Archive for the ‘Uncategorized’ Category

Monday, June 20th, 2016

Art Education: Your Practice Habit

While practicing your craft you may find yourself wanting to devote time to practice, but finding either little available time, or a lack of motivation to begin work. Commonly, many artists will wait for inspiration to strike before they begin working, and then will feverishly work for hours on end while the inspiration lasts. Later these same artists many times leave their work unfinished, forever waiting for their fickle inspiration to return. Others are frequently paralyzed by indecision as they wrestle to find the right idea to work on in the right way. Even productive artists can suffer from their habits, working themselves sick by missing out on sleep and meals.

If these scenarios describe the way you work, then what you need is to form your own Practice Habit. Consider the many daily activities you do without any prompting: eating meals, brushing your teeth, watching a show, etc. For almost all of us, our daily lives are filled with activities which we perform at the same time in the same way every day, which we no longer even think about. We want your artistic practice to be one of these automatic activities (or at least we want starting practice to be automatic, not the work itself).

The Habit Loop


The core loop of habits

We can use certain psychological tricks to establish and reinforce behaviors until the become second nature. Doing this takes time and discipline, but once established, makes work pleasant and regular. I have experimented on both myself and on students in using this method and have had much success altering our habits for the better over a period of about a month before the habit was solidified.

It’s important to note that replacing an established habit with a new one is much harder to do than institute a fresh habit without competing. Therefore starting this process immediately following a vacation or the end of a school quarter is particularly effective. Additionally, any disruption of your routine which lasts more than a week may destroy your current habits and force you to establish new ones.


Firstly, you need a signal to activate your habit. This can be as simple as an alarm on your phone or computer, or you can piggy-back on an existing cue such as the end of work, class or a meal. Make sure that the cue is unavoidable and clear so that you don’t accidentally miss it.


This is your actual practice. You should set up your work space and materials in the same way, preferably in the same place every time you begin work. As we’ll see, the work itself shouldn’t be exactly the same day to do lest you risk artistic stagnation, but the circumstances under which you work should be as consistent as possible to reinforce  your habit and reduce distraction.


This is the positive feeling or result of having worked. You can also use a material reward on yourself if you find it necessary such as a snack or a game. With artistic work, this is usually not needed because the work process itself is quite rewarding on its own.

Be Consistent

We want to create a daily artistic practice, meaning that if at all possible, you should pick a time to work which is available seven days a week, every day of the month. Because of work and family obligations, working on your art everyday may not be possible. Obviously we want to skip as few days at possible, but if you must skip a day, try to make it the same day every week or try to pattern the days to skip the fewest number of consecutive days. The worst case scenario which will still work for establishing an art habit, is to work on your art every other day.


Take the time of day into consideration as well. Most people have a particular time of day which is best for working, so try to think hard before choosing your’s. In the past when you’ve worked on your art and felt good about it, was it early in the day? Was it immediately after lunch? Late at night? Whenever it is for you, try to make that time your work time.

Similarly, you should pick a work space which is consistent as well. Being in the same place will help to reinforce your habit by making the physical location a part of the routine. Try to pick a place which is always available to you and free from distraction.

Plan to Begin

The goal for habit forming is to start working. That’s it. It doesn’t matter if you then proceed to work for an hour or for 10 minutes, the important thing is to establish a time to begin working and allow for time to continue if you feel like it (in my experience, most artists will happily continue working, but starting work is the hard part).

Now you may be saying to yourself, “Why shouldn’t I plan to work for a few hours?” Forcing yourself to work, although necessary in a professional environment, is not what we should do for our personal practice, and the reason why has to do with the Reward step in the Habit Loop.

Imagine that you begin work and can’t do anything right that day. You try and fail, and force yourself to keep going for the whole duration of your planned time. You feel awful right up to the end of the session and exasperated, quit when the allotted time is up, happy to be done with it. How will you feel the next day when you have to sit down to start work again? Do you think those negative feelings might influence your attitude when you start working the next day? For me, and for many of my students, it does, which is why I never recommend forcing a set duration of work.

