Michael Sporn Animation – Splog

Back in the earliest days of animation, the animation workers were pleased just to have something move close to the way they imagined. If a four legged animal actually moved like a four legged animal, they felt thrilled to the nth degree and didn’t worry about much beyond that point; It was basic and fulfilling especially when those basics got them excited.

In the earliest days of the Thirties Walt Disney had approached and teamed up with the head of the Chouinard Art Institute in LA., and Disney’s ongoing conversations with art instructor, Don Graham, and his assistant, Phil Dike, al1 about the art form and where it might be heading created high expectations; those Action Analysis Classes, and they sought ways they could help each other. Within a short time Graham had set up a series of classes for extracurricular activities at the studio. The finest of their animators would offer Action Analysis classes were offered after work hours for free, and the studio personnel concentrated on their own improvement as artists. Likewise another set of classes were set up to study the background design and layout of the films. Out of this group came some of animations’ most important designers and stylization artists: Ken Andersen, Phil Dike, Tee Hee. The Disney studio hired a number of great European illustrators just to do inspirational work which would help hem build models for the early features (Snow White, Pinocchio) and some of the Silly Symphonies. People like Albert Hurter and Gustaf Tenggren (who continued to make a living in the States doing illustrations for Little Golden Books. Gaining fame for the The Poky Little Puppy, his largest creation.

Back in the earliest days of animation, the animation workers were pleased just to have something move close to the way they imagined. If a four legged animal actually moved like a four legged animal, they felt thrilled to the nth degree and didn’t worry about much beyond that point; It was basic and fulfilling especially when those basics got them excited.

In the earliest days of the Thirties Walt Disney had approached and teamed up with the head of the Chouinard Art Institute in LA., and Disney’s ongoing conversations with art instructor, Don Graham, and his assistant, Phil Dike, al1 about the art form and where it might be heading created high expectations; those Action Analysis Classes, and they sought ways they could help each other. Within a short time Graham had set up a series of classes for extracurricular activities at the studio. The finest of their animators would offer Action Analysis classes were offered after work hours for free, and the studio personnel concentrated on their own improvement as artists. Likewise another set of classes were set up to study the background design and layout of the films. Out of this group came some of animations’ most important designers and stylization artists: Ken Andersen, Phil Dike, Tee Hee. The Disney studio hired a number of great European illustrators just to do inspirational work which would help hem build models for the early features (Snow White, Pinocchio) and some of the Silly Symphonies. People like Albert Hurter and Gustaf Tenggren (who continued to make a living in the States doing illustrations for Little Golden Books. Gaining fame for the The Poky Little Puppy, his largest creation.

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