Archive for the ‘history’ Category

Monday, January 20th, 2014

Interview: Bob Givens- Grand Old Man Of Animation

Bob Givens

In November of 2008, Will Finn, Mike Fontanelli, JoJo Baptista, Michael Woodside and I were treated to nearly three hours of fabulous stories from Bob Givens relating to his half century in the animation business. I’ve included the whole interview as two Quicktime movies…

Bob Givens

You’ll notice that the kinds of stories that Bob relates here are quite different from what you might have read. When I first met Bob, I asked him if he had read any of the books written on the subject of animation history. He was blunt. “A lot of it is bologna. Those books are written by people who weren’t there… people who have never set foot in an animation studio.” This is a sentiment that I’ve heard expressed by a lot of the "old timers" I’ve had the privilege of being able to speak to. But Bob may be the last one left. We’re all lucky to have this opportunity to virtually sit at the feet of a "golden age" animator and hear about his experiences in his own words.

Bob Givens

Bob began his career as an Assistant Animator at Disney. His raw talent led him to be assigned to assist the Grim Natwick unit on Snow White. Please correct me in the comments if I’m wrong, but I believe that Bob is the last surviving member of the Snow White crew.

Private Snafu

During WWII, Bob was a part of the First Motion Picture Unit producing training films for the war effort.

Bob Givens

At Warner Bros, Bob designed the character models for the first true Bugs Bunny cartoon, "A Wild Hare", as well as providing background layouts and story sketches for countless Jones, Freleng, Avery and McKimson cartoons.

Linus the Lionhearted

Givens’ career continued to flourish throughout the television era. He worked on the first TV cartoon, Jay Ward’s Crusader Rabbit, as well as Clampett’s Beany & Cecil, Post Cereal’s Linus the Lionhearted and Hanna Barbera’s The Flintstones. Along with Bernie Gruver, Givens designed the classic "Raid Bug" spots for Cascade, and continued to work steadily into his 80s, retiring in 2001 after laying out Chuck Jones’ Timber Wolf.

Bob Givens

RELATED MATERIAL

John Wayne & Judy Garland in Lancaster, CA
The Lake Norconian "Orgy"
Mentor Huebner’s Film Concept Work
David Swift at IMDB
History of the First Motion Picture Unit

Many thanks to Bob Givens for sharing his experiences with us, to Mike Fontanelli and Will Finn for taking time out of their busy schedules to speak with Bob, and to Michael Woodside and JoJo Baptista for producing this video.

Will Finn posts his impressions of the interview on his blog, Small Room.

Stephen Worth
Director
Animation Resources

Animated CartoonsAnimated Cartoons

This posting is part of the online Encyclopedia of Cartooning under the subject heading, Animation.

Friday, November 22nd, 2013

Exhibit: Natwick on Iwerks

Ub Iwerks

Ub Iwerks Self Portrait

One of the principle goals of Animation Resources is to tell the history of animation, not by character or studio, but through the lives of the people who made the cartoons. No single animator’s life and career tell the history of animation better than Grim Natwick’s.

Grim started in the 20′s animating silent Krazy Kat cartoons at the Hearst Studio in New York. He ended up at Fleischer, where he created Betty Boop. He received an offer to move West to join Walt Disney, but friends advised him that Ub Iwerks, who had just left animationresources.org to form his own studio, was the real creative spark behind the Mickey Mouse pictures. So Grim joined Ub instead, and ended up running the studio. A few years later, Grim became excited with the prospect of a feature length cartoon, so he went to Disney, where he ended up animating the title character. He returned to the Fleischers in Florida for a spell, and ended up back in Hollywood working for Walter Lantz on the wartime Woody Woodpecker cartoons. At an age when most of his contemporaries were retiring, Grim jumped into the modern stylization of UPA with both feet, and was instrumental in setting up their New York offices. He worked with Culhane, Ward and Melendez; and in his 80s, animated on Richard Williams’ Theif and the Cobbler. Here is a life that spanned the entire history of animation.

Walt Disney and Ub Iwerks

Walt Disney & Ub Iwerks

I’m very proud to introduce the first bit of information into the biographical database… an interview done with Grim in the at Animafestival 1982 produced by Reg Hartt. Michael Gowling ran a tape of Grim’s comments. In the interview, he talks about his entire career… animating Snow White, experimenting with timing on commercials at UPA, and sharing insight on the various people he worked with over the years. One particularly interesting part of the interview deals with Ub Iwerks, and Grim answers a question that many animation historians have been puzzling over for years… in his own unique way.

NatwickOnIwerks.mp3

Thanks again to Reg Hartt and Craig Davison.

Stephen Worth
Director
Animation Resources

TheoryGrim Natwick

This posting is part of an online exhibit entitled Grim Natwick’s Scrapbook.
Animated CartoonsAnimated Cartoons

This posting is part of the online Encyclopedia of Cartooning under the subject heading, Animation.

