“Concept of an Art Corner - Artist’s Alley”

Jack Olsen recalled: “I was in business for myself prior to Disneyland. I was selling art supplies, and one of my clients was the Studio. They wanted a business-oriented person to organize and operate the Art Corner. The fact that I was an artist was incidental.

Ken Peterson was supervisor of animation, and called me to the Studio to talk about Disneyland in Anaheim. I didn't know how long this kiddie park' was going to last, so he introduced me to Walt. Walt took me through all the plans and drawings, and his enthusiasm was infectious. He and Ken hired me, and I reported as soon as I could close out my business. Since Disneyland was still being constructed, I temporarily went on the board, as they say in the artist's world, and I worked with Ivan [sic] Earl on some background for Sleeping Beauty.”

Disneyland® Park was “much less complete. Opening actually lasted about a year. Disneyland then was not a Division, but was Disneyland, Inc., and I represented the Studio as a lessee."

By July 1, 1954, George Whitney of Disneyland, Inc. directed Amusements, with Ron Miller overseeing analysis, philosophy, capacities, planning, operator training, and amusement procurement. Both George and Ron were influential in development of Artist’s Alley at this time. Artist’s Alley (operated by Disneyland, Inc.) was originally located “off the Central Plaza” (between The Red Wagon Inn Restaurant and the Plaza Apartments), before temporarily setting up on West Center Street. At the Art Gallery and Photo Studio, guests could either have their portraits drawn, or take fun commemorative photographs.

Then, the location between the Plaza Apartments and Red Wagon Inn was home to the “Disney Artists Exhibit.” Animated shorts and feature length films produced by the Walt Disney Studios had long-since fascinated and captivated audiences for decades. Now, Disneyland audiences could observe some of the very drawings which gave the illusion of movement when flipped or photographed and projected.

According to The Disneyland News, oil and watercolor paintings by some of Walt Disney Studio’s 500 artists was on exhibition. Four Walt Disney Productions layout artists (Walt Peregoy, Fil Mattola, Bill Mahood, and Bruce McIntyre) spent some days drawing Guests. Peregoy had just finished layout for the story of “Washington Irvings” and “Goff’s Success Story” while Mattola had just completed background work for “The Lady and the Tramp.” For a sample of Peregoy’s work during this time, see the Disney History 101 Market House Vintage View Gallery.

According to Dave Smith (Chief Archivist Emeritus of the Walt Disney Archives) “there was the Art Gallery and Photo Studio on Main Street U.S.A. from 1955 to 1959. Beginning in 1957, the shop offered plywood cutout flats behind which you could pose.” [Disney Facts Revealed by Dave Smith, 2016] The scope of merchandise included Artist's sketches, souvenirs, Disney character items, arts and crafts, and a comic photo studio. By January 1, 1958, the 984 and 655 square-foot parcels (accounted among Main Street Building #500) were still occupied by Walt Disney Productions, and dedicated to the sales of photos, arts, and music.

Guests were free to use their own kids and their own cameras at these Photo Spots. These Photo opportunities were stationed around Central Plaza, courtesy of the Art Corner!

It looks like someone's in the "dog house"! Just in front of Artist’s Alley guests could take their photograph with some of their favorite stars from Walt Disney’s feature films and shorts.

And sometimes guests could pose as their favorite Walt Disney characters!

The lyric "…killed him a bear when he was only three” comes to mind with our next subject. Guests of all ages could act out their fantasy as they were transformed into the legendary Davy Crockett - “King of the Wild Frontier”! “The Disneyland News” published October of 1956 advertised this attraction in complimentary copies of the Disneyland periodical, referring to these photo opportunities as “picture sets” and this location as the “Artists Corner at the end of Main Street.”

All of these photographic-based attractions “drew” crowds toward the Artist’s Alley until the end of its operation!

Once the Main Street Flower Market moved in, the artists moved out of the alley, in need of another area to which they could relocate. Though it would be another decade before the Artist’s Alley temporarily “popped up” again on Main Street U.S.A., the artists would soon find another home. Not far away, the original Art Corner was situated on the East Plaza (next to the Red wagon Inn).

*Some sources state October 1, 1955

A few months after Disneyland held its Grand Opening Day ceremonies, the Tomorrowland Art Corner (operated by Disneyland, Inc., under the supervision of Jack Olsen) opened its doors to Guests! As you will see, it was much more than “a bunch of guys bending over drawings” (something that initially deterred Walt from opening the Studio to public tours). The Tomorrowland Art Corner at Disneyland would create tangible memories Guests through it’s Merchandise and Show.

