The documentary Floyd Norman: An Animated Life premiered in 2016, almost exactly 60 years after its subject made history as the first African-American animator to work at Walt Disney Studios. He’s maintained a busy schedule in the two years since, even though he’s now in his 80s.
Honored as a Disney Legend in 2007, Norman is helping pass the torch to a new generation of artists through efforts like his lecture at FSCJ’s South Campus, which is being facilitated by the Cultural Council. For Patrick Fisher, the council’s Community & Collaboration Manager, bringing him in was a no-brainer. “We initially discussed Mr. Norman as a speaker in the series after students from the Young Men’s/Young Women’s Leadership Academies watched the documentary on their lunch break while participating in our Cultural Service Internship program,” he says. “Mr. Norman’s story captivated their young minds, and that’s what sparked our interest in bringing him to Jacksonville.”
Norman is the second of three arts luminaries to visit as part of this year’s Vystar International Artist Lecture Series, following Brian Grief (of Saving Banksy fame; the Banksy artwork about which the film was made is still displayed at Downtown’s Main Library) and preceding Deana Haggag of United States Artists. The event includes a screening of the documentary at 6 p.m., followed by a master class at 7:35 p.m., where Norman discusses his amazing career as he creates illustrations for the audience. It all wraps up with what promises to be a lively Q&A session. It’s fun for the whole family, but absolutely essential for artists with an eye to comics and animation; Disney marks, of course, cannot miss this.
“Race played an issue at the start of his career and age played an issue at the end of his career,” says Fisher, “yet neither factor ever affected his ability to produce great work and be competitive in his field.” Whether you’re obsessed with animation or just a casual fan, there is absolutely no chance that you don’t have at least a passing familiarity with Floyd Norman’s work, whether you know it or not. The man’s hands have been in some of the most iconic brands of the genre.
Norman was working in comic books in 1956 when Disney tapped him to help draw what are called “intermediate frames” (which smooth transition between frames showing active motion) on the iconic Sleeping Beauty. He remained for a decade, working on classics like Robin Hood, The Sword in the Stone and everyone’s favorite, The Jungle Book, only leaving the studio after Walt Disney (affectionately called “The Old Man,” but not to his face) himself died in 1966. He’s since returned periodically, contributing to various Disney and Pixar films, including The Hunchback of Notre Dame, Mulan, Monsters, Inc. and Toy Story 2.
Though Norman is best known for his ministrations for the Mouse, he’s also crafted a legacy in the sphere of television that equals his impact on the big screen, beginning with work on Sesame Street and the original pilot for Fat Albert. (Fun fact: Herbie Hancock did the music for that one.) Starting in the 1970s, he played a key role in putting together beloved shows like Jabberjaw, Snorks, Alvin and the Chipmunks, Garfield and Friends and, most iconic of all, The Smurfs. (He also helped animate movies based on The Flintstones and Scooby-Doo.) He’s continued working in the medium well into the 21st century, throwing in on hipster fare like Courage the Cowardly Dog and Robot Chicken.
Today, Floyd Norman spends a lot of time on his first love-comic strips-which have been collected in three books published in recent years. He’s also in demand for speeches and workshops like the lectures he’s doing here.
Patrick Fisher explains, “We need to inspire children of color to be the next generation of comic book writers, storytellers, animators and illustrators. We need to provide them with opportunities to create art that resonates with them and is representative of them. My hope is that Mr. Norman’s lecture will encourage others to seek out talent across Jacksonville’s diverse communities and support talent when it’s identified.” They say you can teach an old dog new tricks, but if it’s the old dog who’s teaching the new tricks, well, anything’s possible.
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