Art Babbitt

Animator, Director of commercial department of Hanna-Barbera, Animation instructor
A master of character animation, Art Babbitt's career spanned the early days of sound animation at Terrytoons and Disney; the glory days of the lavish pre-war Disney features; the 1950s innovations of UPA; the limited ... Read more »
Born: 09/28/1907 in Omaha, Nebraska, USA


Visual Effects & Animation (5)

Snow White and the Seven Dwarfs 1943 (Movie)


Dumbo 1940 (Movie)

(Animation Director)

Fantasia 1940 (Movie)

animation supervision(The Pastoral Symphony) (Animation Supervisor)

Fantasia 1940 (Movie)

animation(The Nutcracker Suite) (Animator)

Pinocchio 1939 (Movie)

animation direction (Animation Director)


A master of character animation, Art Babbitt's career spanned the early days of sound animation at Terrytoons and Disney; the glory days of the lavish pre-war Disney features; the 1950s innovations of UPA; the limited commercial animation of Hanna-Barbera in the 60s; and the big-budget animated features of the late 80s and 90s. He was significant both for his extraordinary artistic achievements and for his central role in the fateful Disney animators' strike of 1941. As a leader in the cartoonists' union which clashed with management over wages and working conditions, Babbitt gained the lasting enmity of the paternalistic Walt Disney, with whom he nearly came to blows on the picket line during the height of the strike. Legend has it that Walt's bitterness over the strike motivated the waning of his interest in animated features in the 1940s and forever changed his attitude toward his staff.


had three survived him

Barbara Babbitt

survived him



Worked on "The Thief and the Cobbler", scheduled for release in late 1992


Brought to England by animator Richard Williams for master classes in animation at Williams' London studio


Served as director of the commercial department at Hanna-Barbera


Assisted on the first Mr. Magoo cartoon, "Ragtime Bear"


Left the Disney studio


Returned to Disney studio after the war but no longer received interesting assignments; snubbed by Walt and some other animators


Fired by Disney in direct violation of the Wagner Labor Relations Act thereby prompting the union to go out on strike (May 29)


Contributed to several sequences in "Fantasia", most notably animating the dance of the mushrooms sequence to the music of Tchaikovsky's "Nutcracker Suite"


Animated the character of Gepetto in "Pinocchio"


Animated the Wicked Queen in "Snow White and the Seven Dwarfs", the first Disney feature


Wrote "Character Analysis of the Goof", an essay used as a guide by his fellow animators when working on Goofy (now regarded as a classic text on character animation)


Assigned to a Mickey Mouse short, "Mickey's Service Station", to animate "The Goof", a previously undeveloped character that soon become known as "Goofy"


Helped animate the Practical Pig and the Big Bad Wolf in Disney's classic Oscar-winning cartoon short, "The Three Little Pigs"


Went to California to work for Walt Disney for $35 a week


Worked on some of the earliest sound cartoons at Paul Terry's Terrytoons studio in Long Island NY


Turned to commercial art at age 17 when his parents were unable to afford medical school 9date approximate)

Was active as a leader in the company union at the Disney studio.

Worked on John and Faith Hubley's TV special "Everybody Rides the Carousel"

Confronted Walt Disney over a wage differential between himself and his assistant

Worked at the innovative UPA (United Productions of America) studio

Served in the US Marines as an animator on training films during World War II

Taught animation at the University of Southern California

Worked for the Warner Brothers animation unit

Studied the writings of Freud as a youth in hopes of becoming a psychiatrist

Became active in new Screen Cartoonists Guild, recognized as the studio's bargaining agent following federal mediation

Won more than 80 awards for independent TV commercials in the 1950s and 1960s

Filed suit against Disney with the National Labor Relations Board, which subsequently ordered the studio to reinstate him

Bonus Trivia


Babbitt's approach to character animation can be found in his classic essay, "Character Analysis of the Goof": "In my opinion the Goof, hitherto, has been a weak cartoon because both his physical and mental makeup were indefinite and intangible. His figure was a distortion, not a caricature, and if he was supposed to have a mind or a personality, he was certainly never given sufficient opportunity to display it. Just as any actor must thoroughly analyze the character he is interpreting, to know the special way that character would walk, wiggle his fingers, frown, or break into a laugh, just so must the animator know the character he is putting through the paces. In the case of the Goof, the only characteristic that formerly identified itself with him was his voice. No effort was made to endow him with appropriate business to do, a set of mannerisms, or a mental attitude..." (From "The American Animated Cartoon" edited by Gerald Peary and Danny Peary.)