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[Electricmastro]

Thurston Harper of Disney, Famous Studios, and Fleischer (America's Best Comics #14, June 1945):

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Jim F. Davis of Disney, Famous Studios, Fleischer, and Screen Gems (The Black Terror #11, August 1945):

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Jack Bradbury of Disney and Warner Bros. (The Black Terror #23, June 1948):

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Manny Perez and Curt Perkins of Warner Bros. (Coo Coo Comics #22, February 1946):

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Art from Goofy Comics #8 (February, 1945) apparently having been drawn by an animator named Gordon Whittier:

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?Loughlin? from Giggle Comics #15 (December, 1944), who may be Edwin Loughlin (or even Edwin Laughlin), and may have also been an animator:

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Ha Ha Comics #5, featuring W. Henning, who?s probably William Henning, the Popeye animator:

[mopee167]

IMDb has animator credits for Gordon Whittier from 1938 to 1976.

https://www.imdb.com/name/nm0926513/

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Sam Weissman, whom I only found out was an animator at Fleischer Studios through his online obituary:

























https://www.legacy.com/obituaries/northjersey/obituary.aspx?n=sam-weissman&pid=87731747
http://www.ltolman.org/fein.htm
http://www.ltolman.org/sturman-50th-IDs.htm
http://www.ltolman.org/samweissman.htm
https://www.comics.org/penciller/name/Sam%20weissman/sort/chrono/

[Robb_K]

I can see that Sam Weissman had a lot of versatility, using various styles.  But drawing a frog with 8 arms to be an "octopus"   Easy to see he ditched the zoo class in art school!!!   

[Electricmastro]

I can see that Sam Weissman had a lot of versatility, using various styles.  But drawing a frog with 8 arms to be an "octopus"   Easy to see he ditched the zoo class in art school!!!   

And had at least one identifiable recurrence in his art. He often liked to draw hands flexed out and being shaken around as if to reinforce the energy of a scene.

[The Australian Panther]

  He often liked to draw hands flexed out and being shaken around as if to reinforce the energy of a scene.

and all wearing white gloves.

[Captain Audio]

I can see that Sam Weissman had a lot of versatility, using various styles.  But drawing a frog with 8 arms to be an "octopus"   Easy to see he ditched the zoo class in art school!!!   

The dreaded Australian OctoFrog. Ten thousand Australians and tourist are killed by these every year. Other than the deceptively cute carnivorous Fairy Wren the most dangerous creature living there.

[Robb_K]

Hold the presses!
Just looked more closely at
https://www.lambiek.net/artists/f/fleischer_max.htm

  In 1927 they signed a contract with Paramount, which would last until 1942. Among the notable people once employed at their studio were Ray Bailey, J.R. Bray, Les Carroll, Shamus Culhane, Arthur Davis, Jim Davis, Tony Di Paola, Irving Dressler, Harvey Eisenberg, Frank Engli, Vincent Fago, Otto Feuer, Owen Fitzgerald, Gill Fox, Woody Gelman, Dan Gordon, Chad Grothkopf, Rube Grossman, Harry Haenigsen, Dick Hall, Cal Howard, Dick Huemer, Jerry Iger, Bob Kane, Jack Kirby, Seymour Kneitel, Tack Knight, Harry Lampert, Edwin Laughlin, Pauline Loth, Steve Muffatti, Joseph Oriolo, Tony Pabian, John Pierotti, Sy Reit, Vivie Risto, Erich F.T. Schenk, Hal Seeger, Isadore Sparber, Irving Spector, Al Stahl, John Stanley, Milt Stein, Martin B. Taras, Frank Tashlin, David Tendlar, Reuben Timmins, Jim Tyer, Myron Waldman, Carl Wessler, Bob Wickersham, Margaret Winkler (who was the first female producer and distributor of animated cartoons), George Wolfe and Ralph A. Wolfe. 

The Descendants of some of those people are active, some at very high level, in Hollywood today.
Incidentally, have you ever stayed for the credits at the end of a modern movie and seen the huge list of names for artists and animators?
Cheers!

I ALWAYS do - to see if there are people I know and with whom I've worked (and I did on 4 films to look for my own name.  I worked on 4 cartoon feature films from Hanna-Barbera Feature Animation, Turner Feature Animation and Warner Brothers Feature Animation, from 1995-2000.

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Lu Guarnier:













https://www.comics.org/penciller/name/Guarnier/sort/chrono/

https://www.michaelspornanimation.com/splog/?p=1332

https://www.whataboutthad.com/2010/08/31/repost-1938-clampett-unit-photo/

https://cartoonresearch.com/index.php/a-chat-with-lu-guarnier/

[Robb_K]

Arman Williams (Startling Comics #32, March 1945):

A shellless (an English word with 3 consecutive letter Ls!!!) turtle?  Are they like hermit crabs - they scrounge for larger shells from bigger turtles who shed them??? 

I can't think of another artist that drew shellless turtle characters.  But that's not a big surprise,becaus funny animal artists know about animals, and Startling Comics wasn't exactly a funny animal comic book.

