What good drawing for this now almost unknown character. Only 12 were made and half if them are lost. What a shame so few were made and so many lost, Toby is a great little rambunctious character. This cartoon really had fun energy, and is a worthy addition to those spookytoons, full of skeletons and ghosts which are among, I should imagine, everyone's favorites. That was a very witty ending
Rewatching after a year, still love this character. still regret there were not more of these, though in a way Toby evolved into Scrappy and lived on. Charles Mintz was responsible for producing both and both had the same animators and often the same look and feel.
I recognize the three names here. Dick Huemer began his career (I believe) at Max Fleischer's studio where he animated Ko-Ko the Clown and freed the character with real substantial animation rather than being tied to rotoscoping. He was probably their best artist during the 1920's. Later Huemer would work for Walt Disney, where he did a lot of great character designs and directing. I believe Sid Marcus spent his entire career at Columbia/Screen Gems, and Art Davis would go on to direct cartoons for Leon Schlesinger's Looney Tunes and Merrie Melodies, which would later become Warner Brothers Animation.
3 years late but Huemer actually began his career working for Raoul Barre and Marcus did not spend his entire career at Mintz. Marcus began his career in 1916 as an animator on the Krazy Kat cartoons by Hearst-Vitagraph News Pictorial (which was founded by William Randolph Hearst to make animated adaptations on characters that appeared on his newspapers) and later International Film Service (also founded by Hearst with the same purpose since Hearst-Vitagraph News News Pictorial closed down). Marcus moved to Max Fleischer’s studio and animated on the Out of the Inkwell series and worked with his colleagues Dick Huemer and Art Davis. Marcus was one of the Fleischer employees that were recruited by Burt Gillett to work on Mutt and Jeff. when the studio (Associated Animators) closed down Huemer and Marcus returned to Fleischer (Max Fleischer had attempted to sue most of the staff due to the staff using “secret processes” since most of the staff worked at Fleischer before Associated Animators in which they had learned the secret processes). During Marcus stint at Fleischer he did animation on shorts such as “Noah’s Lark” (1929), “Bedelia” (1930), and “Hot Dog” (1930). Marcus along with Huemer moved over to Winkler Pictures in 1930. Marcus along with Huemer & Davis (who had previously been involved with the switch from New Jork to the West Coast which happened on February 12th 1930) would follow Mintz’s move from the West Coast to Los Angles in December 1931. The switch from the West Coast to Los Angles also got the studio renamed The Charles Mintz Studio. After the Toby series ended in June 1931 it was replaced by a new series called Scrappy. In 1933 The Charles Mintz Studio was renamed Screen Gems, the same year Marcus’ along with Huemer’s Ben Harrison’s and Manny Gould’s salaries were cut making them decide to leave but all but Huemer returned the same year. Mintz died in 1939. Marcus would remain with Screen Gems until the company closed down in 1946. After Screen Gems closed down Marcus would reunite with Davis as a writer at Warner Bros.. After Davis unit was dissolved in 1947 Marcus left. In 1953 Marcus returned to Warner Bros. again as a gagman this time in Bob McKimson’s unit. In 1955 he left Warner Bros. for good & worked as a writer on the 1958 Felix the Cat TV series. Marcus then joined Walter Lantz Productions as a director on 24 shorts between 1963 & 1967 including Lantz’s favourite short “Three Little Woodpeckers” (1965). Davis worked as a animator on Marcus shorts. After Lantz he worked at Ray Patterson’s and Grant Simmons’ studio Grantray-Lawrence Animation He returned to Lantz then went to DePatie-Freleng Enterprises in 1969 as a director on Here Comes the Grump. A year later Marcus returned to Lantz and after Lantz’s studio closed he spent the rest of his life at DePatie-Freleng
Dick Huemer started his career right out of Art School working on the early MUTT AND JEFF cartoons in 1916. That is where he learned to animate. He came to The Inkwell Studio in 1923 and was the Animation Director, establishing the inking style, redesigned the clown character, naming him Ko-ko, and got the Fleischers away from their dependency on The Rotoscope for animating. Interesting, Huemer was encouraged by Max Fleischer to make key poses and have an assistant make the in between drawings. Art Davis was assigned as Huemer's assistant and was essentially the first Inbetweener.
“Smartie, smartie, smartie / Trying to spoil my party…” I’d say many of the other guests did worse things, not to mention the various Halloween creatures.
What good drawing for this now almost unknown character. Only 12 were made and half if them are lost. What a shame so few were made and so many lost, Toby is a great little rambunctious character. This cartoon really had fun energy, and is a worthy addition to those spookytoons, full of skeletons and ghosts which are among, I should imagine, everyone's favorites.
That was a very witty ending
Rewatching after a year, still love this character. still regret there were not more of these, though in a way Toby evolved into Scrappy and lived on. Charles Mintz was responsible for producing both and both had the same animators and often the same look and feel.