“Construction”

After the American Dairy Association departed the exhibit space, the area (with restrooms in rear) was remodeled to accommodate the “Fun Foto” Gallery. According to Disneyland, Inc. Job #032-50-34, the new area included “crowd controls, new cut-out foto boards, a platform, steps, and other miscellaneous work.” First, design of Fun Foto Shop and the design and construction of cutouts was performed by the studio (at a cost of $565.09) and WED (at a cost of $104.10). Next, Construction of the space was performed by Disneyland (at a cost of $1,121.40) and WED (at a cost of $483). A “moving clubhouse” was constructed by the studio (at a cost of $39.34), work on cutouts was performed by the studio (at a cost of $2,299.67), and minor work on photo cameras was completed by both Disneyland and the studio. After Studio and construction overhead and a minor charge to a subcontractor, the cost to Disneyland, Inc. was $6,409.09.

The exhibit was accounted among Rental Income, Merchandise Sales, Management Fees and Direct Expenses and yielded revenue for Disneyland, Inc. - $17,643 for the fiscal year (52 weeks) ending September 29, 1957 and $14,507 for the fiscal year (52 weeks) ending September 28, 1958.

By 1959, Joe Fowler (Disneyland Operations Committee) oversaw the Construction & Maintenance division including Engineering, New Construction, Maintenance, and Janitorial. By September of 1958, an appraisal of Disneyland “land improvement” assets valued the Art Corner at $396,026. Soon (by October of 1959), an appraisal of Disneyland included was conducted an itemized list of improvements to buildings and equipment. This list mentioned a “purchase of Art Corner” among Direct Purchases at a capitalized cost of $13,209.00. The list also mentioned a “purchase of photo + art gallery” at $9,384.62, “arts + crafts” at $7,812.00, and “art corner equipment” at $7,969.00.

The location of The Tomorrowland Art Corner (with its Streets of Paris) can be readily seen on this Disneyland Map excerpt (pictured above), which was published during the 1960s. Guest Services and Accommodations included telephones in the rear of Art Corner Building.

Underneath the colorful facade of the Tomorrowland Art Corner, Guests could “window shop” the colorful displays, before heading toward the Central Plaza, through the Tomorrowland Mall.

Displays communicate to guests the essence of a shop and we’re designed to invite guests into the store. These may be animated or still and would also include props used for display purposes. This close-up of the Tomorrowland Art Corner window displays reveal just some of the merchandise, including a “Paint For Fun” Kit, a Sam McKim Disneyland Wall Map and a souvenir Mark Twain Transistor Radio. A wide variety of art supplies were available for purchase as early as 1955-1956, including Hollywood Makeup Brushes, Water Color Brushes, Artist’s Soft Pastels, Oil Pastels, Art Corner Berets, Light Weight Sketch Easels, Table Easels, Blackboards, Disneyland Coloring Books, How to Draw and Paint Books, Imprinted Ball Point Pens, Artist’s Souvenir Palette with Water Colors, Walt Disney Animation Kits, Disneyland Drawing and Writing Pencils, Pencil Sketching Sets, and Walt Disney decals. As was the case with most merchandise locations, general merchandise like KODAK film was also available. One of the most unusual pieces of merchandise offered through The Art Corner was mentioned briefly in the pages of “The Disneyland Dictionary” (printed October 1959): “Disneyland has even led WDP into growing oranges on property not yet used by the ever-expanding park and into brewing a perfume to be sold at the Art Corners.” Unusual, indeed.

By this time, all art work, posters, etc. were produced at the Walt Disney Studios.

Upon making their way to this part of Tomorrowland (and entering the Tomorrowland Art Corner), Guests emerged onto the “Streets of Paris” for an “imaginary trip to a complete Parisian Art Colony”!

In the postcard image below, note that the store had two separate types of lighting: Character lighting, and functional lighting. Character lighting was themed to the store to enhance the overall appearance and complement the interior, placed in correct motif. These added to the show, but didn’t necessarily create enough illumination for operation. Functional lighting on the other hand, offered substantial light without being obvious, or distracting from the show.

