Can anyone list some of Clyde Geronimi's animations when he worked for Lantz on the Dinky Doodle, Pete the Pup and Oswald the Lucky Rabbit series ?

Geronimi appears to have been an understudy for Rollin Hamilton, whereas Manuel Moreno and Ray Abrams appeared to have worked closely with Tom Palmer. His first discernible scenes are in THE PRISON PANIC (1930) where the rat attempts to open the hippo like a safe and Oswald chases him throughout the sewers. His drawing style is most similar to Hamilton, sans some differences in timing and proportioning.

Speaking of which this is what I suspect is the draft layout for the whole cartoon:

• Rat is locked up by Oswald and attempts to escape: Ray Abrams.
  
• Rat harasses the dog: Pinto Colvig.
  
• Rat harasses the hippo, Oswald chases the rat: Clyde Geronimi.
  
• Oswald exits the sewer and is flung back to jail: Bill Nolan.
  
• Oswald finds the rat in the showers and sends him back to the cell: Manuel Moreno.
  

Lucratively simple one. I'll have to do a separate thread for this kind of stuff someday.

Can anyone list some of Clyde Geronimi's animations when he worked for Lantz on the Dinky Doodle, Pete the Pup and Oswald the Lucky Rabbit series ?

Clyde, like Lantz, picked up a lot from George Stallings it seems, a nice blend of loose animation with big facial detail. He was the head animator of the Lantz directed Bray cartoons; we'll see more of that soon with Tommy's Dinky Doodle set. Geronimi's animation during this period (from what I've seen) is most memorable with the big cheekbones and delirious smiles he gives the characters (the posters he drew for these films circulate, look at those for reference). In DINKY DOODLE IN EGYPT, one I have a private scan of, these smiles show up frequently, along with "bulbous" mouths when the character speaks. His animation is sorta a mix between Huemer and Nolan, very loose, albeit on a bit of a cruder level, with nice posing and attention to detail. I'm not entirely certain how to pick it apart from Lantz's own animation, but it seems that the head animator of these films is him, I suspect the scenes that are a bit cruder and less attention are Lantz's scenes

Geronimi appears to have been an understudy for Rollin Hamilton

This can't be correct. Geronimi said himself to Mike Barrier 

Yes, I came out as an animator.

Here's a Geronimi entry without any recognizable recurring characters, such as Dinky or Pete, for studying...

Geronimi appears to have been an understudy for Rollin Hamilton, whereas Manuel Moreno and Ray Abrams appeared to have worked closely with Tom Palmer. His first discernible scenes are in THE PRISON PANIC (1930) where the rat attempts to open the hippo like a safe and Oswald chases him throughout the sewers. His drawing style is most similar to Hamilton, sans some differences in timing and proportioning.

Speaking of which this is what I suspect is the draft layout for the whole cartoon:

• Rat is locked up by Oswald and attempts to escape: Ray Abrams.
  
• Rat harasses the dog: Pinto Colvig.
  
• Rat harasses the hippo, Oswald chases the rat: Clyde Geronimi.
  
• Oswald exits the sewer and is flung back to jail: Bill Nolan.
  
• Oswald finds the rat in the showers and sends him back to the cell: Manuel Moreno.
  

Lucratively simple one. I'll have to do a separate thread for this kind of stuff someday.

The Prison Panic is an excellent Oswald cartoon with some very fine animation, I was particularly impressed by the animation provided by Pinto Colvig, I thought he was mainly in charge of voices and music but I see that he was also a very good animator.

According to Tom Klein, Manuel Moreno was Bill Nolan's assistant, not Tom Palmer's, and this seems to be the first cartoon in which Moreno did animation. His promotion to animator may have been due to the departure of Palmer and Rollin Hamilton, as they were the only animators along with Nolan to receive opening credits on almost every Oswald cartoon up to Broadway Folly (1930). It seemed that they had an important role in the studio, and this must have been counterbalanced by other animators after their departure, although I don't know why Palmer and Hamilton left Lantz.

Can anyone list some of Clyde Geronimi's animations when he worked for Lantz on the Dinky Doodle, Pete the Pup and Oswald the Lucky Rabbit series ?

Clyde, like Lantz, picked up a lot from George Stallings it seems, a nice blend of loose animation with big facial detail. He was the head animator of the Lantz directed Bray cartoons; we'll see more of that soon with Tommy's Dinky Doodle set. Geronimi's animation during this period (from what I've seen) is most memorable with the big cheekbones and delirious smiles he gives the characters (the posters he drew for these films circulate, look at those for reference). In DINKY DOODLE IN EGYPT, one I have a private scan of, these smiles show up frequently, along with "bulbous" mouths when the character speaks. His animation is sorta a mix between Huemer and Nolan, very loose, albeit on a bit of a cruder level, with nice posing and attention to detail. I'm not entirely certain how to pick it apart from Lantz's own animation, but it seems that the head animator of these films is him, I suspect the scenes that are a bit cruder and less attention are Lantz's scenes

Geronimi appears to have been an understudy for Rollin Hamilton

This can't be correct. Geronimi said himself to Mike Barrier 

Yes, I came out as an animator.

