ARTICLES


On these pages you'll find articles that are related to animation art. My idea is to update these pages regularly, and to expand them with more and more articles that can be of interest. So if you have anything to share with other collectors, let me know, and I'll include it in these pages.

Hans Walther   hwalther@xs4all.nl

THE COURVOISIER PROGRAM
CARING FOR AND FRAMING OF YOUR ARTWORK
ANIMATION RELATED BOOKS

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THE COURVOISIER PROGRAM

Some of the most striking examples of animation art surviving today exist due to the forward thinking of art dealer Guthrie Sayle Courvoisier. A visionary well before his time, Courvoisier was the first person to build a mass market for original artwork created by the Walt Disney Studios for use in their animated classics.
Guthrie Courvoisier became the president of the Courvoisier Galleries in San Francisco, when his father retired in 1934. Quick to recognize the phenomenon developing around the merchandising of the films of Walt Disney, Guthrie saw an opportunity for the Courvoisier Galleries to do for Snow White what Ingersoll watches had done for Mickey Mouse. Throughout the early part of 1938 Courvoisier entered into dialogues with Walt Disney and his brother Roy detailing his idea to market the production-art created for "Snow White and the Seven Dwarfs" as original works of fine art. Guthrie believed that the artwork could be as succesful as the film itself, if properly marketed.
On July 19th, 1938, Courvoisier made a written agreement with the Disney brothers granting the Courvoisier Galleries the exclusive right to market original Disney art starting with about 7,000 cels from "Snow White and the Seven Dwarfs". Prices varied from piece to piece but were test marketed from $5 to $35 on up to some cels at $75. In September 1938, cel paintings consigned through Courvoisier sold rapidly when exhibited at the Julien Levy Galleries in New York City, the Leicester Galleries in London (where my Turtle and Chipmunk-cel was originally sold) and the Charles Sessler Galleries in Philidelphia. Cels sold at Sesslers gallery became part of the collections at the Metropolitan Museum of Art and Whitneys Museum of Modern Art. The favorable outcome from these early gallery sales of "Snow White and the Seven Dwarfs" cels proved Courvoisier could establish a fine art market for Walt Disney artwork. Three new types of animation artwork were introduced: key animation and inbetweeners production drawings; master production watercolor backgrounds; and story sketches used during the production of Disney films.
Besides "Snow White and the Seven Dwarfs", art from "Ferdinand the Bull" (1938),  "Brave Little Tailor" (1938), "Wynken, Blynken and Nod" (1938),  "Donald's Golf Game" (1938), "The Ugly Duckling" (1939), "Donald's Penguin" (1939), "The Practical Pig" (1939), "The Beach Picnic" (1939) and "The  Pointer" (1939) was released for sale at this time. Even some of the multiplane oil paintings from Walt Disney's second feature "Pinocchio" (1940) soon followed.
Initially the art was matted and prepared for sale within the Disney studio. In the late 1930's Disney employed twenty people to prepare the animation art for the Courvoisier Galleries. This Cel Setup Department was headed by Helen Nerbovig, one of the women from the Ink-and-Paint Department. The cels
were cut down in size or individual characters were trimmed from the cel and covered with a blank cel sheet. The cel sheets were then taped to different kinds of backgrounds: hand-painted backgrounds that resembled the production  backgrounds (see my Sleepy-cel), airbrushed backgrounds that merely suggested the elements of the original background (see my Bunny & Turtle-cel), mounted wood veneer backgrounds, often containing airbrushed  shadows, elements of the original backgrounds or the name of the particular
character (see my Grumpy-cel) or backgrounds comprised of a piece of thin, atterned wrapping paper (see my Dopey-cel). These simplified background illustrations were then glued to cardboard. Each piece of art distributed through Courvoisier came with a mat that often contained a handwritten inscription with the character's name or filmtitle running parallel under the mats lower left opening. Three of my cels still have these original mats with the pencil-written names. A number of small labels were attached to the backside of the frame identifying the art as being from a certain production. Some early labels also warned the owner:
"This material inflammable. Handle with care. Frame under glass."
From 1940 (after the release of artwork from "Pinocchio") until September 1946 Courvoisier assumed responsibility for preparing the art for sale and remained the sole source for the sale of Disney artwork. They continued to distribute art from numerous short subjects and feature films. On September 30th, 1946, both the Disneys and Courvoisier agreed that Disney Productions would resume the marketing of their art.
Guthrie Sayle Courvoisier passed away on December 9th, 1966. A proprietor of fine art, he is remembered for having the foresight to perceive the artwork used to make animation to have a value far greater than its temporary role in motion picture production. Through his efforts, animation cels from "The Golden Age of Animation" have become a part of many families collections where they have remained for generations.

