Scribner had an interest in drawing in high school. Drawing was one of his subjects (along with English and political science) when he attended Denison University for three years. Later, after an interlude spent as a manager of a "hunting marsh", he studied art in Toledo, Ohio, and at the Chouinard Art Institute before he joined the Schlesinger animation staff.[6]
Tokyo Woes, a World War II era cartoon released in 1945 for the US Navy. Directed by Clampett, it is animated by Scribner, along with Manny Gould and Robert McKimson, with the loose Lichty style that Scribner proposed. It also features some stereotypes of Japanese people, which was common during the war.
In late 1941, after Tex Avery left to direct Speaking of Animals series for Jerry Fairbanks Productions, he was replaced as the unit director by Bob Clampett. Scribner's animation matched Clampett's expansive and energetic cartoons. This was caused by Scribner animating in ink with a pen or a brush, and since Scribner's animation, in Bill Melendez's words, was "very bold and kind of dirty", it would cause crises in the Ink and Paint Department, and the women had to choose which lines to trace. Clampett classics such as A Tale of Two Kitties (1942), Coal Black and de Sebben Dwarfs (1943), and The Great Piggy Bank Robbery (1946) showcase some of his trademark "Lichty style" of animation, which he proposed to Clampett. Clampett left Warner Bros. in 1945 to pursue a career in puppetry and television.[7][8][10] Following Clampett's departure, Scribner was transferred to the unit of recently-promoted fellow Clampett alumnus Robert McKimson, although Scribner would only animate on a small number of shorts prior to being hospitalized in late 1945.
He briefly was a cartoonist on Happy Comic's Rowdy Runner and a January 1945 issue of a military magazine called "Service Ribbin".[7] There are some claims from Scribner's family that Chuck Jones stole the Road Runner from Scribner, including a claim from Scribner's son Ty, who claims that he saw a Coyote chasing a Road Runner and that Scribner "pitched" it to Jones, although this claim is very unlikely and dubious since Scribner was at McKimson's unit.[11]
After three years of hospitalization due to tuberculosis, Scribner returned to Warner Bros. in 1948 under Robert McKimson's unit. His animation became noticeably more subdued during this period owing to both McKimson's more rigid directorial standards and Scribner's own deteriorated physical state, but he still got away with energetic scenes, like in Hillbilly Hare (1950), Hoppy Go Lucky (1952) and Of Rice and Hen (1953).[2][12][13]
According to Warner Brothers animator Lloyd Turner in an interview, Scribner frequently engaged in behavior perceived as "crazy", recollecting Scribner to have burned his house down, and that he had a disdain towards his colleague Arthur Davis, potentially because Davis replaced Clampett after his departure. Resultantly, Scribner played a lot of pranks on Davis at McKimson's unit, inclusive of a notable incident Turner recounted within the interview in which Scribner, sighting Davis on a telephone line in a phone booth, elbowed Turner with a "watch me fix Davis", ran to the other side of the booth and tipped the telephone into a 45 degree angle, leading it to emit a booming sound disconcertingly similar to a bomb. Having successfully alarmed Davis, Scribner tipped the phone back, ran and, according to Turner "laughed like he was possessed", inciting Davis' wrath when he emerged from the booth.[14]
Later career
He was laid off from Warner's in 1953 and worked for UPA, Cascade Studios, Jay Ward and Storyboard Inc. from the 50's to the mid 60's.[15] When Scribner went to work at Bakshi Studios, he sat down with Bakshi and said to him, "Ralph, I can't do this anymore. I love what you're doing, and this is going to be the greatest studio in the world, but I just can't do it anymore." He cried while he was speaking and handed his scene in. Bakshi recalled the scene looking "absolutely hideous" and looking like something was wrong with him, which ironically, there was. Although Scribner was credited, most of his animation were thrown out or overhauled.[16][17] In his later years, Scribner worked with former colleague Bill Melendez on various Charlie Brown movies and television specials that worked in Snoopy Come Home (1972), There's No Time for Love, Charlie Brown (1973) and It's the Easter Beagle, Charlie Brown (1974), eventually starting at a studio called Playhouse Pictures, which produced commercials for over 45 years.[18][19] The only things he didn't do for UPA or his former colleague Melendez is a 1968 training video for IBM called A Computer Glossary and two credits on the first two episodes of Yogi's Gang.[20][21][22]
Death and legacy
After Scribner's death, many people in the animation industry praised his work. (examples shown)
After being arrested and put on suicide watch in Patton State Hospital, Scribner died there on December 21, 1976, from tuberculosis, which he had contracted during World War II in 1945 during the production of One Meat Brawl and due to an outbreak of the disease during the war, in which he didn't return to Warners until March 1948. His last project was Race For Your Life, Charlie Brown, released posthumously in Summer 1977.[23][18][2]Bill Plympton says his work on Coal Black "is a masterpiece of animation and distortion" and that the animation in the Clampett cartoons blew his mind.[24][25] Cartoon Brew puts him on Number 18 on the list of "25 Great Cartoonists You Should Know"[26]John Kricfalusi is a "Scribner fanatic" and is the reason why he has a despise for Disney animation.[27][28][29]
