Chuck Jones? Einstein? Wile E. Coyote? A nonprofit boosts the common thread — imagination

Chuck Jones? Einstein? Wile E. Coyote? A nonprofit boosts the common thread — imaginationWonderful article in Friday's OC Register about the Center and the work it does. If you ever wondered what the Center is all about, this article will tell you. 

“Imagination is more important than knowledge.” — Albert Einstein.

Craig Kausen has a crazy childhood memory of his grandfather, Chuck. It takes place in the summer of 1972 in the backyard of Chuck’s Cameo Shores house in Corona del Mar.

Craig was 10 years old. His brother Todd was 11. Chuck told his grandsons to put on some swim fins. Then he tied them up with twine at their ankles, their knees and their elbows.

And he pushed them into the pool. [read the full article here.]

Red Dot Auction VIII--Tickets Now Available!

Save-the-date! The eighth annual Red Dot Auction is scheduled for Friday, May 11 from 7 to 10 PM!  Tickets, $25 for main event and $100 for the Preview hour (5:30 to 7 PM) are available at ChuckJonesCenter.org/RedDot. You’ll find the cure for “Empty Wall Syndrome” at the Red Dot Auction. Over 100 artists from around the globe have contributed one or more 12” square canvases and 3D art objects to this special fundraising event. What differentiates The Red Dot Auction from other silent art auctions is that the contributing artists have signed their artwork on the reverse of the canvas. Consequently, attendees at the event will not know who the artist is when bidding, they’ll only have their heart to follow.

“The artists who are participating come from all levels of notoriety, skill, and accomplishment, from students to emerging to established artists; we reached out around the world hoping to capture the imagination and appreciation of these artists. We are thankful that they were willing to help us achieve our goal of promoting creativity by providing a nurturing environment where it may grow and blossom,” said Craig Kausen, Chairman of the Board of Directors for the Center.

Watch this space for a special announcement, coming soon!

Red Dot Auction VIII--Call for Artists!

Dear Artists and Friends of the Chuck Jones Center for Creativity,Preparations are underway for the Eighth Annual Red Dot Auction benefiting the Chuck Jones Center for Creativity, scheduled for Friday, May 11, 2018.

Today we’re writing to ask you to donate a work of art to this year’s Red Dot Auction.  We’re changing up the overall theme from the Life & Times of Chuck Jones to his Golden Age Decade, the 1950s. Any of the over 90 cartoons Chuck Jones directed during the years 1950 – 1959 are fodder for your imagination. A list of the cartoons is available online at the link at the bottom of this post.  

There will be five categories this year:

Landscape – predominant theme in landscape, seascape, urban-scape; may include cartoon character(s)

Portrait – may be a self-portrait or the portrait of another person or cartoon character

Homage – to an art genre, specific artist, or live action film

Assemblage – collage using unconventional materials—take something and make something new out of it or its parts

3D – we’ll provide an 8” 3D “Cre8ive Peeple” (see below) to be painted and enhanced as you envision

There are only 30 spaces available in each of the five different sections, all requests for a specific section will be on a first-come, first-served basis. Go to this webpage to submit your request: Red Dot Auction 2018. 

The canvas provided for the first four sections will be a 12” square and as last year, we ask that you sign the artwork on the reverse.  For the 3D object, please sign the bottom of the object. HOWEVER, new this year, you may choose to work in any size canvas or other substrate you'd like to provide yourself. 

You may prefer to work on paper or another substrate and that’s fine, as long as we can mount it to the 12” square canvas for presentation the night of the event. The artwork should be signed on the reverse so that bidders at this silent auction will not know who has created which work of art.

Won't you share your gifts with us and with the Center's supporters and patrons?  If you will, please submit your information and section request by clicking here. 

Canvases are due back no later than Monday, March 27, 2018! Again this year we will bring the Red Dot Auction online for pre-bidding only. This online auction will go live mid-April 2018 and end the evening of Tuesday, May 8, 2018 In order to be included in it, your artwork must arrive no later than March 27, 2018.  

And again this year a commemorative poster, similar to the one shown, will be printed; 30 canvases will be selected to represent this year’s Red Dot Auction. Two of the posters will be produced and sold the evening of the event. To be considered for inclusion, your artwork must arrive no later than March 15, 2017.

Thank you in advance for your generosity, time, and commitment to the vision of the Center.

Exercise Your Genius!

All the best, Robert

Robert@ChuckJonesCenter.org

Chuck Jones Filmography by year: https://en.wikipedia.org/wiki/Chuck_Jones_filmography.