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CARING FOR AND FRAMING OF YOUR ARTWORK

Caring for your artwork.
The biggest enemy of your artwork is direct sunlight. It can dehydrate your art faster than it can fade colors. This is also true for the heat generated by display lighting. If it is necessary to use display light, keep the wattage of the lamp low and limit its use. An extreme or constantly changing environment can harm your artwork in many ways. Sudden temperature and humidity changes can cause cracking and peeling. Try to keep humidity and temperature stable; ideal is a relative humidity of 50-55% and a temperature between 50 and 65 degrees Fahrenheit (about 10-19 degrees Celsius).
Examine your artwork regularly. Look for changes in surface texture, color and clarity. Pay close attention to the ink and paint on cels, and the tonal quality of drawings. If there are any black, brown or rust-colored spots, webs, or silky material, it could be a sign of fungal, bacterial or insect insult. This calls for professional care.
If your artwork is not framed, but stored, place it in envelopes or art sleeves, lying flat and face down. Make sure there is no other weight on top. Not too many cels should be stacked together, and they should be seperated with lignin-free paper or cel tissue large enough to cover the image area. Polyster folders are fine unless you are in a humid climate, in which case paper is the better choice.
Never roll or flex a cel even slightly. Keep it flat at all times. While the  cel is flexible plastic, the paint can chip and flake easily. Handle cels as little as possible and always by the edges. If you have to handle art frequently it might be a good idea to use cotton gloves. If you want to remove dust or finger smudges from your cel, wipe it with a clean, dry, soft cotton or flannel antistatic cloth in a single direction.
Use as little pressure as possible when you wipe over inked and colored areas. Never use liquid of any kind on a cel, no matter how careful you are. To remove light dust particles, you can use a fine dusting brush. Compressed air may blow off ink or paint, and thus should be avoided.
The types of materials used in vintage artwork varied greatly from one studio to another. The development of plastic technology and the supply shortages during World War II contributed to the great variety of cel stock found in these vintage pieces. Variation in thickness, hardness and tint was common. Nitrate cels, used in the cartoons till the 1930's (and in some studios even till the 1950's) need some extra care. They should be removed from their frames once a year, and air out for at least a day. If a cel is sealed in a vintage mat and frame, and appears to be in good shape, there is no reason to open it, unless you want to reframe it.
For works of art on paper, like drawings and backgrounds, deacidification is a possibility. This should be done by a qualified conservator. The dyes and pigments used in animation studios are varied and impermanent and present serious dangers; the dyes can shift in color, drop out, or seem to appear from nowhere. Neutralizing the acid content of the fibers will insure the artwork's longevity. Artwork that has been deacidified can be contaminated by direct contact with paper containing acid, so be sure to use acid-free materials when storing or framing the art.
Drawings may be sprayed with a very light application of workable fixative to prevent smudging. Colored pencil requires no fixing, and may bleed if sprayed. Small spots of debris may be removed with a vinyl eraser, if you are sure you won't be rubbing in the stain.