Instead, I recommend planning a start time only, providing available time to work in if it happens that day. The benefit of this is a lower amount of pressure daily and permission to fail to work on a given day without heaping guilt on yourself. So you didn’t get anything worth while done today? So what? You worked yesterday and you’ll work again tomorrow due to the daily component of your practice habit. Consistency is very freeing, as it ensures that regular progress takes place, while providing forgiveness for work lulls.

Don’t Distract Yourself!

Remember that the purpose of this time is for personal work only. This means don’t turn on the TV or Netflix, don’t listen to podcasts, don’t start an hour-long phone call while working. Concentrate on only your art. As stated in Richard Williams’ “The Animator’s Survival Kit” this advice alone has the power to radically increase your productivity.


Milt Kahl on working while listening to music.

The compound problem with working while distracted is that we’re trying to establish a practice habit. This means that if you establish a habit of working while watching Netflix, you will always need to work while watching Netflix! Don’t make a distraction a part of your habit.

If you’re working at home or in a school lab, set yourself up for success by letting people around you know to leave you alone at this time. Turn off your phone if you have to. Sequester yourself in your locked room if you must. Do whatever it takes to get time with just you and your art, you wont regret it.

Use Motivation Tricks

Get others to monitor your progress. If you promise your friends and family to show them your work daily, then you must have work to show daily. This little trap can make it a lot more important to you to work consistently than working alone.

Work near other artists (or at least in parallel). If you can arrange it, have someone else establish a practice habit at the same time you do. You don’t have to work in the same room, but you should frequently check in on the other’s progress. There’s nothing wrong with a little competition.

Keep track of the amount of work you’ve produced. This is very simple, whenever you finish an animation, or painting, or page of drawings, add 1 to the total you’ve completed and keep the total number visible. Human beings love watching numbers tick upward, and this tiny effort can have a noticeable impact on your throughput (especially when combined with the previous method).

Set a numeric goal for your work. Anything will do, such as 100 drawings, or 50 seconds of animation, etc. A medium to short term goal is a great way to push your work forward and keep the wheels of progress turning.

Finally, remember to set small goals which you can maintain. When you realize that your previous goal has become second nature, set another small goal which builds on your first. If you are able to incrementally ratchet your work upward by small degrees, you’ll find that before too long, you’re much more productive than you were before.

Thursday, May 12th, 2016

Exhibit: Grim Natwick In The Modern Age


Grim Natwick

Studio gag drawing from UPA depicting an animator being laid off, replaced by children cutting out paper dolls.

It’s important to keep in mind Grim Natwick’s age when you look over his career. When he animated Snow White, he was one of the oldest artists at the Disney studio- 49 years of age. When his former assistant from Iwerks, Stephen Bosustow convinced him to join UPA in 1950, he was sixty. Most animators of his generation were thinking of retirement, or coasting on their past accomplishments until their pensions came through… but not Grim. He dove into the stylistic revolution of UPA with both feet. Grim animated on the early Magoo cartoons, as well as one-shots like "Rooty Toot Toot" and "Gerald McBoing Boing". In the early 50s, he was sent to New York as the keystone animator for UPA’s East coast office, where he animated many commercials and industrial films for the company, along with his assistant Tissa David.

Click to see Grim's  UPA model sheets

When UPA NY shut its doors, Grim worked at various New York commercial studios like Ray Favata and Robert Lawrence Productions. He animated on the first television cartoon series, Crusader Rabbit, and later took in work from Jay Ward and Bill Scott on the George of the Jungle program. He freelanced for Melendez and Duane Crowther’s Duck Soup Producktions, eventually settling in with director, Richard Williams. He animated on Raggedy Ann & Andy and travelled to the UK to teach while working on Cobbler & the Thief. He continued to draw into his early 90s, until his failing eyesight made it difficult.

