Archive for the ‘biography’ Category

Thursday, March 15th, 2018

Exhibit: Grim Natwick- Golden Age Animator

PART TWO: GRIM NATWICK IN ANIMATION’S GOLDEN AGE

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


EXHIBIT CATALOG: GRIM NATWICK GOLDEN AGE ANIMATOR

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.

GRIM NATWICK’S SCRAPBOOK

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
Director
Animation Resources

TheoryGrim Natwick

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

Facebooktwittergoogle_plusredditpinterestlinkedinmailFacebooktwittergoogle_plusredditpinterestlinkedinmailby feather

Thursday, February 8th, 2018

Biography: Raymonde, Roy

This posting is a stub. You can contribute to this entry by providing information through the comments link at the bottom of this post. Please organize your information following the main category headers below….

Birth/Death

1929 – 2009 – British

Occupation/Title

Cartoonist

Bio Summary

Roy Raymonde was an English cartoonist whose work appeared in many (UK) national and also international publications. He was particularly well known for his long association with Playboy Magazine (US and German editions) and Punch Magazine. In the 1960s his features for The Sunday Telegraph were widely recognised, and at the same time he was contributing cartoons regularly to other publications including Private Eye, Reader’s Digest, The Daily Sketch, Mayfair Magazine and several trade publications.

Early Life/Family

Roy Stuart Raymonde was born in 1929 in Grantham. His father Barry, was a freelance advertising agent and a theatrical impresario. By the time Roy was a toddler the family were living in Bristol. Barry had a business connection with the Bristol Old Vic. Roy’s mother Patricia, had been a dancer and had met Barry through the theatre. In 1938 whilst Patricia was pregnant with Roy’s younger sister Patsy, Barry contracted pneumonia and died suddenly, leaving the young family destitute. In this tough situation Patricia was forced to take a series of menial jobs and was seemingly constantly moving on until eventually settling in North London in the early years of the Second World War. The Blitz was at its height and Raymonde often recounted the story of how one night, the house they were living in was demolished by a German land mine. Fearing that he had been killed, the firemen feverishly dug through the rubble only to find him soundly asleep with the blankets pulled over his head.

Education/Training

At the age of 15 Raymonde attended Harrow art school. Due to the peripatetic nature of his upbringing and the uncertainties of war this was to be his 16th school. It happened that one of his tutors at Harrow was the young and yet to become famous Gerard Hoffnung. His work was to become an important inspiration to young Raymonde. He recounted a tale of how he was almost expelled for the adolescent prank of adding humorous captions to one of Hoffnung’s demonstration paintings. His place at the school was however, saved by Hoffnung himself, who argued that the captions demonstrated a latent cartoonist’s talent. They remained friends until Hoffnung’s untimely death in 1959. After art school Raymonde took a job in commercial art studio. Whereas nowadays we rely upon photographers, in those days much of the artwork for print (including advertising) was hand-drawn by talented commercial artists. Raymonde often said that he learnt more about drawing in a few weeks amongst professionals than he ever learnt in two years of art school. At 18 he was called up to do National Service. The Army, on seeing that he was an artist, gave him a job in Intelligence interpreting photoreconnaissance. He served for two years in Malaya.

Career Outline

Upon demobilisation Raymonde took a job at Charles Gilberts’s advertising studio in Fleet Street, where he was to stay for the next 10 years. He however, already nurtured an interest in cartoons and being located in the midst of newspaper-land he started free lancing in his spare time. His first works were published by Tit-Bits. He then started contributing to Lilliput and the Daily Sketch. Drapery and Fashion weekly bought a weekly feature about a shop girl called ‘Lil’ which was to continue for the next 30 years.

BIO-AAA-XXX

Comments On Style

As Raymonde’s career progressed he became celebrated for his fluid comic drawing style, which was to evolve into the lyrical and flamboyantly colourful genre seen in his work for Playboy. It was his masterful depiction of small gestures, details and expressions that added a heightened dimension to his cartoons and have inspired a generation of comic illustrators.

