Archive for the ‘Uncategorized’ Category

Tuesday, June 12th, 2018

RefPack022 Is Now Up On The Animation Resources Members Only Page!

Reference Pack

There’s A New Reference Pack
Animation Resources
Available For Download Today!

Every other month, Animation Resources shares a new Reference Pack with its members. They consist of an e-book packed with high resolution scans and video downloads set up for still frame study. Members. make sure you download the Reference Packs before they expire. When it’s gone, it’s gone!

MEMBERS LOGIN To The Members Only Page

JOIN TODAY To Access Members Only Content

Havoc In Heaven

In Reference Pack 022, Animation Resources is trying something new. Instead of providing our regular e-book and short films, RefPack022 includes a rare animated feature film in its entirety. We hope you find this to be useful to your studies.

Havoc In Heaven (1961/1964) was made by the pioneers of Chinese animation, the Wan Brothers. Based on the Monkey King legend, this film is unique in its use of color, music and design, drawing on Chinese art for inspiration instead of imitating Western models. We are proud to be able to present this important film to our members for their study and reference. The video file has been cleaned up and deinterlaced, so you can step through forwards and backwards and study the animation.

Havoc In Heaven

Also included is a half hour documentary on the Wan Brothers that shows clips from their films and tells their story from childhood to becoming recognized as treasured artistic mentors to the Chinese animation industry. Both the feature and the documentary are in Chinese, but our Members Only page includes a detailed synoposis translated into English.

H M Bateman

That’s not all! Our bonus features this time include two classic books by the British cartoonist H. M. Bateman, Suburbia and Burlesques. Bateman’s keenly observed caricatures shine a light on the human foibles and sense of humor of British culture in the roaring 20s. The two books are presented as a high resolution PDF file ready to print for your reference on letter sized three ring paper.

MEMBERS LOGIN To The Members Only Page

JOIN TODAY To Access Members Only Content

Animation Resources is dedicated to helping creative artists raise the bar for the art of animation through self study and research. Reference Pack 022 pulls out all the stops with over two hours of rare animation and a 135 page downloadable e-book. If you aren’t a member of Animation Resources yet, YOU SHOULD BE!

Not A Member Yet? Want A Free Sample?

Check out this SAMPLE REFERENCE PACK! It will give you a taste of what Animation Resources members get to download every other month!

Sample RefPack

Facebooktwittergoogle_plusredditpinterestlinkedinmailFacebooktwittergoogle_plusredditpinterestlinkedinmailby feather

Monday, April 2nd, 2018

REFPACK021: Animation Resources Members Only Page Updated

Reference Pack

Every other month, Animation Resources shares a new Reference Pack with its members. They consist of an e-book packed with high resolution scans and video downloads set up for still frame study. Members. make sure you download the Reference Packs before they expire. When it’s gone, it’s gone!

There’s a new RefPack on the Members Only page today! Login to the…


This RefPack includes the second volume of cartoons from Esquire. To commemorate its first five years in business, Esquire planned an annual gathering together the best cartoons from 1933 to 1937. The book was never published, but Animation Resources was given access to the only remaining prototype of the book.

Lotte Reiniger Mozart

Also included are two brilliant animated films set to the music of Mozart by Lotte Reiniger. Reiniger’s technique of silhouette animation using jointed paper puppets is rarely used today. But it provides a good model for designing asset based Flash animation.

Three TerryToons

The Reference Pack features three cartoons from the Terry-Toons studio. Animation histories describe Terry cartoons as all looking basically the same, but nothing could be further from the truth. These three cartoons don’t just look different from each other, the style of the animation changes from scene to scene!

Charms B.G.

Beginning this time, we are including a bonus download from one of our earlier RefPacks. This time the bonus is a rare industrial film from the Paul Fennell studios. Titled “Charms B.G.”, this sales film in Technicolor was designed by the legendary layout artist, Ed Benedict.

MEMBERS LOGIN To The Members Only Page

JOIN TODAY To Access Members Only Content

Facebooktwittergoogle_plusredditpinterestlinkedinmailFacebooktwittergoogle_plusredditpinterestlinkedinmailby feather

Tuesday, March 27th, 2018

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.

Facebooktwittergoogle_plusredditpinterestlinkedinmailFacebooktwittergoogle_plusredditpinterestlinkedinmailby feather