Eric Larson, one of Walt Disney’s legendary Nine Old Men, was the animator behind the some of Disney’s most memorable flight sequences. From the graceful Pegasus in Fantasia (1940), to Peter and the Darling children soaring over London in Peter Pan (1953), Larson had the impeccable ability to animate any creature.
Walt Disney held many titles during his career—award-winner, innovator, filmmaker—but above all else, he was a master storyteller. From animation to live-action features, Walt believed it was crucial to tell a good story.
Eric Larson, one of Walt Disney’s legendary Nine Old Men, was the animator behind the some of Disney’s most memorable flight sequences. From the graceful Pegasus in Fantasia (1940), to Peter and the Darling children soaring over London in Peter Pan (1953), Larson had the impeccable ability to animate any creature.
In this fun and hands-on session, learn how to make your drawings truly come to life and put your creativity in the spotlight. For artists of all ages, learn step-by-step instructions on how to draw an original cartoon character.
Wolfgang “Woolie” Reitherman, one of Walt Disney’s legendary Nine Old Men, animated many thrilling sequences in Walt Disney’s films. Some of his most dynamic scenes include the prehistoric battle in Fantasia (1940) between the monstrous Tyrannosaurus Rex and Stegosaurus, as well as Prince Phillip’s encounter with the menacing dragon in Sleeping Beauty (1959).
Wolfgang “Woolie” Reitherman, one of Walt Disney’s legendary Nine Old Men, animated many thrilling sequences in Walt Disney’s films. Some of his most dynamic scenes include the prehistoric battle in Fantasia (1940) between the monstrous Tyrannosaurus Rex and Stegosaurus, as well as Prince Phillip’s encounter with the menacing dragon in Sleeping Beauty (1959).
Visit us this summer for an audio and visual immersion into Walt Disney’s classical music masterpiece, Fantasia (1940). Considering how music can be used to tell a story, set a mood, or conjure images in an audience’s mind, educators will produce their own artwork to accompany the sounds of Claude Debussy’s Clair de Lune.
In the animated short Toot, Whistle, Plunk and Boom (1953), Walt Disney and his team of animators, stylized the film with heavy influences from mid-century cubist art. Ward Kimball, a co-director of the Oscar®-winning short, wanted to experiment with the fundamentals of this new world and recruited artists Tom Oreb and Marc Davis to help further the designs of the project.
Walt Disney would bring animals or actors into the Studios for his artists to study in preparation for an animated project. Walt felt live action reference was crucial for an animator to understand the natural movement and design of a subject they were about to animate.
Walt Disney would bring animals or actors into the Studios for his artists to study in preparation for an animated project. Walt felt live action reference was crucial for an animator to understand the natural movement and design of a subject they were about to animate.