HIs technique – like that of many cartoonists of the period – was to use waterproof Indian ink applied with a steel dip pen. Drawings were first lightly roughed out in pencil then inked in, the pencil marks erased, then shading or colour applied. For the black and white drawings he would use non-waterproof black ink or black watercolour for shading. The colour drawings used a variety of materials from watercolour and gouache to radiant inks and liquid acrylics. Whatever would give him the vibrant effects he was looking for. Rough drawings of cartoon ideas were firstly sent to editors for approval. When approved, a final drawing was made for publication. In those days all was done by post (including those to America) as there was no email. Raymonde’s original artworks have been much sought after and hang in both public and private collections.

Influences

Amongst artists that he admired, Gerard Hoffnung was an early influence as was Thomas Rowlandson – he enjoyed collecting 18th century prints. He was also fond of the work of André François, Tomi Ungerer, Quentin Blake and Adolf Born.

Personality

In spite of his erratic schooling, he was an articulate and erudite man. A voracious reader, he was particularly fond of poetry. He had a fine collection of antiquarian books. He was a quietly spoken man but had a sharp and incisive wit. Though conservative in his political outlook, he was interested in, and able to form lasting friendships with people from all walks of life. He and his wife, Patricia spent much of their spare time in Venice about which they had become passionate and where they had acquired many friends.

Anecdotes

When the London Blitz was at its height and Raymonde often recounted the story of how one night, the house they were living in was demolished by a German land mine. Fearing that he had been killed, the firemen feverishly dug through the rubble only to find him soundly asleep with the blankets pulled over his head.

Miscellaneous

Filmography

Honors

1966 was voted Cartoonist Club of Great Britain Feature Cartoonist of the Year.
1996 Gold Prize at the Kyoto International Cartoon Exhibition.

Related Links

http://royraymonde.com
https://www.facebook.com/RaymondeCartoons/
https://twitter.com/RaymondeCartoon
http://www.independent.co.uk/news/obituaries/roy-raymonde-cartoonist-noted-for-his-work-in-punch-and-playboy-1805261.html
https://www.kyoto-seika.ac.jp/kicc/5th/5th_e06.html
https://www.cartoons.ac.uk/cartoonist-biographies/q-r/RoyStewartRaymonde.html
https://www.instagram.com/raymonde_cartoons/
http://www.playboy.com/galleries/classic-cartoons-january-february-2014

Bibliographic References

The Constant Minx: From the Beginning (1961)
More Constant Minx (1961)

Contributors To This Listing

Paul Raymonde, Natalie Hayward

To make additions or corrections to this listing, please click on COMMENTS below…

Facebooktwittergoogle_plusredditpinterestlinkedinmailFacebooktwittergoogle_plusredditpinterestlinkedinmailby feather

Friday, January 19th, 2018

Exhibit: Grim Natwick In New York

PART ONE: GRIM NATWICK’S EARLY YEARS

Grim Natwick

Grim Natwick’s career in animation began in 1917 at International Film Service Productions, managed by Gregory LaCava. The studio was owned by William Randolph Hearst, who wanted to exploit his comic strip characters in the new medium of the animated cartoon. LaCava had been lured away from Raoul Barre’s studio where he had been working as an animator. His organizational skills were put to good use setting the studio on the right track, but he was having trouble finding experienced animators. He did however, know of a great draftsman who was working as a sheet music illustrator- a classmate from art school…

Grim NatwickGrim NatwickLaCava enlisted Grim to help out for "for two weeks or so" until he could locate experienced animators. Grim’s first task was to animate a racehorse in a Happy Hooligan cartoon. He spent more than a week on the sequence experimenting and struggling, and at the end of the two weeks, he was ready to quit. But LaCava told him that Hearst would pay him the unheard of amount of $100 a week if he would stay on. Money talked, and ultimately, Grim took to animation like a duck to water. The two weeks ended up stretching into over seven decades.