Indeed, the Heeza Liar and Dinky Doodle series have a lot in common, starting with the extreme enlargement of the characters' heads when they're surprised or frightened. This style of animation seems to have been unique to the Bray studio, but it seems to have been abandoned by Stallings and Lantz when they left Bray.

The posters for the Dinky Doodle films designed by Geronimi are very neat, and he gives his characters great facial expressions - it's really good work !
I suspect that Geronimi was the one who streamlined Dinky Doodle and Weakheart, the two characters going from the cute, childlike Walt Lantz design seen on the series' promotional poster, which was very close to the comic book style :

...To the rounder, cartoonish design we see in the cartoons and movie posters :

Here's a Geronimi entry without any recognizable recurring characters, such as Dinky or Pete, for studying...

Surprisingly, the drawings of the monkeys and the leopard are drawn in a style completely different from the usual Bray cartoon style, which is really strange.

According to Tom Klein, Manuel Moreno was Bill Nolan's assistant, not Tom Palmer's, and this seems to be the first cartoon in which Moreno did animation. His promotion to animator may have been due to the departure of Palmer and Rollin Hamilton, as they were the only animators along with Nolan to receive opening credits on almost every Oswald cartoon up to Broadway Folly (1930). It seemed that they had an important role in the studio, and this must have been counterbalanced by other animators after their departure, although I don't know why Palmer and Hamilton left Lantz.

I believe Bill Nolan had SEVERAL assistants, and two desks, a testament to his output. Ham didn't join immediately but was likely pulled from his and Lantz's connections at Winkler (they did direct FARMYARD FOLLIES together). The first cartoon with Ham's work is SNO' USE, and he animated on each entry to BROADWAY FOLLY. But Ham was a H-I guy at heart, and once they could hire animators for the Bosko series, Ham was back to working with them. Palmer also left at the same time to work at Disney. I wish I knew how he got into animation; he seems to just start appearing as a credited animator on the Winkler Oswalds, I've yet to track him before this.

The posters for the Dinky Doodle films designed by Geronimi are very neat, and he gives his characters great facial expressions - it's really good work !
I suspect that Geronimi was the one who streamlined Dinky Doodle and Weakheart, the two characters going from the cute, childlike Walt Lantz design seen on the series' promotional poster, which was very close to the comic book style :

What you are sharing here is a promotional image announcing the series. These designs were simplified immediately after the first cartoon, THE MAGIC LAMP, perhaps by Geronimi but probably after realizing by both him and Lantz that were a little difficult to animate. Geronimi did say he played a bigger role in Lantz's Bray cartoons than he was given credit for, even creating the Dinky Doodle name, which I believe.

Surprisingly, the drawings of the monkeys and the leopard are drawn in a style completely different from the usual Bray cartoon style, which is really strange.

Looks like Geronimi only does the scenes in live action. Seems like they may of been training someone on this cartoon, or maybe outsourced it. Some of the scenes remind me of Vet Anderson's work, but I don't think its him

Out of curiously, when did Clyde switched to the other Walt''s studio?

Sometime in the first 4 months of 1931, I believe. He begins showing up by Summer 1931 at the Disney studio

Looks like Geronimi only does the scenes in live action. Seems like they may of been training someone on this cartoon, or maybe outsourced it. Some of the scenes remind me of Vet Anderson's work, but I don't think its him

It seems to me that Vet Anderson's animation is much lumpier and has more exaggerated facial expressions, but I could be wrong as I'm mostly only familiar with his late work for Lantz and Eshbaugh. Can you show me some of Vet's animation on Aesop's Fables so I can get an idea of his animation in the silent era ?

I apologize if my previous answer was insufficiently explicit.

The truth is, I'd like to see concrete examples of scenes animated by Vet Anderson when he worked at Paul Terry's studio in the 1920s, as I'm curious about the style of animation he used back then and how it was similar to that used by the main animator of this short.

Let me tell you that your way of ignoring my messages is extremely rude and contemptuous. The least polite thing to do when someone asks you a question is to answer it.

Let me tell you that your way of ignoring my messages is extremely rude and contemptuous. The least polite thing to do when someone asks you a question is to answer it.