“The Art Corner - Pictures and Art Supplies”

Here, “famous Disney artists are at work,” according to “News From Disneyland” (a press release document, published 1956). Disneyland guests could have either their caricature or portrait drawn “in full pastel color” in about seven minutes. The choice of a “Profile” (priced at $1.59) or “3/4 or Front View” (priced at $3.39) was offered, complete with mailing tube, capable of shipment to anywhere in the United States or Canada. Once complete, these 12”x16” works of art were “suitable for framing,” according to catalogues.

“Disneyland LINE Employee Newsletter” (Wednesday, November 8, 1972) spotlighted just one of the Tomorrowland Art Corner’s artists - Betty Bell (of Merchandising)! The article shared Betty’s unique contribution to the Disneyland Show: “Betty started her career with Disneyland, January 3, 1957, as an artist at the Art Corner…under the supervision of Jack Olsen… During her 15 years as an artist in Merchandising, Betty has drawn portraits in pastel for such people as : Alan Funt, Lucy Johnson Nugent, many foreign dignitaries, and many more celebrities which she can’t recall. Betty is also well known for her oil portraits and some works of sculpture, which she does in her spare time.” There were many other artists that created Disney magic, like Edith Pruitt and Al Mayton (another Caricature Artist), the latter was privileged to create a caricature of Gomer Pyle (Jim Nabors) on a c. 1965-1966 visit to Disneyland.

As much as the artists supported the show, Disneylander area merchant Art Corner was occasionally a sponsor of DRC activities as when the championship Disneyland baseball team competed in the Southern California Municipal Athletic Federation Major League Tournament of 1957.

The unique merchandise of the Tomorrowland Art Corner was simply described in “A Complete Guide To Disneyland” (c. 1957) as “pictures and art supplies,” while “Walt Disney’s Guide to Disneyland” (of 1961) describes the merchandise as simply “pictures and imported gifts.” But the Tomorrowland Art Corner merchandise was so much more! Disneyland Guests (and aspiring artists) could purchase an array of art and crafting supplies. Art Corner Pencils (with a variety of led), and Disneyland Jumbo Crayons (in “eight quality-smooth colors”) were guest favorites (with low retail prices).

There were also many unique drawing and animation-related items (including character themed merchandise). Of these made available for purchase were, flip books (featuring specific characters), postcards with lenticular “animated” features, Disneyland “Squeaking” Squeak Postcards, Strathmore Magic Slates, lenticular “Animated” I.D. Key Tags, lenticular Animated Badges, and of course “Streets of Paris” souvenir postcards (like the one pictured above), and postcards starring Walt Disney’s cast of characters (seen below)!

“The Art Corner store located at Disneyland Anaheim, California is the headquarters for the artists of the Walt Disney Studio when they are at the Park. Disney artists have designed many of the items for sale at the ART CORNER as well as the display sign of Mickey Mouse shown on this card. Visit us on your next trip to Disneyland.”

Just outside the mining town of Rainbow Ridge sat the boarding station for the pack mule train. Now, there were “three wonderful ways” to enjoy the Painted Desert at Disneyland.

This is a Walt Disney Artist's conception of a section of FRONTIER-LAND in Disneyland, featuring the awe inspiring Mine Train Ride, the exciting Stagecoach and Mule Pack Rides, where one can journey through the many fantastic sights of the Rainbow Desert and Rainbow Mountain areas, returning with a view of the famous Mark Twain River Boat and Tom Sawyer Island.

Note the Disneyland Spaceport and Rocket behind Mickey.

There was much Disneyland and Walt Disney character merchandise offered through The Art Corner. These pieces of merchandise were decorated with the likenesses of the Disney Characters and/or any of the Disney corporate names or logos, generally through a licensing agreement.

Animated Key Tags & Badges were manufactured by Pictorial Productions of New York and featured favorite Walt Disney characters in full color and motion. By 1959, Tags retailed at 15¢ and Badges retailed at 25¢.

“Walt Disney [Disneyland] Flip Books” (below) also managed to capture the “art of animation” in one small souvenir. Your favorite characters “came to life” with this “wonderful toy”, while demonstrating “the principles of animation”.The boldly colored covers of the Flip Books were altered over the years they were sold at the Park, but their content was mostly maintained. Other Flip Books featured Chip carrying peanuts, Chip n Dale, Pluto running, Donald Duck using a mallet, and Mickey Mouse swinging a rope lasso (while seemingly all decked-out for Talent Round-up Day).

