Pfenningerfollowed (born on October 25, 1899) his father’s footsteps and became an artist. He studied set painting in Munich. From 1918 to 1921 he worked as a science illustrator and drew illustrations of European fauna. Afterwards he worked as cinema operator for many film theatres and simultaneously worked on his first film experiments. In 1923, he worked for Luis Seele as a painter and draughtsman. At that time he met Oskar Fischinger, and in 1925 he started to work in the culture and film department of Emelka (which was, besides UFA, the biggest production house at that time) in Munich. He was interested in the new radio technology and developed many patents and improved speakers, microphones and similar. After the emergence of sound film he developed the “hand-drawn sound”, the method of creating sound by direct hand drawing, without any prerecording of the sound. Motives for such experimentation with sound were more of technical than artistic nature. He made the puppet films Serenade and Barcarole (1932), as well as the animated films Largo (1922) and Pitsch und Patsch, which were rather conventional but still influenced avant-garde artists such as Fischinger and McLaren. After 1933, he worked as an independent film cinematographer and, beginning in 1936, as a set designer. After WW II, he mostly made commercials and animated films.