Click to see Grim's post UPA commercialsClick to see Grim's post UPA commercialsOne afternoon, as I sat with Grim on his front porch, he casually mentioned that he had been told that there were machines that animated- computers. He wondered aloud "how they manage to get the machines to hold a pencil" and expressed an interest in finding out more about it. So I called my friend Charlie Gibson, who was a partner at Rhythm & Hues in Hollywood. I arranged for Grim to take a tour of their studio the following week.

50s TV Commercial50s TV CommercialWhen we arrived, we found the entire staff of R&H standing in the lobby waiting for us. Charlie showed Grim their machine room and demo reel, and sat him down at a workstation to see how wireframe characters are posed. After a few minutes working with the mouse, Grim leaned back in his chair and said, "I’ve seen some amazing things here today that I never would have imagined possible. I don’t pretend to understand everything I’ve seen, but I have a basic idea of what you do here. I have just one question to ask you… When I animated Snow White or Mickey Mouse, I had certain tricks to put the personality of the character across… a gesture, the raising of an eyebrow, a bit of acting… How do you do that sort of thing with your computer?"

50s TV Commercial50s TV CommercialThe room went silent. Charlie paused for a moment and replied, "Well, Grim, you just put your finger on the thing we struggle with every day… Computer animation is still very new. We’re constantly learning as we go. To answer your question, we study classic cartoons to learn those secrets from great animators like you."

In the space of an afternoon at nearly 100 years old, Grim had gone from "How do they get the machines to hold a pencil?" to putting his finger on the main issue facing CGI animators. His mind was always nimble and able to see the challenges facing animation in the future. He was truly a remarkable man.


Grim Natwick

Top Row: A Selection Of Natwick Animals (left to right) Chicken character designs from "Solid Ivory"* (Lantz/1947) / Lion doodle (after Jones’ "Inki & The Lion")* (ca. 1947) / Tiger studio gag drawing* (ca. 1944) / Character design for Lantz Wartime cartoon (ca.1943) / Concept for children’s book* (ca. 1947)

Middle Row: 1950s Commercials (left to right) Character design (ca.1959) / Self caricature of layout artist Art Heineman (UPA ca.1952) / Studio gag drawing depicting an animator being replaced by children cutting out paper dolls (UPA ca.1952) / Model drawing of Bert Piels (Piels Beer) by Tissa David from Grim Natwick animation (UPA ca. 1955) / Model drawings from unknown commercial by Tissa David from Grim Natwick animation (UPA ca.1955)

Bottom Row: Studio Gag Drawings Self caricature by Bill Melendez (ca. early 60s) / Studio gag drawing depicting Bill Scott explaining to a West coast animator how to dress like an East coast animator (UPA NY ca. 1952) / Three studio gag drawings by Bill Scott depicting the relationships between Grim Natwick, John Hubley and Scott (UPA NY ca. 1952)

* denotes a drawing by Grim Natwick

Next Chapter: THE GREATEST ANIMATOR WHO EVER LIVED (Studio Gag Drawings & Caricatures)

Grim Natwick Exhibit
Assistant Archivist, Joseph Baptista views the exhibit.


This travelling exhibit has appeared at the ASIFA-Hollywood Animation Archive in Burbank, CA and at the South Wood Historical Society Museum in Wisconsin Rapids, WI, birthplace of Grim Natwick.

Stephen Worth
Animation Resources

TheoryGrim Natwick

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

Friday, May 6th, 2016

Exhibit: Grim Natwick- Golden Age Animator


Grim Natwick

In California, Walt Disney had seen some of Grim Natwick’s animation of Betty Boop in "The Bum Bandit" and sent his brother Roy to New York to convince him to join them in Hollywood. Ub Iwerks had just left Disney to form his own studio, and an experienced animator was sorely needed to take his place. Roy Disney made Grim a remarkably generous offer, but Grim wasn’t sold on going to work for the Disney brothers. He spoke to his friend Ted Sears on the West coast and was advised that Walt Disney was just a businessman- Iwerks had been the real creative core of the studio. So Grim decided that Iwerks’ new studio was the place for him.