A selection of publications were available for purchase, including Stamp Books (in case Guests would like to drop a postcard into one of the Disneyland mailboxes), current and back-issues of Walt Disney’s Mickey Mouse Club Magazine (which often featured a “How to Draw” Disney Characters section), and even non-Disney-related drawing guides (on Trees, Cats, and Figures). The “‘Chalk Talk’ Sketch Pad” featured characters “outlined in blue - ready for you to draw”, helping artists “draw the well known Disney characters in correct proportion and expression”. One of the most-memorable guides was the 16-page “Walt Disney’s Tips on Animation,” described as a “fully illustrated book of invaluable tips and suggestions on the art of animation, compiled by a group of Walt Disney’s top animation artists. Designed as a part of the new Walt Disney Animation Kit, it will be helpful to anyone interested in the principles of animation.”

Now, “Disneyland is a place to have fun… and with the fun it is a place where you can learn,” according to “Disneyland, U.S.A.” (published 1958, for potential Participants). This being the case, there was an abundance of instructional guides offered at the Tomorrowland Art Corner!

“How To Draw” guides (teaching the fundamentals of drawing trees, animals, or humans) could be found on one of the central displays. Of course, the most popular of these publications were the “Walt Disney Character Model Guides” (a series of “How-to-Draw” books) which were a high-volume seller with aspiring character artists of all ages, and released through the Tomorrowland Art Corner. The publications focused on proportions, forms, and “character” of individual characters, like Mickey Mouse, Donald Duck, Pluto, Jiminy Cricket, Chip and Dale, and Goofy. The publications also featured the following forward - “a word from Walt.”

“This model guide is in response to the many requests we have received, asking how we draw our cartoon characters. It is not a toy - but the actual model sheets used every day by the artists at our studio. Study the basic proportions and then use your own ideas in creating new poses and expressions. Remember that while copying is often helpful in learning to draw, the true artist must do original work.

Sincerely, Walt Disney.”

Speaking of Walt Disney, there were also current and recent back issues of the popular “Walt Disney’s Magazine” available for purchase.

“The Art of Animation” souvenir publication is of honorable mention, published two years before “The Art of Animation” exhibition opened in Tomorrowland. The colorful contents of this publication divulged the artistic process of developing and producing Walt Disney’s animated feature-length film Sleeping Beauty.

Another popular souvenir were the large maps of Disneyland, drawn by Park cartographer Sam McKim.

By 1958, Sleeping Beauty, was a cartoon epic currently in the WDP works. The 70-or-so-minute film was already three years in the making, and wouldn’t hit theatre screens until Christmas of 1958. But the fairy tale was already paying off for Disney.

Another Disney department, merchandising licensing, had gone to work on Sleeping Beauty, lining up toy makers, garment producers and others interested in making articles based on Sleeping Beauty characters. Disney actually didn’t make any of this merchandise; but it will collect 5% in royalties from the wholesale price of each item, with a usual guaranteed minimum of $5,000 per year per product, or line, payable in advance.

Sleeping Beauty's build-up treatment on the publishing front included various versions pouring into the nation's bookstores, using Disney characters and artwork, and the plans for special adaptations of the story for TV viewing followed by WDP’s phonograph record division spewing forth platters based on music from the film, and about six weeks before the movie was released, the Studio’s comic strip artists launched the Sleeping Beauty story in Disney’s own syndicated newspaper cartoon strip, the widely circulated Treasury of Classic Tales.

Meanwhile during 1958, publications like the above souvenir and the 186-page “Walt Disney: The Art of Animation” by Bob Thomas showcased the awakening of Sleeping Beauty through the lively animated art form.

As a sidelight, this was not the first time that the animation celluloid paintings of Walt Disney’s licensed characters were sold as art. Back in 1938, Guthrie Courvoisier made a special arrangement with Walt Disney, which enabled him to sell the celluloid in-betweens from the production of Snow White and the Seven Dwarfs (and Silly Symphonies) through his Courvoisier Gallery in San Francisco. The hand-painted celluloids came with a hand-painted background created for each piece by Walt Disney Studio artists.

Then, there were the “Walt Disney ‘Originals’” - both (hand inked and painted) cartoon drawings and transparent animation celluloid slides (called “cels”) once utilized in filming recent Walt Disney pictures. Each one varied slightly as they were shot (at a standard rate of 24 individual pictures per second) in order to give the illusion of movement. These pieces were “not copies, transfers, decals, or duplicates of any kind - - but the actual hand painted artwork done individually by the artists at the Walt Disney Studio in Burbank, California.”

