ANIMATION ART GLOSSARY

Cel- What is it? 
In the physical sense............ it's just a clear piece of plastic "like" material that is used in animation to paint characters on. Images are traced from a drawing and the images are painted on the reverse side of the cel. It's more complicated then that, but that's the abridged version of it. 

Now let's keep things simple without treating you simplistically. There are three "kinds" of cels. 

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. 

hand Painted Limited editions- These pieces are created for the collectors market and are created to be perfect images, with backgrounds and precisely posed figures. These fine art pieces are created in the same way a production cel is with a traced image from a drawing and then hand painted on the reverse side. These limited editions are created because the cost of getting the image in a production cel is too cost prohibited. Sometimes the production image can be valued at over $100,000. One thing to consider about hand painted limited editions, "They are the only fine art reproductions that are HAND PAINTED reproductions," all other fine art reproductions are printed. 

Sericels (seri-graphed cels)- 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. 
If you would like to learn more about how sericels are 
 

Now that we have conquered the basics in the terminology of animation art, we can move on into the terms used to describe "production art." 

"Original" is not a singular term used to describe anything in artwork. Legitimate dealers don't use this term because of it's extreme VAGUENESS. It's a cheap ploy, used by salesman who are trying to pull a fast one on you. The term describes everything and it mean nothing. Yes this cel is original but original to what? The description terms you need to know are whether it's production, limited edition or a sericel. 

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. 

STORY BOARD DRAWING 
A drawing or story sketch made for the story board, which conveys visually the plot and action of a scene or shot. The story board serves as a preliminary guide for the artists. 

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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. 
 
 

CELS
Sheets of clear plastic, containing the images of the characters, which are placed over a background, and then photographed in succession to give the illusion of movement in the completed film. The outline of the image, whether hand-inked or xerographed, is applied   to the front of the cel. The colors are painted by hand onto the back of the cel to eliminate brushstrokes. Large areas of black paint were sometimes applied to the front of the cel to reduce glare. 

Nitrate Cels 
Animation cels made from cellulose nitrate, a flammable, unstable material prone to wrinkling, yellowing and shrinkage over long periods of time. Decomposing nitrate emits fumes and resins which can accelerate the rate of decomposition of any cel in close proximity. Nitrate cel stock was used throughout the 1920's, '30s and the early 40's at the Disney Studios, and well into the 1950's at other studios. 

Acetate Cels 
Animation cels made from cellulose acetate, a much more stable material which remains the industry standard to this day. 

Cel Setups 
A combination of two or more cels, with or without a background, which work together to form a complete image. These can be either Matching (the way the image appeared in the finished film) or Non-Matching (combinations of elements which are pleasing together, but do not appear together in the film). 

Cel Levels 
The individual cels that go together to make up a cel setup. Due to technical considerations, it was very rare for two or more separate characters to be included on a single cel level. Usually, each element was on its own cel, with up to a maximum of five levels to a scene. Because of the added density of the multiple cel levels, the paint colors were corrected for the discoloration caused by the plastic, making the colors on a bottom level cel much brighter than those on a top level cel. 
 

FIELDING 
Refers to the size of the area on the artwork which falls within the sight of the camera. Thus, a 12 field is roughly 12 inches across and a 9 field is 9 inches across. Even though a drawing or cel may be of a standard 12 or 16 field size, the camera may have been zoomed in to an 8 or 9 field, focusing on a tighter area of the artwork, eliminating the outer margins of the sheet. Most early pictures conformed to a squarish rectangular field referred to as the   Academy Format. Later films, which were shot in wide screen or Cinemascope, had a more rectangular active area. 

12 Field 
An industry standard size for cels, backgrounds and drawings, measuring roughly 10 1/2" by 12 1/2". 

16 Field
an industry standard size for cels, backgrounds and drawings, measuring roughly 12 1/2" by 16 1/2". 

Panning Shots 
Wider cels, backgrounds and drawings were used in moving camera shots. Pans were often referred to as a 12 field double pan (10 1/2" by 25") or a 16 field 1 1/2 pan (12 1/2" by 24 1/2"). In films shot in Cinemascope or Technirama, (like Lady & the Tramp or Sleeping Beauty) panning cels were used in many scenes to accommodate the wider fields needed for the wide screen process. 