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Ken Landau:

Out of the Night #14 (April, 1954):



Forbidden Worlds #29 (May, 1954):



Adventures into the Unknown #60 (November, 1954):







https://www.kennethlandau.com/

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Sam Singer:

[mopee167]

Sam Singer (1912 - 2001) was the executive producer of Courageous Cat and Minute Mouse, created by Bob Kane as a funny animal parody of his earlier creation, Batman and Robin.

[Robb_K]

Sam Singer:

Singer had a really old style, reminiscent of the 1930s.  I really like his Monkeyshines covers, especially with all the bright colours.

[Electricmastro]

Sam Singer:

Singer had a really old style, reminiscent of the 1930s.  I really like his Monkeyshines covers, especially with all the bright colours.

Singer had a bulbous, yet energetic sort of style. He liked to draw animals with big snouts or chubby cheeks, and rarely drew short characters unless they were children, yet that didn?t seem to hinder the flexibility of how his characters moved at all.

Of all the Sangor Studio artists I?ve seen, the one I felt had the most old-school feeling was probably Tony Loeb. I?ve understood that Sangor Studio was largely made up of artists that had worked at Fleischer Studios, and Loeb may have been the artist that embraced the Fleischer a style the most, drawing characters as if they were in the early 1930?s as opposed to the mid-1940s.

Bimbo from Fleischer, an early 30s character which Loeb?s style reminded me of:


Loeb?s art:

[crashryan]

What's going on in that first Monkeyshines cover? The kid (apparently smitten with the teacher) seems to be giving her a coconut with a winking face on it. The other kids are laughing at him but the teacher seems charmed. Or jjust amused? The kid is turned away with his eyes closed (because he's bashful?) but he's also licking his lips as if thinking of something tasty, like maybe the other apples. I am baffled.

[The Australian Panther]

What's going on in that first Monkeyshines cover?

Also, the Monkey has a knot in his tail and also his left hand [almost hidden] seems to be in motion.

One end of a coconut, after husking, does accurately resemble a human face.

Puts me in mind of the song, which would have been well known then,
'I've got a lovely bunch of coconuts'
I've Got a Lovely Bunch of Coconuts - Billy Cotton Band
https://www.youtube.com/watch?v=cAEngcdLlVQ 

Best known currently as sung in the Lion King. Also Monty Python did it and on some sites the song is erroneously credited to Python.

Lets just say that the lyrics lead themselves to more than one interpretation.
Probably also an in-joke. I have begun to realize as an adult, that there can be a lot going on in 'children's' comics, TV shows and entertainment which is meant for adults and is unlikely to be interpreted by Children. 
     

[Robb_K]

What's going on in that first Monkeyshines cover?

Also, the Monkey has a knot in his tail and also his left hand [almost hidden] seems to be in motion.

One end of a coconut, after husking, does accurately resemble a human face.

Puts me in mind of the song, which would have been well known then,
'I've got a lovely bunch of coconuts'
I've Got a Lovely Bunch of Coconuts - Billy Cotton Band
https://www.youtube.com/watch?v=cAEngcdLlVQ 

Best known currently as sung in the Lion King. Also Monty Python did it and on some sites the song is erroneously credited to Python.

Lets just say that the lyrics lead themselves to more than one interpretation.
Probably also an in-joke. I have begun to realize as an adult, that there can be a lot going on in 'children's' comics, TV shows and entertainment which is meant for adults and is unlikely to be interpreted by Children. 

Yes!  Warner Brothers was especially known for that.  But MGM and Fleischer had their moments, as well.  Disney frowned on that, and it was cut out whenever noticed by higher-ups.

[Robb_K]

Sam Singer:

Singer had a really old style, reminiscent of the 1930s.  I really like his Monkeyshines covers, especially with all the bright colours.

Singer had a bulbous, yet energetic sort of style. He liked to draw animals with big snouts or chubby cheeks, and rarely drew short characters unless they were children, yet that didn?t seem to hinder the flexibility of how his characters moved at all.

Of all the Sangor Studio artists I?ve seen, the one I felt had the most old-school feeling was probably Tony Loeb. I've understood that Sangor Studio was largely made up of artists that had worked at Fleischer Studios, and Loeb may have been the artist that embraced the Fleischer a style the most, drawing characters as if they were in the early 1930?s as opposed to the mid-1940s.

Bimbo from Fleischer, an early 30s character which Loeb?s style reminded me of:
 

It was true that most of Sangor Studio East's artists and writers were from Fleischer's in 1941 when they started, other than Jim Davis, Jack Bradbury, and Irv Spector.  But, when Davis planned to return to L.A. in early 1942, he made a deal with Ben Sangor to open a West Coast Branch of Sangor's studio, by lining up a bevy of ex-Disney, MGM, WB, and even a couple of Lantz animators, who agreed to jump ship or moonlight for Sangor in L.A.  Bradbury and Spector moved west, along with Davis.  Animators like Ken Hultgren, Ken Champin, Bob Wickersham, Lynn Karp, Don R. Christensen, ex-animator Bob Taliaferro, Kin Platt, and many more were added.