According to one c.1959 Walt Disney Productions Organizational Chart, Studio fan mail filled out the mailing list for the catalogue. Some popular character “originals” that were kept in stock during the era, included the characters of Mickey Mouse, Ludwig Von Drake, Goofy, Donald Duck, Jiminy Cricket, and the cast of Lady and the Tramp. “Attractive mattes and frames” to “protect from moisture and extra handling” (as well as suit an individual’s color schemes) were available for guest’s convenience. All of the “Walt Disney Originals” sold through the Tomorrowland Art Corner were labelled with one of the preceding stickers on the back of the matte. While the “Walt Disney Originals” are highly sought-after by collectors today, they were esteemed of such low-value at the time, that according to one source, “designer Malcolm Cobb was told to sort through the cels, and throw away any he thought were not worth a dollar.” Much photographic evidence even proves that some of the artwork was even displayed in the windows of the Tomorrowland Art Corner.

Usually one transparent sheet of celluloid was offered for sale. These featured inked traced animation drawings of characters onto cels. These were painted on the reverse.

But occasionally, cel setups were offered (with one to four cel layers and even a background). It was encouraged to protect this mated and framed, hand-inked and painted cartoon Original drawing from “moisture and excessive handling.”

If you did not wish to carry your portrait with you, it was possible to have it sent (in a shipping tube) to a designated mailing address. The “Originals” were sold in an “attractive souvenir envelope and stiff backing to make for easy mailing.” As Guests would often purchase “Originals” for themselves, friends, and family members, The Disneyland Art Corner shipped anywhere in the United States. As a sidelight, by October 1959, Jim Baker (of Merchandising) was overseeing the Disneyland Souvenir Sales and the Mail Order Department. By 1960, Ann Trumbo was Mail Order Department Head Supervisor.

Insurance Companies of North America (sponsor of Carefree Corner and the future America Sings attraction) sponsored a promotion (from September 1 - November 30, 1959) in conjunction with the Tomorrowland Art Corner! Walt Disney Production “Originals” (artwork used in television or film production) were given away to select guests who participated. These special “INA Spotlight” labels were placed on the back of those few selected “Originals”, indicating their limited nature and verifying their authenticity.

Once purchase was complete, “Walt Disney Originals” (and other Disneyland souvenirs) were secured in bags bearing the familiar Art Corner logo!

This Art Corner Souvenir Paper Bag is large enough to hold a great deal of Art Corner Souvenir Postcards and “Walt Disney Originals” inside.

In 1958, the former ADA area of Tomorrowland was remodeled in 1958, to accommodate a new “Fun Foto” gallery. At the total cost of $6,409.09 to Disneyland Inc. (and WED & the Studio), crowd controls, new cut-out foto boards, a platform, steps and other features were designed and constructed.

According to documents prepared 1958-59, the Fun Foto Shop was charged for “cutouts” “erroneously” included on another Disneyland Inc. Job (#032-50-32; Music Store Revisions).

Soon, this Disneyland souvenir destination popped up in Tomorrowland. “The Photo and Art Gallery has life sized cut outs of both” Roy Williams and Jimmie Dodd, in addition to “Disney Characters and cartoon adaptations of Disneyland settings and themes,” according to one article of “The Disneyland News.”

Originally located between Ellen’s Gift Shop and Eastman Kodak’s Camera Shop, Disneyland Guests could commemorate their love of Walt Disney’s Characters (and their visit to Disneyland), through one of the Photograph “Stand-In” opportunities at the Photo and Art Gallery.

Did you ever climb the Matterhorn? Many a guest has ascended Disneyland’s own Matterhorn with the help of these dated Souvenir Photos! According to Dave Smith (Chief Archivist Emeritus of the Walt Disney Archives) “the operation [Art Gallery and Photo Studio] moved to Tomorrowland, from 1959 to 1967 ; it was first known there as Photo Gallery, and then Fun Photos.” [Disney Facts Revealed by Dave Smith, 2016] At one time, the price of such a souvenir photo was $1.

As you can see, photographic proof of such hallucinations was captured by many a guest, who desired to take a “Living Mermaid from Mythical Times” home with them. If you missed your opportunity above the reef of the Front Lagoon, the neighboring Fun Photos (inside Tomorrowland’s South Exhibition Hall) offered this fun alternative!