Click to see Grim's anatomy studiesClick to see Grim's anatomy studiesAround 1920, Grim took a few years off to study art in Vienna- drawing from life, landscape painting, portraiture- a full classical art education. He returned to New York a much stronger artist than he had left. International Film Service no longer existed, but Bill Nolan had organized a studio to produce Krazy Kat cartoons. The series bore little resemblence to George Herriman’s classic comic strip. The animation was done using the "slash system" and animators were expected to not only assist their own scenes, but to ink them as well. The artists at the Krazy Kat Studio at this time included some of the best in New York, two of whom- Walter Lantz and Jimmie (Shamus) Culhane- would work with Grim again much later in his career.

Grim NatwickGrim NatwickIn 1929, Grim joined the Fleischer Studios. Fleischer had just made the transition from silent films to sound, and was abandoning the high contrast inked look of the Out of the Inkwell cartoons for a more rounded style with a full range of gray tones. Disney had just raided the studio for talent, taking several key animators, including Dick Huemer, back to California with him. A few months later Ted Sears headed West. Grim was left with a group of inexperienced, but enthusiastic and talented young artists. He quickly whipped the crew into shape and provided the Fleischers with some of the most imaginitive animation ever produced at the studio. We’ve featured two cartoons from this period here in the past… Swing, You Sinners and Mariutch, both from 1930.

Grim NatwickGrim NatwickOne day, Dave Fleischer handed Grim a photograph of singer, Helen Kane and asked him to design a caricature. Fleischer had found a sound-alike, and planned to use her in the upcoming Talkartoon, "Dizzy Dishes". Grim exaggerated Kane’s wide eyes and rosebud mouth, creating a slightly coarse, but strikingly original design. A few weeks later, Dave asked Grim to design a girlfriend for Bimbo to star as the "fair young maiden" in a cartoon adaptation of the popular song, "Barnacle Bill the Sailor". Grim streamlined and refined his caricature of Kane for the part. But Dave Fleischer objected, insisting that since Bimbo was a dog, his girlfriend should also be a dog. Grim quickly sketched Betty Boop’s head on a four legged canine body. He held up the drawing next to the pretty girl design, and asked, "Which would you rather have as your girlfriend? A girl? Or a dog?" Dave laughed and agreed that the pretty girl was the right choice.

Grim Natwick

EXHIBIT CATALOG: GRIM’S EARLY YEARS

Grim Natwick

Top Row: Animation From Hearst & The Krazy Kat Studio (left to right) Drawing from "Judge Rummy" cartoon* (ca. 1918) / Concept sketch for unproduced series based on Cliff Sterrett’s "Polly & her Pals"* (ca. 1926) / ibid* / ibid* / Self portrait of Grim Natwick* (ca. 1926)

Middle Row: Animation From Fleischer (left to right) Animation drawings from "Mariutch"* (1930) / Animation drawing from unknown film* – Animation drawing from "Mariutch"* / Animation drawings from "Swing, You Sinners"* (1930) bottom dwg- collection of Kent Butterworth / Character designs for Bimbo* (ca. 1930) / Character designs for Bimbo in "Barnacle Bill The Sailor"* (1930) / Caricature of Grim Natwick by Rudy Zamora – Self portrait of Grim Natwick* (ca. 1930)

Bottom Row: Anatomy Studies After Bridgeman* (ca. 1920)

* denotes a drawing by Grim Natwick

Next Chapter: GRIM NATWICK, GOLDEN AGE ANIMATOR (Iwerks, Disney, Lantz)


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

GRIM NATWICK’S SCRAPBOOK

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
Director
Animation Resources

TheoryGrim Natwick

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

Facebooktwittergoogle_plusredditpinterestlinkedinmailFacebooktwittergoogle_plusredditpinterestlinkedinmailby feather