![]() ![]() Iwerks' final Mickey Mouse cartoon would be 1930's The Cactus Kid. Iwerks went on to do much of the animation for the early Mickey Mouse and Silly Symphony cartoons, including Steamboat Willie, The Skeleton Dance and The Haunted House, before a fallout with Disney led to Iwerks' resignation from the studio in January 1930. One of Iwerks' most long-lasting contributions to animation was a refined version of a sketch drawn by Disney that would later go on to become Mickey Mouse. At the insistence of Disney, Iwerks designed a number of new characters for the studio, including designs that would be used for Clarabelle Cow and Horace Horsecollar. Following the first Oswald short, both Universal Pictures and the Winkler Pictures production company insisted that the Oswald character be redesigned. In the new studio, Iwerks continued to work with Disney on the Alice Comedies as well as the creation of the Oswald the Lucky Rabbit character. Iwerks joined Disney as chief animator on the Laugh-O-Gram shorts series beginning in 1922, but a studio bankruptcy would cause Disney to relocate to Los Angeles in 1923. ![]() After briefly working as illustrators for a local newspaper company, Disney and Iwerks ventured into animation together. Iwerks met fellow artist Walt Disney while working at a Kansas City art studio in 1919. Born in Kansas City, Missouri, Iwerks grew up with a contentious relationship with his father, who abandoned him as a child. Requests were so numerous that the studio had to set up an entire five-person unit devoted to insignia, under the lead of artist Hank Porter, to even come close to meeting demand.Ubbe Ert Iwwerks (March 24, 1901 – July 7, 1971), known as Ub Iwerks ( / ˈ ʌ b ˈ aɪ w ɜːr k s/ UB EYE-wurks), was an American animator, cartoonist, character designer, inventor, and special effects technician, known for his work with Walt Disney Animation Studios in general, and for having worked on the development of the design of the character of Mickey Mouse, among others. Company artists created images of Disney characters for unit patches, eventually providing insignia to almost 1,300 units in the U.S. The use of Disney’s characters in war-related work helped to strengthen the perception of the Disney brand as a symbol of the United States and its values.ĭisney was most prolific during the war as a morale booster for the troops. By the end of the war, however, the title “Salesman of the American Way” may well have belonged to Walt Disney himself. In 1943 The New York Times singled out Donald Duck, in particular, as an “ambassador-at-large, a salesman of the American Way” for his representation of the United States both at home and abroad. Disney’s entire stable of characters was employed in the name of patriotism, and by 1943 newspapers were reporting that up to 90 percent of the Disney studio’s work was for government agencies. government at cost), and military insignia for over 1,000 different units in the U.S. Throughout the early 1940s, Disney churned out military training films, educational shorts (provided to the U.S. Artists, animators, and Walt Disney himself pitched in, enlisting Mickey Mouse, Donald Duck, and other beloved Disney characters in the war effort. But space was not all that Disney would provide the troops. Army troops requisitioned half of Walt Disney’s Burbank, California, studio for their use. On December 7, 1941, Japan bombed Pearl Harbor, drawing the United States into World War II. ![]()
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