Friday, November 15th, 2013

Exhibit: Grim Natwick On Animation Design

Les Clark Hands

Mickey Mouse Hand Model Sheet by Les Clark ca. 1932

Grim Natwick was a remarkable artist. His career as an animator spanned the entire history of animation, from silent Mutt & Jeff cartoons all the way through Richard Williams’ The Thief and the Cobbler. I don’t know of anyone more qualified to answer the age-old question…

Who invented the three fingered hand?

Grim studied art in Vienna under Gustav Klimt soon after the end of World War I. Included with this article are scans of Grim’s anatomy studies from a little after his studies there. Some of you may see a similarity with Bridgeman’s wonderful books on constructive anatomy. Grim was in New York when Bridgeman was teaching there, so it’s entirely possible that these drawings were done studying under Bridgeman himself.

Natwick Anatomy Studies

DESIGN FOR ANIMATION
By Grim Natwick

Who invented the three-fingered hand? Someone way back in the dark ages of animation got tired of drawing hands with four fingers and simply left one off, and cartoon hands have been much easier to animate ever since. It was a stroke of genius. The four fingered hand disappeared from animation until "Snow White" (1937). Somehow a pretty girl didn’t look right with only three fingers. But the Seven Dwarfs still had three fingered hands.

Natwick Anatomy Studies

Characters and drawing styles changed as animation became a popular form of entertainment. Straight lines were changed to curved lines- square shapes became round shapes. Curved figures moved better on the screen and eliminated what we used to call "strobe".

Natwick Anatomy Studies

Mickey Mouse was a good example of a character designed to eliminate the early problems of animation. His head was a ball with a rounded lump for a nose, a few circles for eyes, and two frisbees for ears. His body was shaped like a pear or gourd. Four pieces of garden hose were used for arms and legs. His hands were just two bunches of peeled bananas. Four old-fashioned donuts served as cuffs and anklets. He had a hair snake for a tail, and his shoes were two boxing gloves with the thumbs cut off. He animated perfectly. Mickey has changed through the years, but the formula is still the same.

Natwick Anatomy Studies

By 1930, special artists were assigned the job of designing characters for animation. Cartoon stories had become more sophisticated and so had the viewing audience. The characters became individuals- stars- a part of Hollywood. A whole galaxy of heros and heroines have become famous in distant corners of the globe. At a recent animation festival in Zagreb, Yugoslavia, several Chinese animators appeared wearing Betty Boop buttons. Mickey Mouse, Donald Duck, Bugs Bunny, Woody Woodpecker and the Flintstones are as well known in Paris, London and even Gnosjo, Sweden, as they are in Oshkosh, Wisconsin. They have become world classics, and good design and good drawing have made them so.

Natwick Anatomy Studies

The great animators were almost always good draughtsmen. Milt Kahl, Marc Davis, Frank Thomas, Ollie Johnston, John Lounsbery, Ward Kimball- These men drew exceptionally well. Among the animators who preceded them, those who could stay in the saddle when the wind was blowing were talents like Dick Huemer, Bill Tytla and the enigmatic Art Babbitt. Babbitt always said that he hated to draw, yet he animated the "most beautiful of all Queens" in Disney’s "Snow White". He drew the complicated Mushroom Dance in Fantasia, an animation masterpiece that required the mind of a ballet dancer and the patience of a Saint, which Babbitt is not. One could name a host of beautifully drawn characters that Art Babbitt "hated to draw".

Natwick Anatomy Studies

How vital a part does drawing play in animation? Is it more important than a dramatic sense, a delicate feeling for humor, spacing and timing?

While an animator may borrow craftsmanship from an actor, he is faced every day with playing a new role, acting out a new scene, breathing life into a new character. His tools are ordinary sheets of paper, and an ordinary lead pencil. If his drawings lack magic, a scene will be a failure.

Natwick Anatomy Studies

Can one compare animation with the more dignified art of easel painting? Is a Ward Kimball any less talented than Seurat? Or is Bill Tytla less gifted than Raol Dufy? If we transpose the question to a more familiar area of the culinary arts- the Art of Cookery- one could say that one chef prepares a meal of barbecued spare ribs with Spanish sauce and chilled beer; while the other serves wild pheasant under glass with Rhone River wine and truffles. Either meal could taste best at a chosen time and a chosen place.

Natwick Anatomy Studies

If Claude Monet had tried to draw a Mickey Mouse, the result would probably have been a real gnocchi- a dodo! On the other hand, if you had asked a Les Clark or a Freddie Moore to paint purple haystacks or pointillistic water-lillies, the result might have been equally disappointing. They are two different art forms.

Natwick Anatomy Studies

Stephen Worth
Director
Animation Resources

TheoryTheory

This posting is part of an online exhibit entitled Grim Natwick’s Scrapbook.
Animated CartoonsAnimated Cartoons

This posting is part of the online Encyclopedia of Cartooning under the subject heading, Animation.