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Dick Huemer
Dick Huemer
Dick Huemer
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Richard Huemer (January 2, 1898 – November 30, 1979) was an American animator in the Golden Age of Animation.

Key Information

Career

[edit]

While as an artist-illustrator living in the Bronx, New York City, Huemer first began his career in animation at the Raoul Barré cartoon studio in 1916. He joined the Fleischer Studio in 1923 where he developed the Koko the Clown character. He redesigned the "Clown" for more efficient animation production and moved the Fleischer's away from their dependency upon the Rotoscope for fluid animation. Huemer created Ko-Ko's canine companion, Fitz.[1] Most importantly, Huemer set the drawing style that gave the series its distinctive look. Later he moved to Hollywood and worked as an animator and director for the Charles Mintz studio creating the character Scrappy. He subsequently moved to the Disney Studio, where he remained for the duration of his career, except for a three-year hiatus from 1948–51 when he pioneered animated TV commercials and created with Paul Murry The Adventures of Buck O'Rue comic strip.[2] Some of Huemer's most creative work was done in partnership with Joe Grant; examples include Fantasia (story director), Dumbo (screenplay), and several propaganda films to advance the U.S. war effort during World War II. Atypically, Huemer and Grant submitted Dumbo to Walt Disney not as a completed storyboard, but as a series of storyboard "chapters," each ending in a cliffhanger. This was intended to pique Disney's enthusiasm for the project, and it worked. Huemer was at the Disney organization from April 16, 1933, to February 28, 1973.

Awards and accomplishments

[edit]

Huemer was given a Mousecar by the Disney Studio in February 1973 at a ceremony attended by a number of his peers.[3]

He accepted the Winsor McCay Award at the Annie Awards in October 1978 and was introduced by Ward Kimball.

On October 10, 2007, Huemer's son Dr. Richard P. Huemer accepted the Disney Legends award that was given in his father's name.[4]

Filmography

[edit]

Director

[edit]
  • Goofy and Wilbur (1939)
  • The Whalers (1938)
  • Scrappy's Auto Show (1933)
  • Hollywood Babies (1933)
  • Sandman Tails (1933)
  • Movie Struck (1933)
  • The World's Affair (1933)
  • Technocracked (1933)
  • The Match Kid (1933)
  • False Alarm (1933)
  • Beer Parade (1933)
  • Scrappy's Party (1933)
  • Sassy Cats (1933)
  • The Wolf at the Door (1932)
  • The Bad Genius (1932)
  • Flop House (1932)
  • The Great Bird Mystery (1932)
  • Black Sheep (1932)
  • Camping Out (1932)
  • Fare Play (1932)
  • Battle of the Barn (1932)
  • Stepping Stones (1932)
  • The Pet Shop (1932)
  • Railroad Wretch (1932)
  • The Treasure Runt (1932)
  • Minding the Baby (1932)
  • The Chinatown Mystery (1932)
  • Showing Off (1931)
  • The Dog Snatcher (1931)
  • Sunday Clothes (1931)
  • Little Pest (1931)
  • Yelp Wanted (1931)
  • The Museum (1930)

Writer

[edit]

Features

[edit]

TV shows (some dates uncertain)

[edit]
  • Disneyland: "An Adventure in Art" (1958) #5694
  • Disneyland: "Tricks of Our Trade" (1956) #5664
  • Disneyland: "The Plausible Impossible" (1956) #5644
  • Disneyland: "The Story of the Animated Drawing" (1955) #5605
  • "Concerto con Doodle" (195?) (never aired)
  • The Roy Williams Show (c. 1950)

Cartoons

[edit]
  • Toot, Whistle, Plunk and Boom (1953)*
  • Melody (1953)
  • Chicken Little (1943)
  • Reason and Emotion (1943)
  • Education for Death (1942)
  • Der Fuehrer's Face (1942)*
  • The New Spirit (1942)

