Sommer started working for Paul Terry in 1930 as an assistant animator.
He went uncredited in his early years, and moved west in 1936.
After spending time reigning in his skills at MGM and Columbia, he joined Terry again in 1948.
(Club Sandwich, dirs. Frank Moser and Paul Terry) [This is Moser’s scene, but Sommer assisted him]
Sommer’s style possesses cuteness, akin to the sensibilities of West Coast studios.
His scenes are soft and bouncy, yet well-posed.
He tones down the wackiness of the cartoons, and serves as a great antithesis to James Tyer, Carlo Vinci, and Reuben Timmins.
Some earmarks of his include close-set eyes, long eases, “twinning” (having both arms/legs perform the same action), an emphasis on building tension, and wisps of dry brush for motion that probably doesn’t need accentuation.
(The Lyin’ Lion, dir. Connie Rasinski)
(Anti-Cats, dir. Mannie Davis)
(Bulldozing the Bull, dir. Eddie Donnelly)
(Off to the Opera, dir. Connie Rasinski)
(House Busters, dir. Connie Rasinski) [Print Courtesy of Rockin Pins YT]
Next up: Robert “Bobe” Cannon (The loosey-goosey master of the West)