Submit your section and substrate requests here, Red Dot Auction 2018.

The Linda Jones Archive: Herblock and Chuck Jones

The Pulitzer Prize-winning and world-renowned political cartoonist, Herblock, was a fan of Chuck Jones. So much so, that he called Jones up one day in the summer of 1978 and introduced himself. They spent several hours on the phone and became life-long friends. This is part of letter that Chuck Jones wrote to Herblock a few days after that initial phone conversation.Dear Herb Block,

I have been told on extremely good authority that there is a time to live, a time to love, a time to die, a time to etcetera -- all indisputably true, all, philosophically speaking, absolutely meaningless, but -- there certainly is always time to be surprised and delighted as I was when you called the other day. I have known courageous people, wise people, intelligent people and brilliantly talented people but seldom people who possess more than two of those qulities and I don't need more fingers than I have to count those who posess all of those qualities. You are in illustrious company, Herb Block: Mark Twain, F.D.R., Walt Kelly, R.L. Stevenson, Vachel Lindsay, Beatrix Potter -- a few more perhaps -- shall I grow more fingers?

...thank you again for the stimulating call -- it justified the entire history of the Bell System. Best regards, Chuck

The Palette and Palate of Tuscany

The Chuck Jones Center for Creativity and LCA Wine at the South Coast Collection are teaming up to offer a delightful and creative evening painting the rich color palette of Italy's' unspoiled and ancient landscape while sipping Tuscan wines and listening to Andrea Bocelli.Bring a friend and imagine yourselves there just as Michelangelo and Da Vinci once were.

Friday, April 28, from 6 to 9 PM | LCA Wine | 3315 Hyland Avenue | SoCo (South Coast Collection)

Space is limited, tickets available by clicking on this sentence. Or call for more details 949-660-7793.

The Linda Jones Archive: Crier in the Wilderness by Chuck Jones, Part 6

Note from Linda: At the time of this article, February 7, 1957, the lead-in stated the following: “Chuck Jones has been Art Director of the Crier from its infancy, and herein tells you how come. He and Dottie dwell in a fabulous glass-and-stone aerie up in Hollywood Knolls, and Little Linda is all grown up and married.”  I was, as stated in the article, seven years old in 1944. There was no cafeteria at Valley View School in those days (is there now?), so we all carried our lunch boxes. My lunch box was a big, black industrial size box that held wonderful surprises my mother sent each day…leftover summer squash, carrot sticks, milk (a staple), peanut butter, lettuce and mayonnaise sandwiches (which I love, still), cold lamb chop, potato chips, orange, apple, apricot, celery (with cream cheese)…and often a little note of encouragement, too… she was pretty great… Now, here is part VI… and we’ll explore something else next week.

[PART VI] Why Hills?

            The success of the Crier has been of course due to the talent of these people, but I suspect that it could only flourish in a specialized community with a built in rapport between readers, in this case, perhaps a need for three dimensionality. What is it that drives people to the hills? Seclusion? Some hillside communities are so tightly inhabited that the roof of one house supports part of the foundation of another. The conceit of looking down on one’s neighbors? Hardly. Many hill residers’ homes crouch at the bottom of ravines, or back firmly into box canyons. Economy? The cheaper the hillside lot is, the steeper it is likely to be, and the costlier it is to prepare for building. The simple life? Floods, fires, poison oak, gophers, jackrabbits, landslides, transportation difficulties, RFD, black widows and oak blight.

            I return inexorably to the feeling Dottie and I have. A love of space and an acceptance of a three-dimensional world, a world in which the work and fun of climbing is equal to the joy and freedom of descending, where it is better to look up at a neighbor’s porch than flatly at your neighbor’s hedge, where a picture window makes sense because it frames a picture, where the roof-tops in the morning tell you there has been a frost, where you can look down on a bird in flight, where you can tell hillsiders from people by the fact that they read the CANYON CRIER.

[Thank you for accompanying me on this little venture… come back next week to see what I have discovered to share with you.]