Animator

[edit]
  • Wynken, Blynken and Nod (1938)
  • Lonesome Ghosts (1937)
  • Little Hiawatha (1937) ...a.k.a. Hiawatha (1937)
  • Don Donald (1937)
  • Mickey's Elephant (1936)
  • Alpine Climbers (1936)
  • Mickey's Rival (1936)
  • Mickey's Polo Team (1936)
  • Broken Toys (1935)
  • Music Land (1935)
  • Mickey's Garden (1935)
  • Water Babies (1935)
  • The Band Concert (1935)
  • The Tortoise and the Hare (1934)*
  • The Goddess of Spring (1934)
  • Peculiar Penguins (1934)
  • The Wise Little Hen (1934)
  • Funny Little Bunnies (1934)
  • The Grasshopper and the Ants (1934)
  • The China Shop (1934)
  • The Night Before Christmas (1933)
  • Giantland (1933)
  • The Steeplechase (1933)
  • The Pied Piper (1933)
  • Puppy Love (1933)
  • Lullaby Land (1933)
  • By the Light of the Silvery Moon (1927)
  • Koko In 1999 (1927)
  • Hell Is Freezing Over (c. 1926)
  • Koko the Barber (1925)
  • Oh Mabel (1924)
More for Fleischer, Associated Animators, and Raoul Barré – to be updated later.
* Denotes AMPAS ("Academy") Award.

Miscellaneous at Disney's

[edit]

Books

[edit]
  • Baby Weems
  • 20,000 Leagues Under the Sea
  • True Life Adventures

Newspaper features

[edit]
  • True-Life Adventures (March 14, 1955 – February 27, 1973)

Phonograph records

[edit]
  • The Who-zis and The What-zis
  • Melody
  • Toot, Whistle, Plunk, and Boom
  • A Christmas Adventure in Disneyland

References

[edit]

Sources

[edit]

Note to editors, this link does not work

[edit]
Revisions and contributorsEdit on WikipediaRead on Wikipedia

Dick Huemer

View on Grokipedia
from Grokipedia
Richard Huemer (January 2, 1898 – November 30, 1979), professionally known as Dick Huemer, was an American animator, writer, and director whose career spanned over five decades in the Golden Age of Animation, with significant contributions at major studios including Walt Disney Productions. Born in New York City, he entered the industry in 1916 as an animator at the Raoul Barré Studio and advanced to directing roles at the Max Fleischer Studio by 1923, where he helped develop early cartoon series. Joining Disney in 1933, Huemer animated and directed segments of Silly Symphonies such as The Tortoise and the Hare (1935) and The Grasshopper and the Ants (1934), and later served as a story director and co-writer on landmark features including Fantasia (1940) and the screenplay for Dumbo (1941). His work emphasized innovative storytelling and character development, influencing Disney's narrative style during its expansion into full-length animation. Huemer retired from Disney in 1973 after nearly 40 years and was posthumously honored with the Winsor McCay Award for lifetime achievement at the 1978 Annie Awards, recognizing his foundational role in animation artistry. In 2007, he was inducted as a Disney Legend, with the award accepted by his son.

Early Life

Birth and Initial Artistic Pursuits

Richard Martin Huemer, professionally known as Dick Huemer, was born on January 2, 1898, in . Huemer attended Public School 158 in during his early years, later progressing to Alexander Hamilton High School and Morris High School. Following high school, he advanced his artistic skills through studies at the , the Beaux-Arts Institute of Design, and the Art Students League of New York, where he trained amid a burgeoning commercial art scene in early 20th-century New York. While residing in as a young adult, Huemer supported himself as a freelance artist-illustrator, undertaking practical commissions such as painting lampshades and other decorative work that honed his illustrative techniques. These initial endeavors reflected the era's demand for versatile commercial artists, emphasizing draftsmanship and adaptability before his pivot to specialized fields.