What Toby isn't Scrappy
I recognize the three names here. Dick Huemer began his career (I believe) at Max Fleischer's studio where he animated Ko-Ko the Clown and freed the character with real substantial animation rather than being tied to rotoscoping. He was probably their best artist during the 1920's. Later Huemer would work for Walt Disney, where he did a lot of great character designs and directing.
I believe Sid Marcus spent his entire career at Columbia/Screen Gems, and Art Davis would go on to direct cartoons for Leon Schlesinger's Looney Tunes and Merrie Melodies, which would later become Warner Brothers Animation.
3 years late but Huemer actually began his career working for Raoul Barre and Marcus did not spend his entire career at Mintz. Marcus began his career in 1916 as an animator on the Krazy Kat cartoons by Hearst-Vitagraph News Pictorial (which was founded by William Randolph Hearst to make animated adaptations on characters that appeared on his newspapers) and later International Film Service (also founded by Hearst with the same purpose since Hearst-Vitagraph News News Pictorial closed down). Marcus moved to Max Fleischer’s studio and animated on the Out of the Inkwell series and worked with his colleagues Dick Huemer and Art Davis. Marcus was one of the Fleischer employees that were recruited by Burt Gillett to work on Mutt and Jeff. when the studio (Associated Animators) closed down Huemer and Marcus returned to Fleischer (Max Fleischer had attempted to sue most of the staff due to the staff using “secret processes” since most of the staff worked at Fleischer before Associated Animators in which they had learned the secret processes). During Marcus stint at Fleischer he did animation on shorts such as “Noah’s Lark” (1929), “Bedelia” (1930), and “Hot Dog” (1930). Marcus along with Huemer moved over to Winkler Pictures in 1930. Marcus along with Huemer & Davis (who had previously been involved with the switch from New Jork to the West Coast which happened on February 12th 1930) would follow Mintz’s move from the West Coast to Los Angles in December 1931. The switch from the West Coast to Los Angles also got the studio renamed The Charles Mintz Studio. After the Toby series ended in June 1931 it was replaced by a new series called Scrappy. In 1933 The Charles Mintz Studio was renamed Screen Gems, the same year Marcus’ along with Huemer’s Ben Harrison’s and Manny Gould’s salaries were cut making them decide to leave but all but Huemer returned the same year. Mintz died in 1939. Marcus would remain with Screen Gems until the company closed down in 1946. After Screen Gems closed down Marcus would reunite with Davis as a writer at Warner Bros.. After Davis unit was dissolved in 1947 Marcus left. In 1953 Marcus returned to Warner Bros. again as a gagman this time in Bob McKimson’s unit. In 1955 he left Warner Bros. for good & worked as a writer on the 1958 Felix the Cat TV series. Marcus then joined Walter Lantz Productions as a director on 24 shorts between 1963 & 1967 including Lantz’s favourite short “Three Little Woodpeckers” (1965). Davis worked as a animator on Marcus shorts. After Lantz he worked at Ray Patterson’s and Grant Simmons’ studio Grantray-Lawrence Animation He returned to Lantz then went to DePatie-Freleng Enterprises in 1969 as a director on Here Comes the Grump. A year later Marcus returned to Lantz and after Lantz’s studio closed he spent the rest of his life at DePatie-Freleng
Dick Huemer started his career right out of Art School working on the early MUTT AND JEFF cartoons in 1916. That is where he learned to animate. He came to The Inkwell Studio in 1923 and was the Animation Director, establishing the inking style, redesigned the clown character, naming him Ko-ko, and got the Fleischers away from their dependency on The Rotoscope for animating. Interesting, Huemer was encouraged by Max Fleischer to make key poses and have an assistant make the in between drawings. Art Davis was assigned as Huemer's assistant and was essentially the first Inbetweener.
She looks like Mrs Pacman
😅😅😅well information good show 😅😅😅
Released on October 26, 1931
Typical bizarre surreal craziness of early sound cartoons.
“Smartie, smartie, smartie / Trying to spoil my party…” I’d say many of the other guests did worse things, not to mention the various Halloween creatures.
Toby is not part of Columbia Pictures, he is part of M. J. Winkler Prods.
If it's a Halloween party, why isn't anyone wearing costumes and where are the decorations?
Charles Mintz
Hey man, could you send me some Woody Woodpecker shorts over Gmail?
Columbia Pictures
TOBY THE PUP was produced for RKO, not Columbia.
COPYRIGHT MCMXXXI SCREEN GEMS, INC. ALL RIGHTS RESERVED.
Screen Gems was not involved with this series. It was done for RKO.
@@RayPointerChannel Screen Gems was but it was called Winkler Pictures at the time RKO was only the distributor