Framing your artwork.
Keep in mind that framing is a temporary form of display, not a permanent form of preservation. Use the best framing materials you can afford. Animation art has its own particular requirements when its comes to framing. It was never intended to be long-lasting, framed and hung on a wall. It was meant to last only long enough to be photographed, usually about two weeks.
"Museum framing" means a dust-free and acid-free enclosure with a slow deterioration rate. It should not be air-tight, as the air inside must be  able to exchange with the environment. The mounting of a cel should stabilize and prevent it from moving or flexing while allowing it freedom to breathe. Because both the cel and the board on which it is mounted expand and contract with changes in humidity and temperature (but at different rates) the cel should not be held in place on all four sides. Use edge strips, corner pockets or mounting strips. Tapes are not recommended. Natural gum hardens and fails to adhere to the slick cel surface. Cels sold in Disneyland in the early years had cover cels, and though there is nothing intrinsically wrong with this practice for works on paper, it is not recommended for cels. Ink lines or paint can transfer to the cover cel. A sheet of acetate placed behind a cel, however, can prevent paint that  might become tacky on a damp day from transferring to the background.
UV protective glass will filter out ultra-violet light (which can cause fading), without markedly altering the color and tone of the artwork. Breakage from falling is the greatest danger with glass, so use security hangers. These hangers use a three-pronged system to hold the art securely to the wall. Acrylic glass is more secure and lightweight, but not as clear as standard or UV protective glass, and should not be used in case the artwork is done in pastel, chalk or charcoal, because of the problems that static electricity can cause.
Some people recommend metal frames over wooden frames, as metal does not warp, split or fracture, and allows easy access to the art for examination and cleaning. I think it's a matter of easthetics. When properly framed, with enough space for glass and mattes to expand or contract, a wooden frame can be much more attractive.
Whatever method or style of frame you choose, animation art requires periodic cleaning, although the frequency depends on the climate and condition of its environment, as well as its age. Your own judgement can tell you when cleaning is needed.
Choose your framer carefully. As with every profession, there are degrees of craftmanship and care. Explain to a framer the special needs of animation art.

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ANIMATION RELATED BOOKS

This is a list of more than a hundred books about animation. Some focus on a specific film or character, some focus on a single director, some even tell you how to do it yourself. I divided them into three categories: "my personal favorites" (these are the books that I just LOVE, and read over and over again), "other books on animation" and "on animation techniques".
I tried to list the books by year of appearance. Some books have had reprints in later years. If you know of any books that should be added to this list, let me know.

Hans Walther <hwalther@xs4all>


My personal favorites:

OF MICE AND MAGIC: A HISTORY OF AMERICAN ANIMATED CARTOONS
by Leonard Maltin
New York, McGraw-Hill, 1980

DISNEY ANIMATION - THE ILLUSION OF LIFE
by Frank Thomas and Ollie Johnston
New York, Abbeville Press, 1981

WALT DISNEY AND ASSORTED OTHER CHARACTERS: AN UNAUTHORIZED ACCOUNT OF THE
EARLY YEARS AT DISNEY'S
by Jack Kinney
New York, Harmony Books, 1988

SNOW WHITE AND THE SEVEN DWARFS: AN ART IN ITS MAKING
by Martin Krause and Linda Witkowski
New York, Hyperion, 1994

THE FIFTY GREATEST CARTOONS
by Jerry Beck
Atlanta, Turner Publishing, 1994

PINOCCHIO
by Pierre Lambert
Rozay-en-Brie (France), Démons & Merveilles, 1996

BLANCHE NEIGE (SNOW WHITE)
by Pierre Lambert
Rozay-en-Brie (France), Démons & Merveilles, 2000

WALT DISNEY’S NINE OLD MEN & THE ART OF ANIMATION
by John Canemaker
New York, Disney Editions, 2001


ANIMATION ART - FROM PENCIL TO PIXEL
by Jerry Beck
London, Flame Tree Publishing, 2004


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Other books on animation:

THE DISNEY VERSION
by Richard Schickel
New York, Simon & Schuster, 1968

WALT DISNEY: MAGIC MOMENTS
by Ercole Arseni, Leone Bosi and Massimo Marconi
Milan (Italy), Arnoldo Mondadori Editions, 1973

THE ANIMATED FILM
by Ralph Stephenson
New York, Barnes, 1973

THE ART OF WALT DISNEY: FROM MICKEY MOUSE TO THE MAGIC KINGDOMS
by Christopher Finch
New York, Abrams, 1973

THE DISNEY FILMS
by Leonard Maltin
New York, Crown, 1973

DISNEYANA: WALT DISNEY COLLECTIBLES
by Cecil Munsey
New York, Hawthorn Books, 1974

THE FIRST ANIMATED STEP
by Yoram Gross
Hong Kong, Martin Educational, 1975

TEX AVERY: KING OF CARTOONS
by Joe Adamson
New York, Da Capo Press, 1975

EXPERIMENTAL ANIMATION: AN ILLUSTRATED ANTHOLOGY
by Robert Russett and Cecile Starr
New York, Van Nostrand Reinhold, 1976