Entry into Animation Industry

Huemer, residing in as an artist-illustrator, entered the animation industry in 1916 upon noticing a sign for cartoonist Raoul Barré near and applying for employment at Barré's studio in . His initial role involved tracing and painting details onto characters from the , which the studio was producing as early animated shorts. Within approximately one month, Huemer transitioned to full , contributing to the studio's output during a period when animators inked directly on paper rather than using cels, enabling personalized techniques and expressive freedom. Barré, a formally painter, supplemented staff with classes aimed at refining animation quality, though the studio faced economic constraints from the novelty-driven market for cartoons. This entry marked Huemer's introduction to the nascent field, where rudimentary production methods predominated before technological standardization.

Professional Career

Pre-Disney Work (1916–1932)

Richard Huemer entered the animation industry in 1916 as an animator at the Raoul Barré Cartoon Studio in , one of the earliest dedicated animation studios founded in 1914 by Raoul Barré and William Nolan. There, he contributed to early cartoon series such as , employing cut-out animation techniques common in the nascent field. His initial entry came while he was a student at the Art Students League, spotting a help-wanted advertisement for the studio. In 1923, Huemer transitioned to the as animation director for the series, where he played a key role in evolving the character of the unnamed Inkwell Clown by renaming it and shifting production from rudimentary cut-out methods to more fluid, frame-by-frame animation influenced by his prior experience. Under , Huemer's distinctive style enhanced Ko-Ko's expressiveness in shorts that blended live-action with animation, producing dozens of episodes through 1930 that popularized the series. By 1930, Huemer relocated to Hollywood and joined Charles Mintz's studio (operating as Winkler Pictures and later ), initially working on series like Toby the Pup. In 1931, he created and directed the character , a mischievous boy accompanied by his dog , voicing the role himself in early entries such as Yelp Wanted. 's cartoons, distributed by , featured full animation and ran until Huemer's departure in 1933, marking a successful independent production phase amid the competitive pre-Silly Symphonies era.

Disney Era (1933–1973)

Huemer joined Walt Disney Productions on April 16, 1933, initially as an animator following the resolution of a at his prior studio. In this role, he contributed to numerous short films, including Silly Symphonies such as (1935), Funny Little Bunnies (1934), The Grasshopper and the Ants (1934), Water Babies (1935), and Lullaby Land (1933), as well as shorts like Alpine Climbers (1936), (1936), (1937), (1935), and the debut The Little Wise Hen (1934). His animation work emphasized expressive techniques, benefiting from Disney's emphasis on pencil tests and overlapping action for fluid motion. By the late 1930s, Huemer transitioned to directing, helming Goofy shorts including The Whalers (1938) and Goofy and Wilbur (1939), where he focused on comedic timing and character-driven gags involving fishing mishaps and waterfowl antics. He also directed opening sequences for Pinocchio (1940), contributing to its early narrative setup. During this period, he participated in the 1941 animators' strike as vice president of the company union, reflecting tensions over wages and recognition amid the studio's expansion into features. Huemer's career shifted prominently to story development in the early 1940s, often partnering with Joe Grant on key projects. He served as story director for Fantasia (1940), supervising sequences like "The Pastoral Symphony" and "The Rite of Spring," and introducing Walt Disney to classical composers such as Beethoven and Tchaikovsky to shape the film's ambitious structure. For Dumbo (1941), Huemer co-wrote the screenplay with Grant, handling much of the narrative adaptation from the original book while pioneering limited animation techniques in the embedded Baby Weems segment of The Reluctant Dragon (1941). During World War II, the duo produced propaganda shorts, including Der Fuehrer's Face (1943), leveraging satire to support Allied efforts. Postwar, Huemer continued as story director on anthology features like (1943), where he developed the "Pedro the Airplane" segment tailored for South American audiences, (1946), and Alice in Wonderland (1951). He contributed to other features such as unused sequences for (1937), early sections of , and stories for (1942) and Peter Pan (1953). After a brief freelancing period from 1948 to 1951, he returned to Disney, writing for television including episodes of the series on animation history and directing (1953), an innovative UPA-influenced short that won an Academy Award for Animated Short Film. In his later years, Huemer focused on writing, authoring the daily comic strip from 1955 until his retirement on February 28, 1973, after four decades with the studio, during which he adapted live-action wildlife documentaries into serialized narratives. His tenure spanned Disney's evolution from shorts to features and television, marked by collaborations with himself, whose perfectionism in storyboarding and revisions Huemer credited for elevating production quality.