The Linda Jones Archive: Crier in the Wilderness by Chuck Jones, Part 4

Note from Linda: At the time of this article, February 7, 1957, the lead-in stated the following: “Chuck Jones has been Art Director of the Crier from its infancy, and herein tells you how come. He and Dottie dwell in a fabulous glass-and-stone aerie up in Hollywood Knolls, and Little Linda is all grown up and married.”  I was, as stated in the article, seven years old in 1944. I well remember my father’s “war warden” hard hat…with a webbing inside that fascinated me…but he wouldn’t let me play with it. He went out almost every night, from our blacked out home, with his huge flashlight and his hard hat and a first aid kit slung over his chest. The searchlights interspersed the stars…and they were not for movie openings, but searching for enemy aircraft. Here is Part IV.[PART IV] The Oddments of War

            Thus she joined the carpool and the “Canyon Crier” became a factor in our lives. We were at about this time promoted to a kind of restricted B sticker for our gasoline ration I was working on a project to camouflage Signal Hill rather a thankless job since the oil wells could only be disguised as something that looked like another military objective like a ship yard, an ammunition dump or an air-field. I think our final suggestion was to build two other fake Signal Hillses and hope for the best, or to make a gigantic tent big enough to cover all of Long Beach. At any rate we managed to carry on, although I occasionally had to employ the steps, dare the dog, and the Rhus diversiloba (poison oak).

            It was through the tiny pages of the Crier that we were informed of the activities of Civilian Defense. Dan Duryea, as I remember it, was Senior Warden in our parts. Ken Harris was block Warden. Kent Winthers was Junior Warden and I was Fire Watcher, since we were almost the sole residents of Passmore Drive at that time. The Finkel house, now owned and beautifully remodeled by Hal and Margo Findlay, was then empty and the only other house was occupied, I believe, by a schizophrenic who thought he was a German spy but never came outdoors long enough to find out. He it was who had bought the confused Doberman thinking him to be a turn=coat (or turn-pelt). The three of us then were the task force that manned Operation Passmore, and even though in the giant logistics of war such minutia are often overlooked, yet it is true that we kept Passmore Drive remarkably free of fire-bombs.

[See you next week, with Part V]

The Linda Jones Archive: Crier in the Wilderness by Chuck Jones, Part 3

Note from Linda: At the time of this article, February 7, 1957, the lead-in stated the following: “Chuck Jones has been Art Director of the Crier from its infancy, and herein tells you how come. He and Dottie dwell in a fabulous glass-and-stone aerie up in Hollywood Knolls, and Little Linda is all grown up and married.”  I was, as stated in the article, seven years old in 1944. We had a beautiful, big yellow tom cat named Passmore (yes, named after the street we lived on). One day I asked my parents, “If Passmore had kittens, could we have one?”  Of course, their answer was that Passmore was a tom cat and therefore could not have kittens. I said, “But IF he had kittens, could we have one?” With a knowing glance at each other, they agreed. I took them across the street to our neighbor’s black cat who had just had five adorable little yellow kittens…Yes, I got not only one, but two…I named them Rudy and Bennie…Here is Part III.[PART III] House with Long Haul

            I decided to employ logic. Even if I lost with Dottie, I might impress Linda. I indicated with patient yet pointed logic that the two miles to the nearest lady-ridge-resider ride-sharing intersection was Woodrow Wilson and Mulholland, while the nearest market was but a scant half mile from our home on Passmore Drive…and all down hill, including one hundred and eighty-seven steps connecting our street with steps connecting our street with the one below. Furthermore it would take a full day’s supply of gas in our gasping Oldsmobile to struggle up Woodrow Wilson to Mulholland and share in the economies of the ridge girls in their gay junkets to Finkle’s market at Highland and Franklin.

            She had gained confidence through my maunderings and gently exhaling a fragrant cloud of rum, maple and tobacco, said that down-hill empty-handed became up-hill grocery laden, that the one hundred and eighty steps was a farce going down with gravity as a friend, but became an endless cement ladder going up, laden with salmon, Spam, short-ribs, and such. Furthermore the steps were dangerous; behind a fence paralleling the last fifty feet lived a psychotic Doberman Pinscher, a reject from the Canine Corps—who in being taught to bite enemy soldiers had carried instructions a step further and now bit anything. He had gnawed a head-sized hole out of his chain link fence, and travelers on the steps could only avoid the action of his garbage-disposal jaws by wading through a breast-high orchard of greasy poison oak opposite him. When Linda was with her, she had to carry her—and the groceries—over her (Dottie’s) head. All this she was willing to endure, she said, but in her illogical woman’s way she just couldn’t see what having poison oak, hydrophobia, and a weakened hearts was doing to further the war effort.

[Come back next week for part IV!]