THE FLEISCHER STORY
by Leslie Carbaga
New York, Nostalgia Press, 1976

WALT DISNEY: AN AMERICAN ORIGINAL
by Bob Thomas
New York, Simon and Schuster, 1976

FULL LENGTH ANIMATED FEATURE FILMS
by Bruno Edera
New York, Hastings House, 1977

MICKEY MOUSE: FIFTY HAPPY YEARS
by David Bain and Bruce Harris
New York, Harmony Books, 1977

WALT DISNEY'S AMERICA
by Christopher Finch
New York, Abbeville Press, 1978

POPEYE: THE FIRST FIFTY YEARS
by Bud Sagendorf
New York, Workman, 1979

THE GREAT CARTOON STARS: A WHO'S WHO!
by Denis Gifford
London, Jupiter Books, 1979

DONALD DUCK
by Marcia Blitz
New York, Harmony Books, 1979

THE WORLD ENCYCLOPEDIA OF CARTOONS
by Maurice Horn
New York, Chelsea House, 1980

THE AMERICAN ANIMATED CARTOON - A CRITICAL ANTHOLOGY
by Danny and Gerald Peary
New York, E.P.Dutton, 1980

ANIMATION - A REFERENCE GUIDE
by Thomas W.Hoffer
Westport (Conn.), Greenwood, 1981

THE ART OF HEAVY METAL, THE MOVIE: ANIMATION FOR THE EIGHTIES
by Carl Macek
New York, New York Zoetrope, 1981

THE ENCYCLOPEDIA OF ANIMATED CARTOON SERIES
by Jeff Lenburg
Westport (Conn.), Arlington House, 1981

THE WARNER BROTHERS CARTOONS
by Will Friedwald and Jerry Beck
Metuchen (NJ), The Scarecrow Press, 1981

DONALD DUCK JOINS UP: THE WALT DISNEY STUDIO DURING WORLD WAR II
by Richard Shales
Ann Arbor (Mich.), UMI Research Press, 1982

TREASURES OF DISNEY ANIMATION ART
by John Canemaker and Robert E.Abrams
New York, Abbeville Press, 1982

BEFORE MICKEY - THE ANIMATED FILM 1898-1928
by Donald Crafton
Cambridge (Mass.), The MIT Press, 1982

WALT DISNEY'S "FANTASIA"
by John Culhane
New York, Abrams, 1983

CARTOON COLLECTIBLES: 50 YEARS OF DIMESTORE MEMORABILIA
by Robert Heide and John Gilman
New York, Doubleday, 1983

THE DISNEY FILMS
by Leonard Maltin
New York, Crown, 1984

WALT DISNEY'S DONALD DUCK: 50 YEARS OF HAPPY FRUSTRATION
by Flora O'Brien
Tucson (Ariz.), HP Books, 1984

WALT DISNEY'S GOOFY: THE GOOD SPORT
by Flora O'Brien
Tucson (Ariz.), HP Books, 1985

DISNEY'S WORLD
by Leonard Mosley
New York, Stein and Day, 1985

THE WALTER LANTZ STORY
by Joe Adamson
New York, G.P.Putnam's, 1985

THE BEST OF WARNER BROS.
by Thomas G.Aylesworth
New York, Gallery Books, 1986

WALT DISNEY'S MICKEY MOUSE: HIS LIFE AND TIMES
by Richard Hollis and Brian Sibley
New York, Harper & Row, 1986

TALKING ANIMALS AND OTHER PEOPLE
by Shamus Culhane
New York, St.Martin's Press, 1986

BRITISH ANIMATED FILMS 1895-1985
by Denis Gifford
Jefferson (NC), McFarland, 1987

DOING THEIR BIT: WARTIME AMERICAN ANIMATED SHORT FILMS, 1939-1945
by Michael Shull and David Wilt
Jefferson (NC), McFarland, 1987

LES ARTISTES DE DISNEY
by Pierre Lambert
Paris (France), Librairie Séguier, 1987

COLLECTING ORIGINAL CARTOON ART
by Bob Bennett
Lombard (IL), Wallace Homestead, 1987

TOO FUNNY FOR WORDS: DISNEY'S GREATEST SIGHT GAGS
by Frank Thomas and Ollie Johnston
New York, Abbeville Press, 1987