Post-Retirement Activities

Huemer retired from on February 28, 1973, concluding a 40-year tenure that included , story direction, and writing for and . In recognition of his career contributions, he accepted the from the International Animated Film Society (ASIFA-Hollywood) at the 7th ceremony in October 1978, an honor for lifetime achievement in the field; he was introduced by colleague . No further professional or writing credits are documented after his . Huemer died on November 30, 1979, at age 81 in .

Key Contributions and Techniques

Animation and Directing Innovations

Huemer pioneered the systematic use of in-betweening in production during the while working at the , assigning dedicated assistants like Art Davis to handle the majority of intermediate drawings between key poses, which freed lead animators to focus on expressive extremes and improved efficiency in output. This approach, initially implemented on series, contrasted with prior methods where animators performed all in-betweens themselves and laid the groundwork for industrialized pipelines adopted industry-wide. In early career work on cartoons at Raoul Barré's studio starting in 1916, Huemer innovated motion representation by introducing blurred lines and pen scratches to depict rapid action, creating a sense of speed and imperceptibility that influenced later effects like the "blue streak" blur in Disney's (1935), where he contributed animation. He also experimented with direct inking on paper rather than cels, allowing personal stylistic flourishes such as improvised "take" gags—where characters' features whirled and snapped back—and inserting fleeting, unnoticed objects in fast sequences to test perceptual limits, emphasizing animator individuality over standardized processes. For sound integration, Huemer advanced techniques at Fleischer by employing a overlay for songs like "Oh, Mabel" in the early 1920s, enhancing audience engagement with timed visual cues that predated broader industry adoption of click-tracks for precise audio-visual alignment. At from 1933 onward, he contributed to overlapping action principles in , imparting realistic weight and fluid motion to figures like , moving beyond rigid pose-to-pose methods prevalent in pre-sound era work. In directing, Huemer's style emphasized collaborative timing and critique, as seen in "sweat-box" sessions where he reviewed animator tests for shorts like The Whalers (1938), introducing Goofy as a protagonist through gag-driven sequences focused on practical angling mishaps. As story director for Fantasia (1940), he supervised multi-artist teams in syncing visuals to orchestral segments, such as reinterpreting The Rite of Spring with evolutionary progression timed to phonograph records and multi-track recordings. For Dumbo (1941), co-developed with Joe Grant, his direction innovated emotional pacing through simplified, circus-inspired gags that prioritized character empathy over elaborate spectacle. Later, in Adventures in Music shorts like Toot, Whistle, Plunk and Boom (1953), he directed experimental limited animation with stylized graphics and UPA-influenced abstraction, earning an Academy Award for advancing economical yet visually dynamic techniques.