15 Years

It's hard to believe it has been 15 years and, at the same time, only 15 years since my Grandfather, Chuck Jones, passed away on February, 22, 2002.On the one hand, I still have instantaneous thoughts of calling him to ask about this or that during my day to day activities. It feels like he is still actively involved in the world, at least in my world, because so many people continue to talk about him, continue to study his vast creations, and continue to use his guidance and principles to shape their creative careers.  And I personally continue to unearth answers from him to new questions that arise from his writings, scribbled notes, an obscure interview, or a story that someone relays to me about him in a happenstance conversation.

On the other hand, the world seems to have so dramatically changed since he died in 2002, certainly my world has, that it feels like an eternity since then.

I suppose that these instantaneously contradicting perspectives of time illustrate one of his most often quoted philosophies.  Although it is apparent that the mechanics of animation is an illusion created one moment at a time, he profoundly observed that "Animation isn't the illusion of Life; it is Life."  Perhaps this contradiction of illusion and not illusion points to a piece of why he and his films, philosophies, and teachings are so timeless.

I miss him but fortunately he is timelessly with me always.

The Linda Jones Archive: Crier in the Wilderness by Chuck Jones, Part 2

CRIER IN THE WILDERNESS by Chuck JonesPart II

Note from Linda: At the time of this article, February 7, 1957, the lead-in stated the following: “Chuck Jones has been Art Director of the Crier from its infancy, and herein tells you how come. He and Dottie dwell in a fabulous glass-and-stone aerie up in Hollywood Knolls, and Little Linda is all grown up and married.”  I was, as stated in the article, seven years old in 1944. We had a live-in mother’s helper named Mary. Mary was a junior at USC and had been born and raised in Los Angeles. Mary was my bestest friend…and I was heartbroken when she (and her parents) were taken to the Internment Camp for Japanese citizens…Here is Part II of the Canyon Crier article started last week.

 [PART II] - Wifely Wiles

The fact that my wife was not working, an activity usually associated with car-pools, did not really constitute an incongruity in my mind. She already owned a rapier, a euphonium and a suit of formal riding attire, even though she had no interest in swordsmanship (“buttons”), tuba-class instruments, or fox-hunting (‘driving a tack with a sledge hammer”). She simply liked these articles for themselves, and I found it quite believable that she would join a car-pool just to drive out to Cal-ship, wrap bandages, and read Dickens in the back of the car all day, and ride back with the boys at night.

“I read about it in ‘The Canyon Crier’”, she said, producing this miniscule yet action-provoking sheet from behind a package of RUM ‘N MAPLE cigarettes. (Why was it always possible during the war to obtain cartons of RUM ‘N MAPLE cigarettes, when less exotic brands where available only in butt form?)

“The girls up on the ridge do their marketing together on a car-sharing basis,” her lip quivered, “eye wan tu-tu.”

“Eye wan tu-tu?”

She pursed her eye-lids. “I want to, too. I want to car-share, too. I want to ride with the girls and market with the girls. Other wives get to, why not me? I’ll plan a plan so I’ll get it all done at once.”

She was about to offer to hold her breath and turn blue if I refused to listen.

I felt this might be a poor example to our daughter Linda, whose seven-year-old blue-eyed naiveté concealed only too well a jaundiced cynicism toward our ostensible maturity.

[Part III next week!]

The Linda Jones Archive: Crier in the Wilderness by Chuck Jones

Crier in the Wilderness by Chuck JonesNote from Linda: At the time of this article, February 7, 1957, the lead-in stated the following: “Chuck Jones has been Art Director of the Crier from its infancy, and herein tells you how come. He and Dottie dwell in a fabulous glass-and-stone aerie up in Hollywood Knolls, and Little Linda is all grown up and married.”  I was, as stated in the article, seven years old in 1944. I was in the second grade at Valley View School, to which I walked each day…actually uphill (and downhill) both ways! There were 72 steps from the street to our front door. My father’s studio was a room over the garage, which was only 40 steps from the street, but 32 steps down from the front door. I called this the “castle house” and from what I can see of it these days, it looks very much the same as it did in the early forties when we lived there.  --   I have decided to publish this article in six parts, along with the illustrations that accompanied the article at that time. Here is Part I.

[PART I]

The first time I knew that there was such a publication as the “Canyon Crier” was that night during the war when my wife began to make whimpering noises and little dog-like running motions in her sleep. This type of restlessness always presages a complaint or new statement of policy at the following breakfast table, so I was as prepared—to use the term so loosely as to be idiotic—when she gave her first post-orange juice cough. This then was going to be a statement of policy, a new venture or something current on Linda’s up-bringing from Ribble, Ilg, Gesell or Spock, known as RIGS in our household. If it was going to be a complaint, she would have cleared her throat rather than coughing. Thus do we survive through understanding the delicate code of marital communication.