MASTERS OF ANIMATION
by John Halas
Topsfield (Ma.), Salem House, 1987

WINSOR MCCAY: HIS LIFE AND ART
by John Canemaker
New York, Abbeville Press, 1987

LE CARTOON A HOLLYWOOD
by Pierre Lambert
Paris (France), Librairie Séguier, 1988

THE DISNEY STUDIO STORY
by Richard Hollis and Brian Sibley
New York, Crown, 1988

THE BEST OF DISNEY
by Neil Sinyard
New York, Partland House, 1988

STORYTELLING IN ANIMATION: THE ART OF THE ANIMATED IMAGE
by John Canemaker
New York, Samuel French, 1988

THAT'S ALL FOLKS: THE ART OF WARNER BROS. ANIMATION
by Steve Schneider
New York, Henry Holt, 1988

THAT'S NOT ALL, FOLKS
by Mel Blanc and Philip Bashe
New York, Warner Books, 1988

ENCHANTED DRAWINGS: THE HISTORY OF ANIMATION
by Charles Solomon
New York, Alfred A.Knopf, 1989

ANIMATED TV-SPECIALS: THE COMPLETE DIRECTORY TO THE FIRST TWENTY-FIVE YEARS,
1962-1987
by George W.Woolery
Metuchen (NJ), The Scarecrow Press, 1989

THE ART OF HANNA-BARBERA: FIFTY YEARS OF CREATIVITY
by Ted Sennett
New York, Viking Studio Books, 1989

LOONEY TUNES AND MERRIE MELODIES: A COMPLETE ILLUSTRATED GUIDE TO THE WARNER
BROS. CARTOONS
by Jerry Beck and Will Friedwald
New York, Henry Holt, 1989

CHUCK AMUCK, THE LIFE & TIMES OF AN ANIMATED CARTOONIST
by Chuck Jones
New York, Farrar, Strauss & Giroux, 1990

BAMBI: THE STORY AND THE FILM
by Ollie Johnston and Frank Thomas
New York, Stewart, Tabori & Chang, 1990

ANIMATION FROM SCRIPT TO SCREEN
by Shamus Culhane
New York, St.Martin's Press, 1990

TOM AND JERRY: THE DEFINITIVE GUIDE TO THEIR ANIMATED ADVENTURES
by Patrick Brion
New York, Harmony Books, 1990

BUGS BUNNY: FIFTY YEARS AND ONLY ONE GREY HARE
by Joe Adamson
New York, Henry Holt, 1990

THE ART OF MICKEY MOUSE
by Craig Yoe and Janet Morra-Joe
New York, Hyperion, 1991

DISNEY'S ART OF ANIMATION: FROM MICKEY MOUSE TO BEAUTY AND THE BEAST
by Bob Thomas
New York, Hyperion, 1991

THE ENCYCLOPEDIA OF ANIMATED CARTOONS
by Jeff Lenberg
New York, Facts on File, 1991

CEL MAGIC: COLLECTING ANIMATION ART
by R.Scott Edwards and Bob Stobener
Sacremento (CA), Laughs Unlimited, 1991

THE ANIMATED FILMS OF DON BLUTH
by John Cawley
New York, Image Publishing, 1991

FELIX: THE TWISTED TALE OF THE WORLD'S MOST FAMOUS CAT
by John Canemaker
New York, Pantheon Books, 1991

CARTOON CONFIDENTIAL
by Jim Korkis and John Cawley
Westlake Village (Ca.), Malibu Graphics, 1991

I TAWT I TAW A PUDDY TAT
by Jerry Beck and Will Friedwald
New York, Henry Holt, 1991

FASTER! CHEAPER! THE FLIP SIDE TO THE ART OF ANIMATION
by Floyd Norman
Burbank, Get Animated!, 1992

DISNEY'S ALADDIN: THE MAKING OF AN ANIMATED FILM
by John Culhane
New York, Hyperion, 1992

ANIMATION BY FILMATION
by Michael Swanigan and Darrell McNeil
Simi Valley, Black Bear Press, 1993

THE GREAT CARTOON DIRECTORS
by Jeff Lenburg
New York, Da Capo Press, 1993

ANIMATING CULTURE: HOLLYWOOD CARTOONS FROM THE SOUND ERA
by Eric Smoodin
New Brunswick (NJ), Rutgers University Press, 1993

WALT IN WONDERLAND: THE SILENT FILMS OF WALT DISNEY
by Russell Merritt and J.B.Kaufman
Baltimore, John Hopkins University Press, 1993