Writing and Story Development

Huemer joined Disney's story department in 1933, leveraging his prior experience in gag writing and creation to contribute to narrative development in feature films and shorts. His approach emphasized structured , often using sequences to build tension and humor, as seen in his collaboration with Joe Grant on (1941), where they formatted the screenplay as serialized "chapters" with cliffhangers to maintain Walt Disney's engagement during production meetings. This technique facilitated iterative feedback and refined the film's compact 64-minute runtime, focusing on character-driven arcs like Dumbo's journey from ridicule to triumph. As story director for Fantasia (1940), Huemer played a pivotal role in adapting segments into visual narratives, selecting and developing sequences such as those inspired by Beethoven, Tchaikovsky, and Stravinsky, which he pitched directly to to expand the film's experimental format. His contributions extended to synchronizing story beats with , prioritizing personality over rigid plotlines to evoke emotional depth in abstract pieces like "The Pastoral Symphony." This work, often in tandem with Grant, highlighted Huemer's skill in bridging literary and musical sources with animation's visual grammar. Huemer's story direction credits include (1943), (1946), and Alice in Wonderland (1951), where he oversaw gag integration and sequence pacing to balance whimsy with coherence in anthology-style productions. During , he co-developed propaganda shorts with Grant, adapting morale-boosting narratives under tight deadlines to support U.S. war efforts, demonstrating adaptability in thematic scripting. Beyond features, Huemer wrote segments for the series in the 1950s, including "The Story of the Animated Drawing" (1955), "The Plausible Impossible," "Tricks of Our Trade," and "An Adventure in Art," which demystified story development processes like and timing for audiences. His techniques drew from early animation's gag-heavy roots, advocating for concise, personality-infused writing to enhance character appeal, as evidenced in his refinements to shorts like (1935), where detailed climax animation supported narrative payoff. Huemer's later adaptations for Disney publishing, such as Baby Weems and comics (1955–1973), further applied these principles to serialized formats, maintaining fidelity to source material while injecting humorous, realistic motivations.

Filmography and Selected Works

Directed Works

Huemer's directing career began in the early at ' studio, where he helmed several shorts in the Toby the Pup series, an early sound cartoon featuring a mischievous canine character created by Huemer, Sid Marcus, and Art Davis. Notable examples include The Museum (1930), in which Toby causes chaos while cleaning a museum, co-directed with Arthur Davis and Sid Marcus, and Hallowe'en (1931), depicting Toby organizing a supernatural party with witches and elves, co-directed with Sid Marcus. These films showcased Huemer's ability to blend humor with rudimentary synchronization of to music and sound effects, typical of the transitional period from silent to talkie cartoons. Additional pre-Disney directing credits from this era include The Showman (1930) and Down South (1930), both co-directed with Sid Marcus for , emphasizing vaudeville-style gags and regional stereotypes in black-and-white . The Little Pest (1931), another short attributed to his direction, followed attempting to evade his infant sibling for outdoor play. These works, produced amid the competitive landscape of independent studios, highlighted Huemer's versatility in timing comedic sequences for theatrical release. Upon joining Productions in 1933, Huemer transitioned primarily to and story roles but directed two notable shorts in the late . The Whalers (1938), a adventure involving a whaling expedition with and , was co-directed with Hand and featured improved character expressions and effects for depth. His final directorial effort, (1939), marked the debut of as a solo star, portraying the character fishing with a companion amid mishaps like bait mishandling and tidal disruptions. Released on March 17, 1939, it ran approximately seven minutes and exemplified Disney's refining of personality , with Goofy's optimistic bungling driving the narrative. These Disney shorts reflected Huemer's shift toward polished, character-driven comedy within the studio's emerging house style.

Written Works

Huemer co-authored the children's book Baby Weems with Joe Grant, published by Doubleday in 1941. The 64-page volume adapts a segment from Disney's 1941 The Reluctant Dragon, depicting a prodigious infant inventor whose antics include building a mechanical mother and early airplanes. Illustrated with Disney artwork, it targeted young readers with humorous tales of precocious genius. In comics, Huemer provided scripts for early strips, including Mel Cummin's Good Time Guy, which ran from 1928 to 1929. He later scripted The Adventures of Buck O'Rue, a short-lived Western humor strip illustrated by Paul Murry in the early 1940s, featuring the naive cowboy Buck and his horse Reddish in tall-tale scenarios. These works showcased Huemer's knack for character-driven comedy outside animation.