Hand Inking 
Prior to the late 1950's, all animation drawings were traced onto cels by hand using a quill pen or brush. A variety of inks were used, but in general, the colored ink lines were simply cel paint thinned down to the proper consistency. Contrary to popular belief, hand inking is not a lost art. It is still widely used in animated commercials, special effects shots and in publicity artwork. 

Photographic Lines 
The Disney Studios developed a method of reproducing animation drawings to cel by means of a photographic process as early as 1936, for use on Snow White & the Seven Dwarfs. The technique continued to be used as late as the early 1950's. In scenes where the camera was required to focus in tight on a very small character, this process was able to produce a fine hairline which was much more accurate than could be achieved by hand inking. The animation was rendered at full size, and then would be reduced photographically to fit the scene. The photographic lines could be dyed several colors as well, but on close inspection, they sometimes appears to be slightly translucent. This technique was discontinued after the development of xerography, and very little information on how it was accomplished has survived. 

Xerography 
In the late 1950's, the Disney Studios developed a xerographic process  to transfer the animator's drawings directly onto cels. Sleeping Beauty  was the first film to include scenes utilizing this process. At first, only black toner was used, but in the early 70's, browns, grays and other colors were developed. Xeroxed lines appear to be more sketchy than  hand inked lines, but since they are transferred directly from the animator's drawings they often retain a sense of "life" and spontaneity  that hand inking often lacks. 

Dry Brush 
 To create motion blurs and special textures, inkers would apply paint to the front of the cel using a small amount of thick paint. In some cases, rouge or greasepaint was dry-brushed onto the cheeks of characters to simulate blush. 

Gum Arabic Based Cel Paints 
The most common type of paint used at the various studios was a re-wettable, opaque watercolor with a gum Arabic binder. Some studios bought ready-made paint, but MGM and Disney custom manufactured their own paints in-house. Although most studios abandoned this type of paint in the early 1960's when synthetic binders were introduced, the Disney Studios continued to manufacture and use it in production until The Great Mouse Detective was released in 1986. 

Casein Based Cel Paints 
 In an effort to lower production costs, some studios, and most notably the Warner Brothers cartoon studio, used casein based paint. Made from dairy curd, this binder adhered well to the cel stock for the short term, but its high level of acidity and its tendency to become severely dehydrated made it very unstable over the long term. Almost every cel painted with this type of paint at the Warner Studio has cracked and chipped over time. Because of this, casein type of paint is unsuitable for archival restoration. 

Vinyl and Acrylic Based Cel Paints 
Since the early 1960's, non-re-wettable opaque watercolor paints with a synthetic plastic binder have become the industry standard. Although these commercially available paints are more durable and permanent  than vintage gum Arabic based paint formulas, they do not have as wide 
a variety of pigments as the traditional Disney paint formula. In most   cases, the original Disney gum Arabic paint formula is preferable for archival restoration. 
 

PRODUCTION ARTWORK 
Any cel, drawing or painting used in any part of the making of a film. (Note: Production does NOT mean Under The Camera.) Many types of art created for the production of the film were not photographed, but instead acted as a guide for artists to follow. Some of the different types of production artwork are: 

Concept Art 
Inspirational sketches or paintings used to establish the situations, color choices or mood of a particular sequence.  These were rendered in a wide range of media, from pastels and graphite, to watercolor and cut paper. 

Character Models 
 Standardized renderings of characters, expressions, props and costumes.  Character Designs would be created by concept artists or lead animators,  and once they were approved, photographic stats, called Model  Sheets would be produced and   distributed to the various    departments to insure absolute consistency between the sketches of all   of the artists working on a project. Hundreds of Photostats would be  produced from a single paste-up, consisting of various drawings   trimmed and applied to a board. Sometimes animators would create 
  their own model sheets, traced from their own or other artist's   drawings. 

Storyboards 
A series of sketches, similar to a comic strip, which outlines the action and dialogue in a scene. These drawings would be pinned up on a bulletin board and arranged, re-arranged and replaced  as the story took shape. Early rough storyboard sketches are referred to as Thumbnails, while more detailed drawings would be called Finished or Final Storyboard Panels. 