A few years later, similar imagery (to that of The Photo and Art Gallery) was adapted in one CirCARama Theater Post Show.

When he wasn’t coming up with gags for short films or producing illustrations for Backstage Disneyland magazine, Roy Williams was often cast in “roles” to produce/present the DISNEYLAND Show. He (and his trusty steed) once marched in the “Disneyland ‘59” pageant and parade, and he even portrayed Santa Claus (for one mid-1960’s Christmas event held at the Park). However, when visiting the Park on a typical day, Roy could regularly be found “quick on the draw” while under an umbrella on Red Wagon Inn’s patio. Young Mouseketeers would seek out the “Big Mooseketeer” in search of an “original” Disneyland souvenir. Roy’s solution was to create a few funny faces (and sketches) for his young admirers.

Roy Williams stops by the Plaza Pavilion in order to make Disney magic for a group of young Guests, and draw their favorite Disney characters (like a drawing of Mickey for little Sandy)!

Roy Williams is most known for producing drawings during skits and musical segments of television’s The Mickey Mouse Club. Roy also “fathered many of Disney’s best laughs,” according to Reader’s Digest (published 1941). But did you know that you could periodically find Roy Williams doodling at the Tomorrowland Art Corner during the “heyday” of Disneyland? Yes, in his distinct style, Roy would draw quick sketches of Mickey Mouse and friends on the “Original” stationary. These drawings were among the souvenir Disneyland “Originals” that guests could take home!

As to the art produced, according to catalogue descriptions, the “Souvenir Disney Character Cartoons” were a “black and white ‘quick sketch’ souvenir cartoon drawn by a Walt Disney artist at the Art Corner in Disneyland.” In most instances, the artists would further inscribe the drawing with “a salutation of your choosing.” Catalogues listed the characters available: Pluto, Dopey, Dumbo, Jimmy Cricket, Pinocchio, Goofy, Practical Pig, Donald Duck, Scrooge McDuck, Daisy Duck, Peg-Leg Pete, and Butch the Bulldog. These were typically priced at 50 cents each.

At times, the artists would run out of the “originals” paper with the Disneyland logo on them. But that wouldn’t stop artists like Roy from sketching gifts for Disneyland’s guests.

“STEVE VOSBURG REMEMBERS MEETING ROY WILLIAMS” - “A shot of Roy with my Brownie 2 camera. One time my mother and I were having lunch in the employee's cafeteria and Roy was sitting across from us at another table. After a few minutes he got up and came over and gave us a sketch he drew of my mother and I on a little three-by-five pad. It showed in cartoon form of my mother and I sitting at the table-- me with horns and forked tail!”

It had been more than 30 years since Roy Williams had been “assigned the full-time job of designing insignificant for army, navy and ai units”. Now, while the Tomorrowland Art Corner was being replaced by the Tomorrowland Stage, Roy Williams (the “Big Mooseketeer”) continued to make artistic contributions toward Disneyland Backstage magazine, and quick drawings for guests, until his passing on November 7, 1976. One of the last Press photos taken of Roy at Disneyland, is this photograph taken during Disneyland’s salute to America’s Bicentennial Celebration (pictured above). We imagine that his favorite tables at the Plaza Inn were full, as Roy was sitting at a table near the Canals of Storybook Land!

After Tomorrowland received a major overhaul in 1966, the Fantasyland Art Corner opened (appropriately, in an actual corner of Sleeping Beauty Castle Courtyard) near the Fantasyland Theater. The location of the Fantasyland Art Corner can be seen in this Disneyland Map Excerpt (published during the 1960s).

Guests could watch one of Walt Disney’s animated short films, and then head “around the corner,” to purchase a Walt Disney “original” used in production.

Photo opportunities advertised The Art Corner at various locations on Main Street U.S.A. These Photo opportunities allowed guests the chance to appear in scenes with their favorite characters from Walt Disney Productions’ short and feature-length films.

The Art Festival was also used as the scene of Grad Nite Photo Locations (at least) as far back as 1963.

During the construction of New Tomorrowland, the artists of Art Corner were relocated (near their original location) on Main Street U.S.A. The reason, was that New Tomorrowland did not include a place where guests could have their portraits were drawn, nor a place where Walt Disney “originals” could be purchased. During its construction, this was the scene as one turned down Artist’s Alley - rows of Disneyland’s finest artists ready to draw your portrait for $1.50!