Click to Read Disney's Offer
Click to read Disney’s offer to Grim.

Click to hear an audio interview with Grim about IwerksClick to hear an audio interview with Grim about IwerksSeveral of Grim’s former assistants and co-workers from Hearst and Fleischer were already working for Iwerks. Grim phoned Ub and offered his services, agreeing to work for less than half what Roy Disney had offered him. When Grim arrived at Iwerks, he was so accustomed to leading the crew of young animators, he hit the ground running. Ub had lost interest in animation at this point, and willingly handed over the day to day direction of the cartoons to Grim, while he focused on tinkering in his workshop behind the studio.

At Iwerks, Grim got the opportunity to direct, making a clear mark on films like "Jack Frost", "Room Runners", "Stratos Fear" and "Aladdin’s Lamp". But he always loved a challenge. When Grim heard that Disney was planning a feature length cartoon based on Snow White and the Seven Dwarfs, he knew he had to be a part of it. Ub offered him a full partnership in the studio to entice him to stay on, but money wasn’t Grim’s primary concern. Animation was. Grim reluctantly said goodbye to his friends at Iwerks and joined the Disney studios.

Natwick At Iwerks

Snow White Concept Drawing By NatwickSnow White Concept Drawing By NatwickGrim’s first animation for Disney was the female lead in "Cookie Carnival". He received great praise from Walt for his work, and was assigned the female lead in the upcoming feature, Snow White to animate. Grim was given some of the studio’s top assistants to work with- most importantly, Marc Davis, Les Novros and Jack Campbell. By the end of the picture, he had animated over 120 scenes, with six assistants working under him, producing as much as 35 feet of finished animation a week! (The average animator’s footage was about 7 feet a week.)

Grim’s tenure at Disney was not without turmoil, however. Ham Luske had been promised the character of Snow White before Grim arrived at the studio, and he considered Grim’s assignment to be an incursion on his territory. Although Luske had the directing animator credit on the film, he had little direct interaction with Natwick’s unit. There was considerable tension on the lot between Walt’s boys- the animators who had been with Disney for years- and the East coast animators who had been hired for the feature. Grim paid no mind to it, focusing on his work, but the bad feelings would eventually boil over.

Snow White Concept Drawing By NatwickSnow White Concept Drawing By NatwickGrim’s assistant, Jack Campbell showed promise and wanted to animate, so he was allowed to move to Luske’s unit as an animator. There are three Snow Whites in the finished picture… Luske’s, Campbell’s and Natwick’s. Luske’s girl is doll-like and close in style to the female leads in the Silly Symphony series (the scene with the bluebird in the forest is a good example), Campbell’s girl showed a strong influence of rotoscope (the scene at the wishing well). Natwick’s Snow White is the most lifelike and alive (the sequences where she investigates the Dwarf’s cottage, the house cleaning scenes, the dancing scenes and the "Someday My Prince Will Come" sequence).

Natwick At Disney

While Grim was putting in many hours of unpaid overtime, Dave Hand, the director, had promised a him bonus if the picture was a hit. But when the bonus checks went around, Grim was passed over, despite the fact that he was one of the key animators on the film. He contested the oversight with the paymaster and requested a copy of the draft to make a list of the scenes he had animated. He was disgusted to find that Luske’s name had been substituted for his own on scenes Grim himself had animated. When Max Fleischer called to invite Grim to join him at his new studio in Florida, Grim left Disney without a second thought. The paymaster had arranged for a token bonus, but Grim didn’t even bother to pick it up.

Natwick At Disney

Looking back on the situation many decades later, Grim felt that perhaps he should have swallowed his pride and stayed on with Disney to work on Fantasia and Pinocchio. Gulliver’s Travels wasn’t Natwick’s best work. He didn’t have the support of talented assitants like Marc Davis, and the application of the rotoscope was much more limiting than it had been at Disney. But after the political struggles at Disney, the Fleischer Studio felt like home, and Grim enjoyed the company of his co-workers.