Layout Drawings 
A detailed pencil drawing that either indicates the fielding, the   character's action, or the  design of the background which acts as the scenery behind   the character. There are two types of layouts: Character Layouts, which outline the character's path of movement, expressions and action   within the scene; and the Background Layout, which generally   consists of a line drawing of the environment in which the character   exists. These layouts are used as reference by the animator and the background painter, respectively. 

Rough Animation Drawings 
The original, first generation sketch by the animators in creating the movement in a scene. Roughs can be divided into three   basic types: Key Drawings, which were   drawn by the principal animators themselves, Break-Downs, which were    drawn by both animator and his assistant, and In-betweens which were the work of    the assistant animators alone. Generally, the animator would sketch out a key drawing for every five or six frames     and leave the drawings between his keys for the assistants to fill in. once the rough animation was approved, the drawings would be   delivered to the assisting department for Clean Up. Many collectors   prefer roughs to clean ups, because they are often more spontaneous and full of life, and they are more likely to be the work of a lead   animator. 

Clean-Ups 
Tracings of the original animation roughs which are often more detailed and refined than the drawings which preceded them. Created by the assisting department, these sketches   represent the final stage of animation before the image is transferred to the    cel via hand inking or xerography. These sketches often include colored lines to indicate different ink colors, color mark-ups to tell the painters which areas to paint which colors, and notes to the ink & paint   department about parts of the character that needed to be registered to other characters or background elements. 

Color Model Cels 
A cel created by the Ink & Paint Department to act as an example for inkers and painters to follow. Color models may be exact duplicates of   the cels appearing in the film, or may be test models, exploring various   inking techniques or color palettes. Although many collectors assume that color models are less valuable than cels used under the camera, this is not always the case. Since color model cels acted as an example  for the inkers and painters to follow, great care was taken to make them absolutely flawless. Cels used under the camera often had flaws due to repairs or corrections quickly done in the heat of production. 

Animation Cels 
The individual painting on celluloid which is photographed along with other cels and a background in a setup, creating the complete image for a single frame of film. Every cel is different, but this doesn't mean that    every cel is unique. Often multiple copies of a cel were created as color    models, gifts or as Inker's Tests, which were created by the inkers in    their free time to refine their technique and practice their skills. 

Background Paintings 
A painting or other artwork depicting the environment in which the character operates.  First, the Background Stylist   made small color sketches    called Key Backgrounds, which were created to establish   the color scheme and mood.  These keys acted as a model    for the other background artists to follow. Key backgrounds were also referred to as Preliminary Backgrounds. Backgrounds which were rejected or cut from the film were called N.G. (No Good)   Backgrounds. Although hundreds of animation drawings and cels    would be required for a scene, typically there was only one background. A setup featuring a cel and background from the same scene is often incorrectly referred to as a Key Background Setup,   but a more accurate description would be a Matching Background   Setup. A cel and background from the same film, but not the same    scene is often referred to as a Production Background Setup, while   a cel and background from different films is correctly referred to simply   as a Background Setup. 

Title Cards 
A background painting which acts as part of the credits for an animated film. The text is often on a cel overlay. Title cards can be divided into several categories: Series Title, Main Title and Cast and Crew Credits. 
 

NON-PRODUCTION ARTWORK 
Publicity & Promotional Artwork   "Perfect poses" used to promote the release of an animated film. Publicity artwork produced for the   original release of a film may often closely   resemble production art; while cels and backgrounds created for later re-releases may look quite different. In general, publicity images   from the original release are worth much more   than ones from later re-release. 
 

Inker's Tests & Clean-Up Tests 
Beginning inkers and assistant animators were often given scenes of animation from previous productions to practice and hone their skills   on. Also, this category of art also encompasses test pieces given to prospective employees to judge their level of skill. It can sometimes take a skilled eye to recognize the differences between test artwork and production art. 

Limited Edition Cels 
 A cel created especially for sale to the collector's market, produced in fixed, limited quantities. Originally intended to re-create original   production cels, some studios and artists now create completely new images based on non-production artwork. Although limited edition cels are widely touted as being "good investments", very few editions have ever appreciated in value to any significant degree. 

Serigraphs 
A mass produced cel created by means of a printing process similar to silk screening. No hand painting or inking is involved. These cels are produced in large quantities and are marketed as a low-cost alternative to production and limited edition cels. They have very little value on the secondary market. 