During the 1960s and 1970s, the temporary Main Street Art Festival attraction was located on East Center Street, along Main Street U.S.A. Here guests could have their profiles drawn in pastel, or have a silhouette cut at the Silhouette Shop. The aforementioned Art Corner artist Betty Bell (of Merchandising) reached her 15-year anniversary (and 150,000th portrait) while at the Art Festival!

“Disney Master Illustrator” Charles Boyer (the hand behind some of the artwork featured in “Backstage Disneyland” Magazine and many amazing lithographs of a Walt-era Disneyland) got his start as a portrait artist in Fantasyland and on Main Street U.S.A., before moving on to Disneyland Creative Services. Chuck Boyer would serve as an Art Director for Vacationland Magazine (published three times a year, including the landmark year of 1965). His artwork would also be featured on posters and prints (available in limited quantities, to both Cast Members and the public) and even on Complimentary Passports. Some limited edition lithographs would be offered through The Disney Gallery (what I like to think of as somewhat of a “spiritual successor” to the Art Corners).

On that note, one of my personal favorites of Charles,’ was his “Fond Memories” featuring Davy Crockett, Mickey Mouse and young guests waiting for an autograph. The limited-edition (600) release was modeled after Fess Parker (with the assistance of one of his fellow Disneyland family members, Anthony Serna) who was kind enough to assist Charles, and was released through The Disney Gallery as a limited edition lithograph c. 1995, retaining originally for $195.

Celebrity portraits were a common sight above artist’s easels. Such well known VIPs as Marvin and the Vic Damones of Hollywood, Governor Nelson Rockefeller and family have had their caricatures drawn. One-time manager Jess Rubio, recalled having the opportunity to draw Walt Disney in 1963.

Walt Disney has (by nature) always been an experimenter, creating new ways to tell stories and developing his medium. During the 1920s, Walt was always looking for that intangible “something new.” Walt Disney startled the world in 1928 with “Steamboat Willie” the first cartoon with sound. Another landmark was the combining of cartoon characters with live actors on the screen, as seen in the Alice Comedies and Walt’s soon-to-be released Mary Poppins. By 1960, Disneyland audiences were well acquainted with a revolutionary form of entertainment which Walt called Audio-Animatronics ®. This three-dimensional art form of animation did not just materialize, but was partially inspired by Walt & company’s two decade-long expression and perfection of the “Art of Animation” which was still developing and being perfected during the late 1940’s and throughout the 1950's.

By November 1940, the historic first major showing of artworks prepared by Walt Disney Studios went on display when Los Angeles County Museum partnered with Walt Disney Productions to host the “Disney Retrospective Exhibition”. This exhibit allowed countless enthusiasts of Disney’s expressive medium to observe the fascinating methods of procedure that go into the creation of a Disney film.

Publications also acquainted enthusiasts with the Disney medium. For instance, by July 20, 1955, Don Graham had written The Art of Animation for Walt Disney Productions.

Now by the time Space Station X-1 had been removed, a new show was being master-planned. For now, amidst Disneyland’s first Memorial Day festivities ever held, Walt Disney’s The Art of Animation Exhibit (May 25*, 1960 - September 5, 1966) opened, inviting guests to “see how Walt Disney artists create famous animated motion pictures,” [some sources cite May 28th as the opening date]. The Disneyland Diary referred to this exhibit as “an entertaining and informative display tracing the history and development of motion picture animation.” This was accomplished by granting Guests an opportunity to see the stunning museum quality “originals” once used in the production of memorable Walt Disney Productions films. Cels and drawings from short films (starring popular characters like Goofy, Donald Duck, and Humphrey Bear) were on exhibition, as were intricate cels and drawings created for feature-length films (like Fantasia, Bambi, and Snow White and the Seven Dwarfs).

Museums didn’t generally classify animation production work as art. But Walt Disney’s The Art of Animation Exhibit helped guests gain a heightened appreciation for the fine art of animation, seeing both the works and the skillful craft involved, in a whole different “light”. As Guided Tour Groups would pass the exhibit hall (c. 1962), their Disneyland Tour Guide would share : “Here is the Art of Animation where you will see the various stages in the development of animation from the beginning of time to the very present. This exhibit will give you an idea of how Mickey Mouse and the whole Walt Disney tradition was born. It takes three years to produce a full-length cartoon feature. Here Disney artists and characters alike combine to show you the technical processes necessary for such an undertaking. You will also have an opportunity to meet the latest Walt Disney character - Ludwig von Drake!” The latter was accomplished by the addition of an Art of Animation Projection Booth.

