From the graphic simplicity of Baseball Bugs to the graphic complexity of Hollywood Daffy, this is one of my favorite bunches of Looney Tunes and Merrie Melodies title cards. So few of the title cards feature characters in their designs and yet almost all of them stand out because of the unique nature of typography from card to card and the fantastic attention to detail featured in each painting. Even the more basic title cards such as Rabbit Transit—with its wonderful lettering and textured background—and Slick Hare—with its neon-inspired type—stand out as examples of great design by way of simplicity.

In a sea of character-less title cards, Kitty Kornered really stands out. And it should. It’s Bob Clampett’s final Porky cartoon, Porky’s first appearance with Sylvester, and the end of the era of wacky Porky shorts (audiences who grew up watching Looney Tunes in syndication will have no idea that this version of Porky cartoon even exists unless they’ve actively sought out Looney Toons beyond those that were on TV).

Bacall to Arms is a fantastic display of the Termite Terrace’s penchant for honoring or satirizing (often at the same time) the Hollywood stars, especially those that worked for the same parent studio. Lauren Bacall had appeared in only two films at the time of this toon’s production, so it has been speculated that this short was made as a way to help promote The Big Sleep which hit theatres just two weeks later. The toon itself is pretty forgettable due to its lack of cohesion—director Bob Clampett never really finished it before quitting the studio, and the film was haphazardly put together in his absence. Still, it’s got a great title card.

Take a closer look at the title card for Hair-Raising Hare. Look familiar. It should, as it clearly takes design inspiration from 1942’s The Hare-Brained Hypnotist.

If you like these images, take a look at my previous post of Looney Tunes & Merrie Melodies title cards:
1948-49
1950-51