TEX AVERY: L'ART DE TEX AVERY AU STUDIO M.G.M.
by Pierre Lambert
Rozay-en-Brie (France), Démons & Merveilles, 1993

WALT DISNEY'S SKETCHBOOK OF "SNOW WHITE AND THE SEVEN DWARFS"
(reprint)
Old Saybrook (CT), Applewood Books, 1993

THE DISNEY VILLAIN
by Ollie Johnston and Frank Thomas
New York, Hyperion, 1993

ENCYCLOPEDIA OF WALT DISNEY'S ANIMATED CHARACTERS FROM MICKEY MOUSE TO
ALADDIN
by John Grant
New York, Hyperion, 1993

7 MINUTES - THE LIFE AND DEATH OF THE AMERICAN ANIMATED CARTOON
by Norman M. Klein
London, Verso, 1993

WALT DISNEY'S SNOW WHITE AND THE SEVEN DWARFS: THE MAKING OF THE CLASSIC
FILM
by Richard Hollis and Brian Sibley
New York, Hyperion, 1994

THE ART OF THE LION KING
by Christopher Finch
New York, Hyperion, 1994

THE FLINTSTONES: A MODERN STONE AGE PHENOMENON
by Joe Adamson
Atlanta, Turner Publishing, 1994

DISNEYANA: CLASSIC COLLECTIBLES 1928-1958
by Robert Heide and John Gilman
New York, Hyperion, 1994

MY LIFE IN TOONS: FROM FLATBUSH TO BEDROCK IN UNDER A CENTURY
by Joe Barbera
Atlanta, Turner Publishing, 1994

ANIMATION ART, THE EARLY YEARS 1911-1953
by Jeff Lotman
Atglen (Pa.), Schiffer Publishing, 1995

CARTOONS: ONE HUNDRED YEARS OF CINEMA ANIMATION
by Giannalberto Bendazzi
Bloomington, University of Indiana Press, 1995

THE DISNEY THAT NEVER WAS: THE STORIES AND ART FROM FIVE DECADES OF
UNPRODUCED ANIMATION
by Charles Solomon
New York, Hyperion, 1995

THE DISNEY FILMS: FROM SNOW WHITE AND THE SEVEN DWARFS TO POCAHONTAS
by Leonard Maltin
New York, Hyperion, 1995

ANIMATION ART: THE LATER YEARS 1954-1993
by Jeff Lotman and Jonathan Smith
Atglen (Pa.), Schiffer Publishing, 1996

DISNEY A TO Z: THE OFFICIAL ENCYCLOPEDIA
by Dave Smith
New York, Hyperion, 1996

CHUCK REDUCKS: DRAWING FROM THE FUNNY SIDE OF LIFE
by Chuck Jones
New York, Warner Books, 1996

THE ART OF THE HUNCHBACK OF NOTRE DAME
by Stephen Rebello
New York, Hyperion, 1996

TEX AVERY: THE MGM YEARS
by John Canemaker
Atlanta, Turner Publishing, 1996

BEFORE ANIMATION BEGINS: THE ART AND LIVES OF DISNEY INSPIRATIONAL SKETCH
ARTISTS
by John Canemaker
New York, Hyperion, 1996

CARING FOR YOUR COLLECTIBLES
by Ken Arnold
Iola (WI), Krause Publications, 1996

SERIOUS BUSINESS: THE ART AND COMMERCE OF ANIMATION IN AMERICA FROM BETTY
BOOP TO TOY STORY
by Stefan Kanfer
New York, Scribner, 1997

WARNER BROS. ANIMATION ART: THE CHARACTERS, THE CREATORS, THE LIMITED
EDITIONS
by Jerry Beck and Will Friedwald
Levin Associates, 1997

WALT DISNEY'S BAMBI: THE SKETCHBOOK
by Frank Thomas and Ollie Johnston
New York, Hyperion, 1997

THE ART OF HERCULES: THE CHAOS OF CREATION
by Stephen Rebello and Jane Healey
New York, Hyperion, 1997

THE ART OF ANASTASIA
by Harvey Deneroff
New York, Harper Collins, 1997

THE ART OF MULAN
by Jeff Kurtti
New York, Hyperion, 1998

ANIMATION ART AT AUCTION: RECENT YEARS
by Jeff Lotman and Jonathan Smith
Atglen (Pa.), Schiffer Publishing, 1998