Media (above) depicted the Flying Saucers while another page teased: “Walt Disney and his ‘imagineers’ at WED Enterprises - the team that created Disneyland and four major shows at the New York World's Fair--are now at work on the boldest, most ambitious of future developments: design of a New Tomorrowland. To research ideas for this exciting project (scheduled to open in Summer, 1967) Walt and his creative staff visited Houston, Huntsville and Cape Kennedy, discussing the latest Space Age wonders with America's astronauts and scientists -including Dr. Werner Von Braun. In New Tomorrowland, guests will experience the sensation of racing through distant space. A towering structure will serve as spaceport and theme center. And a unique new ‘People Mover,’ the WEDway, will carry guests on a scenic tour - even weaving in and out of new exhibits by some of the foremost companies in American industry.”

Walt Disney’s The Art of Animation (located in Tomorrowland’s north Exhibit Hall) was not only one of the main attractions near Hobbyland, but the centerpiece of art-related attractions in Tomorrowland! It stood between the Tomorrowland Art Corner (where guests could purchase Walt Disney “originals” as well as art supplies), the Streets of Paris (where guests could have their portrait drawn), and the Caricatures Stand!

The exhibition was one of three which had toured the United States in 1959 to promote the newly released Sleeping Beauty. One of the exhibits toured Europe, another travelled to Japan, and a third was installed in Disneyland, U.S.A.! What could Disneyland guests expect? According to Vacationland magazine (Fall, 1960 ; page 4) : “The Art of Animation gives life and movement to a still picture or a series of pictures.” Disneyland LINE later commented on the memorable exhibits displayed -the “step-by-step” process of creating animated feature length films, story development, production design (including the actual drawing and inking of painted cels). The multiplane camera was also explained and “its use in enhancing depth perception”. “The tour ended in the “animation circle” which offered scenes from several Disney classics, from Steamboat Willie to Sleeping Beauty and the then upcoming 101 Dalmatians. The other two exhibits were eventually donated to museums in Munich and Tokyo, while the Disneyland version was completely dismantled and when the attraction closed in 1966.”

By 1960 and 1961, the exciting, two-hour Guided Tour of Disneyland Tour included a delightfully engrossing look at the marvelous Art of Animation show.

“The Art of Animation” highlighted the significance of animation as the new graphic art of the modern time and its profound effect on the way people see and respond to things.

By the October of 1962, The Art of Animation was operating 6 hours during weekdays with longer hours on weekends. This was common during winter operating schedules.

This Vintage View gives an idea of the sheer size of the lengthy Tomorrowland North Exhibit Building that temporarily housed Walt Disney’s The Art of Animation. Tinted glass paneling allowed for plenty of natural light during the daytime.

To the right of the entrance to Walt Disney’s The Art of Animation, was a stand where guests could have their caricatures drawn. This was separate from the Streets of Paris, where guests could have their portraits drawn.

The entrances were lined with familiar and inviting characters - Bongo the Bear, Goofy, Humphrey the Bear, Mickey Mouse, Br’er Fox, and many other recognizable faces!

The Art of Animation ran contemporaneous with two other walk-through attractions - 20,000 Leagues Under the Sea and Sleeping Beauty Castle.

The “Ride Operating Schedule” effective October 3, 1962 described the attraction having a 6-hour operating day and 1,200 Guest capacity (during winter weekdays, weekends, and maximum days. Despite the hours of operation and capacity, the attraction rarely reached its peak. Dick Nunis (in an Inter-Office Communication dated July 19, 1961) divulged : “Our experience from guest reaction has been that walk-thru attractions have a low appeal.” Notwithstanding this fact, the exhibit was still never accounted as one of Tomorrowland’s free exhibits, with its admission was valued at the price of a “B” Coupon (ranging in price from 20¢ to 25¢).

The never-to-be-repeated Disneyland exhibit continued in operation until the construction of New Tomorrowland. By the time Art of Animation closed its doors (on May 5, 1966), a grand total of 4,638,321 guests had experienced the exhibit, according to one Disneyland Admission Media Rides and Attractions Report [prepared in April 1971, by Disneyland Research Department]!

The Art of Animation name lives on through attractions featured at Disney Parks worldwide. For instance, Art of Animation at Hong Kong Disneyland is a celebration of Disney and Disney-Pixar animation.