Animated Sequences

Huemer contributed animation to a deleted sequence in Snow White and the Seven Dwarfs (1937), specifically the bed-building scene where the dwarfs and forest animals construct a bed for Snow White, which was ultimately cut from the final film. This marked one of his final hands-on animation efforts before transitioning primarily to story and directing roles. In Pinocchio (1940), Huemer animated portions of the early sections, including character movements that established the puppet's initial adventures. His work emphasized fluid, expressive motions derived from his earlier experience with cartoonish proportions in shorts like those featuring Scrappy. While Huemer's later Disney tenure focused on story direction—such as overseeing sequences in Fantasia (1940)—his direct animation credits in features remained limited to these pre-war contributions, reflecting the studio's shift toward specialized assignments.

Awards and Recognition

Industry Honors

In 1978, Huemer was awarded the by the International Animated Film Society (ASIFA-Hollywood) at the ceremony, honoring his lifetime contributions to the art of ; he accepted the award in person, with fellow Ward Kimball delivering the introduction. The , named after the pioneering comic strip creator and , recognizes sustained excellence and significant impact on the field. Following Huemer's death in 1979, he received a posthumous induction into the program on October 10, 2007, acknowledging his foundational roles in story development, directing, and animation during his four-decade tenure at ; his son, Dr. Richard P. Huemer, accepted the honor on his behalf. The award, established in 1987, celebrates individuals whose imagination, talent, and dedication have significantly advanced The Walt Disney Company's legacy.

Legacy and Influence

Huemer's career, spanning from 1916 at the Raoul Barre Studio through his Disney tenure until 1973, positioned him as a foundational figure in American 's evolution, bridging silent-era experiments with sophisticated narrative-driven features. His work at early studios like Fleischer and Mintz refined animation techniques, such as redesigning characters for production efficiency and reducing reliance on for fluid motion, which influenced subsequent animators' approaches to character design and movement. At , Huemer's story contributions to films like (1941) and Fantasia (1940) emphasized character-driven humor and structural pacing, helping elevate shorts and features toward integrated storytelling that prioritized emotional arcs over mere gags. Animator credited him as "one of the artists who helped build the early framework of ," highlighting his role in standardizing practices that enabled scalable production. A pivotal aspect of Huemer's influence lay in advocating for integration at , steering from popular tunes toward symphonic scores in Fantasia, as noted by colleague : "We owe it most to Dick Huemer that was weaned away from John Phillip Sousa and introduced to the classics!" This shift not only expanded 's artistic ambitions but also inspired later multimedia experiments blending animation with orchestral works, impacting composers and directors in both film and television. Historian described Huemer as "a virtual one-man ," underscoring his embodiment of the medium's progression from rudimentary cartoons to polished narratives. His post-1941 return to further extended this reach, informing television adaptations and comic strips like , which disseminated principles to broader audiences. Huemer's legacy endures through his emphasis on witty, economical , which peers emulated in storyboarding and scripting, fostering of animators who valued precision over excess. His 57-year involvement, detailed in oral histories and columns like those in Funnyworld, serves as a primary record of 's technical and creative maturation, influencing archival scholarship and retrospectives on practices. Posthumously named a Disney Legend in 2007, Huemer's techniques continue to inform , where his avoidance of over-reliance on mechanical aids like rotoscopes exemplifies self-reliant craftsmanship.

Personal Life and Death

Family and Personal Interests

Richard Huemer was born on January 2, 1898, in to Martin Huemer and Jenny Leikas Huemer, who had immigrated from and established the American branch of the family. On March 7, 1931, Huemer married Mariette "Polly" Prevosto (1902–1999) in Orleans Parish, Louisiana; Prevosto, born in to Peter Prevosto and Marie Bonenfant Prevosto, had attended . The couple resided in , where they raised three sons: Richard Peter Huemer (born 1933, a physician who died in 2018), David Alexander Huemer (born November 10, 1937, died 1992), and Allen Anthony Huemer (born in ). Beyond his primary career in animation, Huemer maintained a personal interest in cartooning and writing, freelancing the comic strip Buck O'Rue from 1948 to 1951 and contributing to the True Life Adventures newspaper feature from 1955 to 1973. These pursuits reflected his enduring creative engagement with visual storytelling outside studio constraints.