BATMAN ANIMATED
by Paul Dini and Chip Kidd
New York, Harper Collins, 1998

MICKEY MOUSE
by Pierre Lambert
New York, Hyperion, 1998

2D AND BEYOND
by Jayne Pilling

Crans-Près-Céligny, RotoVision SA, 2001

PAUL DRIESSEN - IMAGES AND REFLEXIONS
(in Dutch, French and English)
by Marc Glassman & Ton Gloudemans
Holland Animation Film Festival (Utrecht) and Centre International du Cinéma d’Animation (Annecy) 2002

MAKIN’ TOONS
by Allan Neuwirth
New York, Allworth Press, 2003

ANIMATION UNLIMITED - INNOVATIVE SHORT FILMS SINCE 1940
by Liz Faber and Helen Walters
London, Laurence King Publishing Ltd., 2003

ANIMATED FILMS
by James Clarke
London, Virgin Books Ltd., 2004

SHREK - FROM THE SWAMP TO THE SCREEN
by John Hopkins
New York, Harry M. Abrams Inc., 2004

WALT’S PEOPLE - VOLUME 1
edited by Didier Ghez
Xlibris Corporation, 2005

LIVING LIFE INSIDE THE LINES
by Martha Sigall
Mississippi, University Press of Mississippi, 2005

CHUCK JONES - CONVERSATIONS
edited by Maureen Furniss
Mississippi, University Press of Mississippi, 2005

OUT OF THE INKWELL
by Richard Fleischer
Kentucky, University Press of Kentucky, 2005


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On animation techniques:

ANIMATION. LEARN HOW TO DRAW ANIMATED CARTOONS
by Preston Blair
Nr.26 of the Walter Foster Art Series, 1942

THE ART OF WALT DISNEY
by Robert D.Feild
New York, Macmillan, 1942

HE DREW AS HE PLEASED
by Albert Hurter
New York, Simon and Schuster, 1948

THE ART OF ANIMATION
by Bob Thomas
Jamestown (Ohio), Golden Press, 1958

THE TECHNIQUE OF FILM ANIMATION
by John Halas and Roger Manvell
New York, Focal Press, 1959

COMPUTER ANIMATION
by John Halas
New York, Hastings House, 1974

PUPPET ANIMATION IN THE CINEMA
by Bruce L.Holman
San Diego (CA), A.S.Barnes & Co., 1975

THE ANIMATION STAND
by Zoran Perisic
New York, Hastings House, 1976

VISUAL SCRIPTING
by John Halas
New York, Hastings House, 1976

THE ANIMATED RAGGEDY ANN & ANDY - AN INTIMATE LOOK AT THE ART OF ANIMATION:
ITS HISTORY, TECHNIQUES AND ARTISTS
by John Canemaker
Indianapolis (Ind.), Bobbs-Merrill, 1977

THE ANIMATION BOOK
by Kit Laybourne
New York, Crown, 1979

HOW TO ANIMATE FILM CARTOONS
by Preston Blair
nr.190 of the Walter Foster Art Series, 1980

THE COMPLETE KODAK ANIMATION BOOK
by Charles Solomon and Ron Stark
Rochester (NY), Kodak Publications, 1983

COMPUTER ANIMATION
by Neal Weinstock
Reading (Mass.), Addison-Wesley, 1986

THE ANIMATOR'S WORKBOOK
by Tony White
New York, Watson-Guptill, 1986

ANIMATION: A GUIDE TO ANIMATED FILM TECHNIQUES
by Roger Noake
London, Macdonald & Co, 1988

DISNEY'S ANIMATION MAGIC: A BEHIND-THE-SCENES LOOK AT HOW AN ANIMATED FILM
IS MADE
by Don Hahn
New York, Disney Press, 1996

THE ENCYCLOPEDIA OF ANIMATION TECHNIQUES
by Richard Taylor
London, Quarto Publishing, 1996

CRACKING ANIMATION: THE AARDMAN BOOK OF 3-D ANIMATION
by Peter Lord and Brian Sibley
London, Thames and Hudson, 1998

THE ANIMATOR’S SURVIVAL KIT
by Richard Williams
London, Faber and Faber Limited, 2001

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