Animation celluloid from Snow White and the Seven Dwarfs (1937)

Concept art for Cinderella (1950)

Mickey’s Good Deed (1932)

Mickey’s Good Deed (1932)

Concept art for Sleeping Beauty (1959)

Concept art for Fantasia, The Pastoral Symphony (1940)

Concept art for Fantasia’s Night on Bald Mountain and Ave Maria (1940)

Concept art for Snow White and the Seven Dwarfs (1937)

“The multi-plane camera had levels and on each of these levels we put a big glass on it. We’d paint the foreground trees on the top one, the background, the house that you’re photographing, the characters come out and on the fourth level would be the sun and the sky. When the camera panned down through these levels, you got a third dimension effect.”

- Bob Broughton, Camera Effects Artist for Walt Disney Productions

"It was a difficult picture because we’d never done any animal with anatomy and Walt wanted the deer to be very believable." - Ollie Johnston, Animator 

"Walt’s idea was to get all of his artists to draw in the way of the old masters and then put them to animation. They started bringing in real animals and having them on the sound stages and it became a zoo in itself." - Mel Shaw, Animator

Short pencil sequence from the first Mickey Mouse film ever made: Plane Crazy (1928), mostly animated by Ub Iwerks.

(Walt Disney Studios, 1937) An original cell from Snow White and the Seven Dwarfs placed over the original matching watercolor production background.

The only black and white Mickey Mouse pencil test known to exist: The Mail Pilot, 1933 

From ‘Walt Disney’s Mickey Mouse Vol. 1: Race to Death Valley’ by Floyd Gottfredson.

"I did a soup sequence for Snow White, it was very fun and everybody laughed and so did Walt. She [Snow White] calls them in and she serves soup to them. All the funny ways that they slurp the soup, especially Dopey. Then Walt called me up to his office and he says, "I’ve been looking at the film and I’m going to have to take out the soup sequence", and I spent 8 months on it. He gave me a reason why, he said I’ve got to get back to the witch and… it kinda hurt."

- Ward Kimball, Animator