly in Chuck Jones\'s unit at Warner Bros, before moving on to being a director for Lantz, where he helmed Woody Woodpecker\'s 1944 classic, The Barber of Seville, the cartoon famous for one of the first uses of fast cutting, after taking the idea from Sergei Eisenstein. At Lantz, he introduced Russian avant-garde influenced experimental art into the cartoons.[2] In the late-1940s, he founded Shamus Culhane Productions (Culhane had gone by his birthname of James up until this point, before going by its Irish variant Shamus), one of the first companies to create animated television commercials. It also produced the animation for at least one of the Bell Telephone Science Series films.
Shamus Culhane Productions folded in the 1960s, at which point Culhane became the head of the successor to Fleischer Studios, Paramount Cartoon Studios. He left the studio in 1967, and went into semi-retirement.
Culhane wrote two highly-regarded books on animation: the how-to/textbook Animation from Script to Screen, and his autobiography Talking Animals and Other People. Since Culhane worked for a number of major Hollywood animation studios, his autobiography gives a balanced general overview of the history of the Golden Age of American Animation.
At his death on February 2, 1996, Culhane was survived by second wife, the former Juana Hegarty, and by two sons from his first marriage to Maxine Marx (the daughter of Chico Marx) which ended in divorce: Brian Culhane of Seattle and Kevin Marx Culhane of Portland, Ore.[1]
THANK YOU FOR LOOKING style=\"text-align: center; font-weight: bold; color: rgb(0, 44, 253);\" class=\"MsoNoSpacing\">BELOW ARE EXAMPLES OFVARIOUS TYPES OF ANIMATION ART WITH SOME HELPFUL INFORMATION ABOUT THEM
CEL
A broad term that encompasses most types of animation art. In its strictest interpretation, a cel is the plastic sheet, either cellulose acetate or cellulose nitrate, that animated characters are painted on. In practice, the term cel has come to mean that plastic sheet in combination with the outline and coloring of a character, object, and/or special effect. Outlines can be either hand-inked or Xerographically transferred to the sheet of plastic. Those outlines are then filled with color, either by hand-painting or a serigraphic process, to complete the cel.
12 or 16 Field
These terms are used to describe the size of a particular cel. They come from the size of the \"field\" of view of the camera photographing the artwork. For rough use, consider a twelve-field cel roughly 10\"x12\", and a sixteen-field cel approximately 14\"x16\". The actual framed size may differ.
ORIGINAL PRODUCTION CEL
These are the cels actually used in the production of a cartoon. They can have either Xerographed or hand-inked outlines, and are hand-painted at the studio. These cels are one-of-a-kind pieces of art, and their rarity makes them highly sought after by collectors. Because these cels were created to make an actual cartoon, each cel is a component part of a larger movement. Different cels from the same scene may be more or less desirable depending on a variety of factors: size, profile and expression of the character, any damage to inking or paint, and overall visual appeal.
LIMITED EDITION CEL
As with production cels, limiteds can have either hand-inked or xerographic outlines, and are also hand-painted. The major difference, as its name implies, is that the limited editions are created in limited quantities, generally in runs of 250 to 500 cels. Because of these small edition sizes, limiteds can also be very collectible. Some limiteds are exact reproductions of the frames of the film they represent. Others are based on contemporary interpretations of classic characters or scenes by their animators- Chuck Jones limiteds, for instance. Limited editions are always hand-numbered on the cel, and many are signed by the artists.
SERICELS
Sometimes called serigraph cels. The serigraphy process involves silk-screening each individual color to the cel, one at a time. Every distinct shade is a separate screen, and a separate pass in the procedure. As a result of this fine art operation, each color is flawlessly reproduced. Sericels are also created in limited quantities, typically 2500 to 5000 pieces. Because of their larger edition size, sericels are the most affordable type of animation art, ideal for the beginning collector.
PUBLICITY CEL
A cel, usually hand-painted, not actually used in a film or created for collectors, but made for publicity or promotional purposes.
CEL SET-UP
A combination of cels presented together. If the combination of cels match exactly, it is referred to as a KEY SET-UP.
ANIMATION DRAWING
These are the original, one-of-a-kind drawings, penciled by the animator, that cels are eventually made from. Drawings can be rough, or the more refined CLEAN-UP drawings. Sometimes, set-ups are available with matching drawings and the cel that was made from it.
STORYBOARD DRAWING
A drawing or story sketch made for the storyboard, which conveys visually the plot and action of a scene or shot. The storyboard serves as a preliminary guide for the artists.
MODEL SHEETS
Drawings, or studio reproductions of a character in a variety of actions used as reference by the animators during production.
BACKGROUNDS
Boy, is this a can of worms. We will try to cover the major types of Backgrounds you are likely to encounter, and what they mean.
Original Production Background
This covers a wide range of backgrounds that are original paintings, and were used in the production of a cartoon. It is important to note that it does not necessarily mean it is the same production that the cel is from. It may not even be from the same studio as the cel. If you see this term used, you will want to know what production the background is from.
Key Master Set-Up
This is the ultimate set-up, and the most rare. A key master set-up combines the original cel, or a key set-up of cels, with the background they were originally photographed over. When framed, this will look exactly as it did in the actual film or short.
Presentation or Hand-Painted Background
This type of background was specially prepared to complement the cel by an independent artist. Generally, it will be in the style of the original. Although it may enhance the visual appeal of the set-up, it adds little value or collectibility to the cel (unless the artist is famous in his or her own right).
Reproduction Background
This is the most common type of background. It is, as the name implies, a copy of a background. The reproduction can be by color Xerox, lithography, serigraphy or photography. In many cases, it is a reproduction of the original background.
Lithography owes it existence to the chemical principal that oil and water do not mix. The artist draws the image to be printed on a flat slab of limestone, metal, or plastic using a greasy crayon. The surface is then chemically fixed and wet with water, which does not adhere to the greasy image areas. When the surface is inked with a roller, ink adheres only to the greasy areas and not the wet area. Paper is then positioned over the plate and the press is manually operated to produce one impression. The process must be repeated for each color. It is not unusual for fine lithographs to be printed from 15 or more plates.
GICLÉE PRINTS
Creating Giclée fine art prints requires the utmost care and attention to detail. Customize the color settings for each image so that each print is truly what the artist had in mind. The French term \"Giclée\", literally meaning \"spray of ink,\" is used to describe these prints. Four precision nozzles spray up to a million microscopic droplets per second on to fine art paper. Then, each piece of paper is individually hand-mounted. Displaying a full color spectrum, the prints are lush and velvety, capturing the subtle nuances of the original artwork
inkfrog terapeak
i000000
DISNEY NOAH\'S ARK ANIMALS SHAMUS CULHANE PRODUCTION CEL CELL ANIMATION LOT DRAW:
$19.99