Final Years

Following his retirement from The Walt Disney Company in 1973, after concluding his work on the True-Life Adventures newspaper comic strip adaptation of Disney's nature documentaries, Huemer received accolades for his enduring impact on the animation industry. In October 1978, he was honored with the from ASIFA-Hollywood at the , recognizing lifetime achievement in animation; the award was presented alongside recipients including and . Huemer died on November 30, 1979, in , at age 81.

References

  1. https://www.imdb.com/name/nm0400056/
  2. https://d23.com/walt-disney-legend/dick-huemer/
  3. https://www.imdb.com/name/nm0400056/awards/
  4. https://dn790004.ca.archive.org/0/items/recollectionsofr00huem/recollectionsofr00huem.pdf
  5. https://disneydetail.me/2012/01/02/29/
  6. http://huemer.com/animate3.htm
  7. https://www.scrappyland.com/blog/2020/12/19/scrappy-mystery-graffiti/
  8. http://www.huemer.com/animate6.htm
  9. https://www.fleischerstudios.com/inkwellpart2.html
  10. https://www.traditionalanimation.com/2014/the-search-for-koko-the-clown/
  11. https://www.fleischerstudios.com/koko.html
  12. http://huemer.com/animat8a.htm
  13. https://www.scrappyland.com/blog/2012/08/12/dick-huemer-on-scrappy-the-lost-interview/
  14. https://leallegacy.com/scrappy/
  15. https://disney.fandom.com/wiki/Dick_Huemer
  16. https://www.findagrave.com/memorial/79703816/richard-huemer
  17. https://www.jstor.org/stable/1224976
  18. http://huemer.com/animat4a.htm
  19. https://www.imdb.com/title/tt0151672/
  20. https://cartoonresearch.com/index.php/holiday-encore-toby-the-pup-in-halloween-1931/
  21. https://cartoonresearch.com/index.php/halloween-1931-with-toby-the-pup/
  22. https://letterboxd.com/film/the-little-pest/
  23. https://cartoonresearch.com/index.php/dippy-duo-the-85th-anniversary-of-goofy-and-wilbur/
  24. https://d23.com/a-to-z/goofy-and-wilbur-film/
  25. https://www.biblio.com/book/baby-weems-grant-joe-huemer-dick/d/1315798859
  26. https://www.abaa.org/book/1567896124
  27. https://www.lambiek.net/artists/w/wheeler_george.htm
  28. https://www.classiccomicspress.com/pages/the-adventures-of-buck-o-rue-by-dick-huemer-paul-murry
  29. http://www.michaelspornanimation.com/splog/?p=2992
  30. https://snowwhitemuseum.com/images/production-art/sequence-11b-bed-building/
  31. https://www.cartoonbrew.com/disney/dick-huemer-disney-legend-3963.html
  32. https://dhipodcast.bandcamp.com/album/album-dick-huemer-and-the-early-days-of-american-animation-updated-and-expanded
  33. https://50mostinfluentialdisneyanimators.wordpress.com/2011/07/22/an-extra-post-inspirations-and-influences-from-other-part-of-production-at-the-studio/
  34. https://www.scrappyland.com/blog/2018/05/01/remembering-dr-richard-huemer/
  35. http://www.huemer.com/genebio.htm
  36. http://www.huemer.com/index.htm
  37. https://www.wikitree.com/wiki/Huemer-10
  38. https://annieawards.org/juried-awards/winsor-mccay
  39. https://www.imdb.com/event/ev0000032/1978/1/
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