PACKAGING & MERCHANDISING 
Courvoisier Setups   between 1938 and 1946. Couvoisier setups share several distinctive features: a cream colored mat with the title of the production inscribed in pencil below   the mat opening, a simple presentation or wood grain background, and   a 3" by 5" label stating the name of the production. Cels in Courvoisier setups were often cut out and attached to the backgrounds, and were occasionally enhanced with airbrushed shading or dry brush effects.  The presentation backgrounds ranged from simple air brushed settings depicting dots or stars, to elaborate watercolor paintings created by the Disney background department. Many Courvoisier setups from     Dumbo and Fantasia were laminated using a heat fused process. Courvoisier setups are highly sought after by collectors. Other studios,   most notably Walter Lantz, Warner Brothers and Charles Mintz, packaged and marketed artwork in a similar manner between 1938 and 1940. 

Presentation Setups 
After the contract with Courvoisier Galleries expired in 1946, the Disney Studios continued to assemble cel setups in nearly identical packaging to give as gifts to clients, VIP's and studio guests. Since the production cels were often imperfect, damaged or unavailable, these cel setups were created to order by the ink & paint department using poses taken from original animation drawings. These cels were usually combined with a production background, or a simple complementary painting created by the background department in down-time. 

Art Corner Setups 
Cels sold at Disneyland's Art Corner shop in Tomorrowland from 1955 to the late sixties for a few dollars a piece. These setups were usually trimmed to fit a small mat, and included a litho background or sheet of colored paper and a gold foil authenticating sticker on the back of the mat. Despite the quantities of Art Corner setups sold over the years, good poses continue to be in great demand with collectors. 

Recent Art Packaging
Since 1973, cels sold at the Disney theme parks, studio stores and authorized dealerships have all been packaged with a certificate of authenticity and a certifying seal. Most other studio art programs, like those of Warner Brothers and Hanna-Barbera use a similar format for their artwork. Desirability and value on recent cel setups varies widely, depending on the quality of the image and the relative scarcity of similar artwork on the market. Cels which do not carry these seals and certificates are not necessarily forgeries, however. Most unpackaged artwork on the market comes from artists and technicians who received the artwork as a gift from the studio for doing a good job on the production. 
 
 

ANOMALIES & DAMAGE 

Cut Out or Trimmed Cels 
The images on cels were often cut out of the full sheet to make them fit into scrapbooks or small frames; or were carefully trimmed to the outlines of the character, so that the cel could be applied to a background along with other cels without having to worry about where the edges of the cel would fall within the image. In general, aside from those setups produced for sale by the Courvoisier Galleries or the Art Corner cut out and trimmed cels are worth less than images on full sheets. 

Separation, Lifting, or Glassing 
Refers to separation of paint from the back of the cel, with or without cracking. Separated sections have a discolored appearance. 

Cracking 
Appears as a series of jagged "breaks" or "tears" in the paint, generally accompanied by some degree of separation. 

Chipping & Paint Loss 
A portion of paint, from a small chip to an entire section, which has separated completely from the cel. 

Line Wear 
Missing, broken, or smeared lines on either hand inked or Xerox cels. 

Lamination 
The process of "sandwiching" a cel between sheets of clear plastic in an effort to preserve it. Unfortunately, lamination causes more problems than it solves, because it prevents the paint from absorbing moisture from the atmosphere, making it become brittle and cracked. In   addition, the chemicals present in the lamination adhesive can attack pigments over time, causing the colors to mottle and fade. Heat fused   lamination was first used by Courvoisier Galleries on cels from Dumbo   and Fantasia, and was soon abandoned. The process was revived by   the Disney Art Program in the early 1970's, using a laminate similar to a large sheet of scotch tape. All cels sold through the Disney Art Program between The Jungle Book and The Great Mouse Detective was subjected to this process. Haloing is a term which describes the separation of the plastic laminate around the perimeter of the character, common in cels of this type. 

Sealant Lacquer or nail polish applied to the back side of the paint, in an effort to prevent paint from cracking, or to hold already loose paint in place.  Over a long period of time, sealants hasten paint loss, and can also   cause pigment mottling and fading. 
 
 
 

You should look at this stuff.

 

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