Let me tell you that your way of immediately insinuating someone is being rude for not answering in a timely manner is rude and contemptuous. It is entirely possible that S.C. MacPeter either does not have the answers to your question or simply has not had the time to get back to you.

Consider this a warning.

---

Let me tell you that your way of immediately insinuating someone is being rude for not answering in a timely manner is rude and contemptuous. It is entirely possible that S.C. MacPeter either does not have the answers to your question or simply has not had the time to get back to you.

Consider this a warning.

Sorry for assuming too hastily that Mr MacPeter had deliberately ignored my messages but I had interpreted this altitude as a haughty way of making me mean that my messages were of absolutely no importance to him so I felt insulted.

Yes its true, I do have quite a busy life, work and education not not included. I usually wait till I have an answer to respond to questions on here, but don’t have enough time to watch a few Fables to reference on Vet Anderson on them. Will try this evening, my apologies

The Prison Panic is an excellent Oswald cartoon with some very fine animation, I was particularly impressed by the animation provided by Pinto Colvig, I thought he was mainly in charge of voices and music but I see that he was also a very good animator.

Pinto Colvig was an animator, screenwriter, dubbing artist and musician all rolled into one ! It's also worth noting that Colvig was a pioneer of sound animation, since his first cartoon, "Blue Note" (1928), was released around the same time as Disney's famous "Steamboat Willie", but unfortunately for him, Pinto couldn't find a producer willing to distribute his cartoon. Needless to say, Colvig was a key player in the Lantz studio, helping the Oswald cartoons become true musicals; the company never recovered from his departure for Disney, despite Lantz's efforts to hire experienced animators like Frank Sherman and Vet Anderson, both of whom were old acquaintances of Bill Nolan (Sherman in particular had studied at the same high school as Nolan and they were very good friends).

It seems to me that Vet Anderson's animation is much lumpier and has more exaggerated facial expressions, but I could be wrong as I'm mostly only familiar with his late work for Lantz and Eshbaugh. Can you show me some of Vet's animation on Aesop's Fables so I can get an idea of his animation in the silent era ?

Although not a silent film, I think the Aesop's Fables cartoon most representative of Vet Anderson's work is "Laundry Blues" (1930). Here you can see the full influence of his previous profession as a caricaturist, as his facial designs for the characters were taken to extremes for comic purposes, and it works very well: his drawings of the Chinese with the protruding cheekbones and big teeth protruding from the mouth contrast clearly with the rounder, smoother style of Mannie Davis and Harry Bailey. Anderson shared scenes with these two animators, respectively in the scene where the waiter falls into the basin for Davis and the scene where four singers perform a beautiful version of "Chinatown, my Chinatown" for Bailey; I also think that Vet animated all the scenes featuring this Chinese butler, so I'm pretty sure that he designed this character, especially as he seems to be a caricature of Rudy Vallée (the real Vallée appears in a photo in this cartoon).

This can't be correct. Geronimi said himself to Mike Barrier 

Has anyone ever seen a short film of this "Bugs Baer gag's" mentioned by Geronimi ?

I believe Bill Nolan had SEVERAL assistants, and two desks, a testament to his output. Ham didn't join immediately but was likely pulled from his and Lantz's connections at Winkler (they did direct FARMYARD FOLLIES together). The first cartoon with Ham's work is SNO' USE, and he animated on each entry to BROADWAY FOLLY. But Ham was a H-I guy at heart, and once they could hire animators for the Bosko series, Ham was back to working with them. Palmer also left at the same time to work at Disney. I wish I knew how he got into animation; he seems to just start appearing as a credited animator on the Winkler Oswalds, I've yet to track him before this.

The first Oswald cartoon produced by Lantz in which Hamilton's animation can be seen is "Cold Turkey" (1929), although it's not complete.

Vet Anderson, being a talented magazine cartoonist for many years before joining animation, which made him very good at adapting his way of animation to any look. This is why his work at Lantz and Eshbaugh both move the same, but still fit with the layouts he was given, almost as if the layout was a skeleton, and he gave the characters their muscles. Back to my point, this essentially meant that Vet Anderson was still animating the same way but with a different style of character design, especially since he would've done all his own layouts and backgrounds

My favorite piece of Vet Anderson work in the silent Fables are two brief shots where Farmer Alfalfa is inside his house and his own hand is trying to kill him in WHEN SNOW FLIES (1927).  

Vet appeared most frequently in John Foster's Fables, and Foster knew how to use Vet well, often sharing scenes with him, like in WOODEN MONEY (1929).  

This should give a good understanding into Vet's animation during the late 20s. Its entirely possible he moonlighted that Unnatural History but I'd need to ask a few others before I'm confident