“I’m going to join a car pool,” she said, smearing a quarter pat of butter on a heel of raisin bread toast. (Why is raisin bread so easy to come by during war-time?” The time necessary to chew up and swallow a rag of raisin bread toast was the time allotted me to consider a spate of short-handish thoughts: “Car-pool? Why? Where? Who? How? Huh?”

[Stay tuned…more next week!]

Did You Ever Wonder What an Animation Director Made in 1944?

Side note: "Forever Ambushed" is a take-off on the title of bestselling romance novel of 1944, titled, "Forever Amber". The book was eventually made into a film in 1947 by 20th Century Fox. The Chuck Jones pay stub is from the Linda Jones Clough archive.

The Linda Jones Clough Archive: Ode to the Washam Wedding

Chuck Jones's daughter, Linda Jones Clough, will be posting weekly, material from her personal archive of writings and ephemera created by her father over the course of his lifetime. Today, she presents "Ode the Washam Wedding" a poem Chuck Jones wrote celebrating the wedding anniversary of his friend and colleague, Ben Washam. It is important to note that Chuck was intimate friends with his animators throughout his career.Linda recounted that as a four-year old, Ben Washam's wife, Eddie, was one of her favorite visitors--always ready with a lap and a kind word.

From: Chuck Jones

To: Ben and Eddie Washam

Re: Eighth wedding anniversary, October 1942

ODE TO THE WASHAM WEDDING

Happy wedding anniversary to the Washams. I.E.: to Benny and Eddie,

Who apparently have gone together for a long time. Steady.

From where I sit it looks like you have been married since nineteen

thirty-four. To be exact, in October.

Were you sober?

Or were you drunk with love or liquor.

And so woke up the next morning with a screaming headache thinking

you had never felt worse or been sicquor?

Eight years is a good long time to have been married.

Some people I know quite well would rather be hari-karied.

But I want you to know that marriage is a thing that I spend a good deal

of time endorsing.

It’s better than horsing

And being a general gadabout,

Even though some irresponsible wolves may be madabout

You.

Pew!

Just remember that when you’re a hundred and nine years old and not

married and not pretty.

It’s pretty s----y.

(That line is only dirty if you make it so.

I might have meant ‘sweaty’ if you pronounced ‘pretty’ ‘pretty’

instead of ‘pritty’, or I might have meant ‘sweety’ if you

pronounced ‘pretty’ ‘preety’ like Mexicans do, no?)

Well, anyway, you dirty-minded little couple you, Happy Birthday to

the inception of your connubial bliss.

Do you realize this:

For twenty-nine hundred and nineteen nights Benny has been saying:

“Beddie?”

And Eddie answers, “Ready.”

Craig Kausen to Speak at Colorado Springs Fine Art Center

On Saturday, December 3rd at noon, Craig Kausen, the grandson of animator and Oscar-winning director Chuck Jones, will give a special presentation in the Music Room of the Colorado Springs Fine Art Center where he will discuss his grandfather’s work.During the “Golden Age” of animation, Chuck Jones helped bring to life many of Warner Bros.’ most famous characters and created characters such as Road Runner, Wile E. Coyote, Marvin Martian, Pepe le Pew, and many others. Jones also directed the 1966 television special, How the Grinch Stole Christmas. After the talk, join collector Bill Heeter in the galleries to learn more about his private collection of original animation cels and ephemera. Please RSVP for this event, as there is limited seating, by emailing boxoffice@csfineartscenter.org or calling 719.477.4310. For more information about the exhibit and the Colorado Springs Fine Art Center, click here.

Play It Forward T-shirt Now Available!

New in the Center's online store! Play It Forward all cotton t-shirt in S, L, XL! Perfect for holiday gift giving. Just $25, includes shipping in the continental U.S. Click here to purchase.

"...be counted on to stand up."

Although this quote by Chuck Jones was written  in January of 1961, it is particularly pertinent to today.“Today, we cannot envisage a protected world that does not include them all, and so [my] hope this year to all people everywhere is for a future–sheltered by the stars, sweetened by clean air, and above all fostering a climate in which no man can be commanded to stand up and be counted–but where every man can be counted on to stand up.” –Chuck Jones

Chuck Jones on the Move!

The World of Oil Tanking magazine, “Connections”, featured the Smithsonian exhibit “What’s Up, Doc? The Animated Art of Chuck Jones” in their August 2016 issue. The magazine is published and distributed throughout the world and both the Minnesota Historical Society and the Huntsville Museum of Art exhibit dates were mentioned. The Chuck Jones Center for Creativity provided photographs for the article along with the Smithsonian.