Grim Natwick

Grim Natwick Concept Drawing
For "Flies Ain’t Human" (1941)

One afternoon, Max Fleischer visited Grim in his office and asked him to animate a sequence of Betty Boop for "old time’s sake". He explained that Betty had been a great asset to the studio, but the series had run its course, and this was to be the final Betty Boop cartoon. (The cartoon in question was most likely "Musical Mountaineers".) Max expressed his appreciation and offered to make a gift of the character to Grim upon the completion of the film. Not knowing anything about the legalities of transferring ownership of a property, Grim did nothing about it. But years later, he read in the trades that the rights to Betty Boop had been sold by the Fleischers to King Features Syndicate for a great deal of money. Grim sued, but he had nothing in writing and lost the case. Although some writers have tried to belittle Grim’s contribution to the creation of Betty Boop, saying that his part was minimal, history bears out the fact that the character was 100% the creation of Grim Natwick.

Grim Natwick At Lantz

Grim Natwick At LantzGrim Natwick At LantzWorld War II made it difficult to find work as an animator, but Grim’s old friend Walter Lantz was producing animated training films for the War Department. Grim returned to Hollywood to work for Lantz, where he had the opportunity to reunite with longtime friends like Shamus Culhane and Dick Lundy. In fact, Grim picked up his lunchtime game of horseshoes with storyman "Bugs" Hardaway right where they had left it when he left Iwerks ten years earlier! Lantz’s friendly, family atmosphere appealed to Grim, but he didn’t become complacent. He reinvented his style to suit the brash, slapstick style of animation at the time, and succeeded in creating some of the finest animation ever produced at Lantz.

Grim Natwick At Lantz

Lantz Animators in 1944 (Back Row: Paul Smith, Grim Natwick, Sidney Pillet, Bernard Garbutt Front Row:Les Kline, Shamus Culhane, Pat Matthews, Dick Lundy, Emery Hawkins)

Grim’s earliest work at the studio included "Take Heed Mr. Tojo" starring Hook, and "Enemy Bacteria", one of the most successful Wartime training films. His great animation for Dick Lundy and Shamus Culhane stood out in films like "Who’s Cookin’ Who", "Bathing Buddies", "Ski For Two" and "Solid Ivory". In his autobiography, Walter Lantz cited Natwick as the best animator he ever had the pleasure of working with.

Grim Natwick At Lantz


Grim Natwick
Top Row: (left to right) Girl doodles* (ca. 1936) / Snow White Animation Rough* / Left: Character designs from "Funny Face"* (1933) Right: Animation drawing from "Stormy Seas"* (1932) / Studio gag drawing from Iwerks / Tracings from Natwick Animation of Wally Walrus from "The Beach Nut" (1944)

Middle Row: (left to right) Girl doodle (ca. 1936) / Girl doodle (ca.1940) / Studio gag drawing depicting Ub Iwerks as a boy playing hookey from school* / Studio gag drawing for Art Turkisher* / Character designs from "Enemy Bacteria"*

Bottom Row: Character design for Miss X from "Abou Ben Boogie"* (1944) / Caricature of Lantz Ink & Paint girl / Character designs (ca. 1940) / Character design for "Sliphorn King of Polaroo" (1945) / Animation drawing from "Abou Ben Boogie"* (1944) / Animation drawing from "Who’s Cookin’ Who?"* (1946)

* denotes a drawing by Grim Natwick

Next Chapter: GRIM NATWICK IN THE MODERN AGE (UPA and beyond)

Grim Natwick Exhibit
Assistant Archivist, Joseph Baptista views the exhibit.


This travelling exhibit has appeared at the ASIFA-Hollywood Animation Archive in Burbank, CA and at the South Wood Historical Society Museum in Wisconsin Rapids, WI, birthplace of Grim Natwick.

Stephen Worth
Animation Resources

TheoryGrim Natwick

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