The Animation Educators Hall of Fame
The artists, and scholars who influenced and inspired the history of animation through their teaching
“In posing, go as far as you dare go, then go twice as far, and you’ll see you’re only halfway there.”
– Art Babbitt
(1907-1992) Animator — Art began at Terrytoons before becoming one of Walt Disney’s top animators, where he became an early champion of animation unions. He helped jump start Disney’s in-house training program, taught at USC in 1957, and the Animation Guild. Art later lectured the Richard Williams London team in 1973. For many years Williams’ notes of his lectures were considered essential reading for animators.
(1946-2021) Animation Historian/Teacher- He is best known for writing Cartoons − 100 Years of Cinema Animation, which became a standard textbook in the field. He later edited the 3 volume Animation: A World History. Giannalberto taught animation history at the Università degli Studi di Milano (2002-09) and the Nanyang Technological University of Singapore (2013-15), as well as being an adjunct professor at Griffith University in Australia.
(1929-1969) Animator- Frank was the first black animator to break the color barrier at both Walt Disney, and later Warner Bros. He also worked for MGM and John Hubley, and was a President of the Screen Cartoonists Guild. In the late 50s, Frank Braxton, began an animation program near Watts for minority high school students.
Therese “Tissa” David
(1921-2012) Hungarian-American animator, who was one of the pioneering women in animation. Described as “New York’s Master Animator”, Tissa worked extensively on commercials and projects for Jean Image, John Hubley, Richard Williams, and Michael Sporn. Wherever she worked she conducted masterclasses for young animators. She also guest lectured at NYU Tisch School of the Arts and the School of Visual Arts.
(1909-2003) Jules spent decades in the animation industry (Disney, UPA, Format Films, etc.), variously working as a color stylist, background artist, producer and director, before joining CalArts in 1969. He was Founding Director of its Animation Program and Experimental Animation Department, mentoring many notable animation artists. He also made a number of personal films and documentaries and won the Winsor McCay and Norman McLaren Heritage Awards.
(1924-1998) Computer Graphics teacher. With his colleague Ivan Sutherland Dave conceived and built the computer graphics program at the University of Utah, one of the earliest in the world. Their program produced many breakthroughs and trained many of the principal figures in the Digital Revolution that transformed motion pictures and interactive games in the 1990s.
Donald W. "Don" Graham
Drawing Teacher — Starting teaching at Chouinard Art Institute, Don was brought on by Walt Disney to improve the drawing skills of his animators and organize a training curriculum. Many of them credit Don with changing their approach to drawing and in so doing changing the direction of American animation. After 1941 He continued to teach at Chouinard, as well as Ray Patin Studio until his retirement in 1970.
(1924-2015) Jim began in England at J. Arthur Rank, and moved to Canada after the war. He worked for the National Film Board and several live action production companies. He was among the first group of animation instructors at Sheridan College’s new animation program in the early 1970's. Until his retirement in 1988 he trained a generation of Canada’s top animation talent. Artists who would not only be major players in their own domestic industry, but who would fan out across the world and contribute to productions from Berlin to Bristol. Brisbane to Beijing.
Graphic design teacher. When we asked CalArts grads of the 70s, “Of all your teachers, if you had to name one who was paramount to your education, who was it?” The overwhelming response was Bill Moore. Moore began at Chouinard, then moved to Cal Arts to teach the fledgling animation program. Many credited him with not just learning technique, but critical thinking.
(1909-2000). In 1941, Les left his job as a Disney layout artist to start Graphic Films, which became known for its large format films and its work on the visual effects for 2001: A Space Odyssey. In 1942, at USC he established its first animation class: “Principles and Mechanics of Animation.” He later developed his “Filmic Expression” class, which inspired several generations of live-action and animation filmmakers