Tag "cartoons"
What Makes MICKEY MOUSE Move? (Apr, 1934)

What Makes MICKEY MOUSE Move?

Illustrated by Walt Disney

Fifty highly trained artists and scores of sound engineers unite to bring fast-moving animated talking cartoons to screen. Here’s how amazing job is accomplished.

by EARL THEISEN – Honorary curator motion pictures, Los Angeles Museum

MAKING Mickey Mouse move is not a mysterious technical process that Walt Disney does behind studio walls. It is an interesting thing that everyone can understand. The methods of animating a cartoon are fascinating. The fact that a hand-drawn picture can show motion is little short of miraculous.

A cartoon studio, in many respects, may be compared with a real life studio. In both they have stars or characters, a story or scenario, a director, and sets. In the Disney studio, the stars are cartoon pictures painted on sheets of celluloid and the sets are not made of wood by a carpenter, but are water color paintings made by an artist. The cartoon director is known as the “layout” man. As the term implies, it is his duty to lay out the story. He does this in the form of rough pencil sketches which serve as a guide for the artists who draw the story action. These sketches illustrate the various things the cartoon character does in the story.

Sound Tricks of Mickey Mouse (Jan, 1937)

Sound Tricks of Mickey Mouse

Squeaks, squawks, oinks and music—it’s another animated cartoon hit set to music in a brand new way. Read how the hay baler joins a symphony.

by Earl Theisen
Illustrated by Walt Disney

MUSIC and noises in the animated cartoon interpret the action of the story. The narrative theme of the music and what is called the “sound effects” punctuates and emphasizes the story.

By playing on the aural nerves with symbolic sounds and noises the psychological reaction of the audience is controlled and varied according to the dramatic and emotional needs of the cartoon story.

Real Scenery for Popeye (Nov, 1936)

Real Scenery for Popeye


LIKE immense slices of pie on a twelve-foot plate, curious miniature movie sets made of clay, wood, sponges, plaster, and cardboard now add new realism to animated cartoons by creating an illusion of depth. In the New York studios where Popeye, Betty Boop, and other famous characters of the screen cartoons come to life, such sets are replacing the flat, sketched-in backgrounds familiar in the past.

The Making of Snow White and the Seven Dwarfs (Jan, 1938)

Snow White and the Seven Dwarfs

A Famous Fairy Tale Is Brought to the Screen as the Pioneer Feature-Length Cartoon in Color


BEHIND the black walls of an air-conditioned Hollywood studio laboratory, the shutter on a strange eight-deck camera flicked open and shut the other day, exposing the last of 362,919 frames of color film. At that instant was completed the first feature-length motion-picture cartoon ever created, one requiring more than 1,500,000 individual pen-and-ink drawings and water-color paintings. Also, at that moment, depth, a sense of perspective and distance hitherto seen only in “live action” pictures, sprang into being for cartoons.

Both the giant camera and the picture had their beginnings in a decision made four years ago by Walt Disney, famed creator of Mickey Mouse and Donald Duck, to produce a feature based on a well-known folk tale. “Snow White and the Seven Dwarfs,” a movie version of Grimm’s famous fairy tale filmed by the multiplane camera, is the result.

Woody Woodpecker and Andy Panda Films (Oct, 1947)


Now Own and Show In CASTLE FILMS
Walter Lantz’s Famous Cartoons

PANTRY PANIC-Winter catches Woody unprepared! He and Tom Cat both starved! Wild kitchen riot ensues ending in a fun-filled climax.
KNOCK, KNOCK-Woodv drills through Andy’s roof! Andy tries vainly to chase him until Woody falls for beautiful decoy pigeon! Hilarious finish!
THE CRACKED NUT-Daffy Woody carves trees into totem poles with beak! Tries it on marble! OUCH! Sees nutty doctor for treatment! Uproarious ending!
THE SCREWDRIVER-Woody’s crazy driving disrupts traffic! He slugs cop and returns in various disguises until cop goes daffy! Laugh-loaded finish!

Dixie Dugan’s Fathers (Apr, 1934)

Dixie Dugan’s Fathers

A MAN is never too young to become a cartoonist. John Striebel, who draws the widely popular “Dixie Dugan” cartoon strip, won national prominence at the age of fourteen when he was recognized as the youngest front-page cartoonist in the country. He was staff artist for the South Bend, Indiana, Daily News, doing a daily current event cartoon on topics of political and local prominence.

During those days young Striebel was a freshman at Notre Dame University in South Bend, and he turned to cartooning as the most congenial means of earning his way through college. Other students faced the same problem, and one day a fellow Notre Dame freshman came into the newspaper office in search of a job. He was a 15-year-old youngster who was promptly hired as an office boy. The two freshmen immediately became fast friends, and out of this early association sprang a partnership which has exerted a powerful influence on comic strip art.

The Making of a “Funny” (Jun, 1940)

Making of a Funny


RESEARCH workers studying the reading habits of newspaper buyers have found out that more people look at the “funny” pages than at any other single section of a newspaper. Yet few cartoon enthusiasts realize how elaborate is the process that brings a comic from the brain and drawing board of a cartoonist through the involved stages of coloring, engraving, mat making, stereotyping, and printing to its final form as
part of a published paper.

How the First Color Cartoons were Made (Jan, 1932)

At Last ~ Movie Cartoons in Color


After years of a successful black-and-white career, animated cartoons are due to take on the additional appeal of color, thanks to the perfection of a process which is explained in detail in this article.

THE first of 13 one-reel animated cartoon comedies in color have just been completed in Hollywood, marking the beginning of a new era in this popular form of entertainment which has already made Mickey Mouse and his cohorts the highest paid actors in the movie world, although they draw no salaries. Ted Eshbaugh, a Boston artist, is the man who has at last succeeded in producing animateds in color.

How Disney Combines Living Actors with His Cartoon Characters (Sep, 1944)

How Disney Combines Living Actors with His Cartoon Characters

UP GOES another character in the Walt Disney Hall of Fame. Out comes another surprise from the Disney bag of tricks. To be specific, Panchito, a Mexican rooster with as much personality as Donald Duck or Joe Carioca, is making his first appearance; and on the screen with him will be live, three-dimensional actors.



WOULD you like to know how the color in a Walt Disney Silly Symphony or in “La Cucaracha” is obtained? Have you ever wondered how a motion picture film, in which each picture is about the size of a postage stamp, is colored so it can be magnified 35,000 or more times and still retain the beautiful coloring of a Silly Symphony?