A Salute to Chuck Jones--Cartoon Museum and the Castro Theater

San Francisco, CA:  The Cartoon Art Museum in partnership with The Chuck Jones Center for Creativity and The Castro Theatre is proud to host A Salute to Chuck Jones, a select screening of classic Warner Bros. cartoons by the four-time Academy Award-winning animator and director. The program will feature 35mm prints from the Jones family archives, spotlighting over a dozen iconic shorts includingWhat’s Opera, Doc?, One Froggy Evening, Feed the Kitty, Duck Amuck, and Rabbit of Seville.Special guests will be on hand to introduce their favorite cartoons and to celebrate Jones’s legacy. Following the program, a VIP reception will be held with our guest presenters in the theater’s upper balcony.  

This screening takes place on Sunday, July 10, 2016, from 12pm to 3pm.  Advance tickets for this event can be purchased through Guestlist.com: https://guestlistapp.com/events/421977

Ticket levels:

Reserved seating (center aisle section) plus gift bag – $17

Reserved seating (center aisle section) plus gift bag and individual membership to the Cartoon Art Museum – $50

Reserved seating for 2 (center aisle section) plus gift bag and family membership to the Cartoon Art Museum – $75

Reserved VIP seating (orchestra area) plus gift bag, family membership to the Cartoon Art Museum, and reception with guest presenters – $150

The Castro Theatre generously sponsors this event, with proceeds benefiting the Cartoon Art Museum and theChuck Jones Center for Creativity.

About the Chuck Jones Center for Creativity

Founded in 1999 by award-winning animator and director Chuck Jones, the Chuck Jones Center for Creativity aims to inspire the innate creative genius within each person that leads to a more joyous, passionate, and harmonious life and world. Located in Costa Mesa, California, the nonprofit Center presents exhibitions, lectures, art classes, and film festivals, all of which spring from its collection of Chuck Jones writing, art, and other ephemera. For more information, visit chuckjonescenter.org.

About the Castro Theatre

Built in 1922 by pioneering San Francisco theatre entrepreneurs the Nasser brothers, the Castro Theatre become a city landmark and host to many Bay Area hits including the popular Castro Theatre Sing-A-Long series. For more information, visit castrotheatre.com.

Cartoon Art Museum • San Francisco, CA • 415-CAR-TOON • www.cartoonart.org

The Cartoon Art Museum is a tax-exempt, non-profit, educational organization dedicated to the collection, preservation, study and exhibition of original cartoon art in all forms.

Which Artist's Work Will You Go Home with at the Red Dot Auction?

With just two days left before the Red Dot Auction, we wanted to share with you the stories of the artists who have donated art work (or in some cases, more than one) to this year’s Red Dot Auction. This fundraiser, now in its sixth year, benefits the programs of the Chuck Jones Center for Creativity. Today we feature artist Melissa Phillips. Melissa Mae Phillips (a.k.a., The Cheeky Whale) has been painting, illustrating and designing for nearly 20 years.  She currently lives in Utah with her husband and 2 children. She can be reached via her website wwww.thecheekywhale.com or on all social media: @thecheekywhale.

Will you go home with Melissa's donation to this year's Red Dot Auction? (It's beautiful, sweet, and funny BTW.)  Ticket’s available at ChuckJonesCenter.org/RedDot. Pre-bidding is now available at Heritage Auctions, click here to place your bids

Which Artist's Work Will You Go Home with at the Red Dot Auction?

With just a week left before the Red Dot Auction, we wanted to share with you the stories of the artists who have donated art work (or in some cases, more than one) to this year’s Red Dot Auction. This fundraiser, now in its sixth year, benefits the programs of the Chuck Jones Center for Creativity. Today we feature artist Naylene Justis.Naylene Justis has been fascinated by drawing since she was able to hold a crayon. She has been equally fascinated with silliness, and so cartoons have been a lifelong passion. She studied animation at Cal State Fullerton where she graduated in 2012. She currently works as a caricature artist at Downtown Disney turning real people into cartoon drawings. When she isn’t drawing cartoons or devouring mammoth novels she can often be found volunteering at the Chuck Jones Center.

Will you go home with Naylene's donation to this year's Red Dot Auction? Ticket’s available at ChuckJonesCenter.org/RedDot. Pre-bidding is now available at Heritage Auctions, click here to place your bids