We dig deeper into the creation of “Hotel Transylvania 2” in this exclusive behind-the-scenes video with director Genndy Tartakovsky.
After sending out a call to African animators for ideas, Triggerfish Story Lab quickly received 1,378 entries from 30 countries.
Launched yesterday with the non-profit education platform Khan Academy, Pixar in a Box is the most in-depth look ever offered at the studio’s creative process.
The filmmaking essay series “Every Frame A Painting” takes a trip into the wondrous, disciplined mind of legendary animation director Chuck Jones.
Major network creators like Rebecca Sugar and Ben Bocquelet will participate and teach children how to create cartoons.
Who needs to build a campfire or tie a knot when you can learn to do squash and stretch instead?
Sony Pictures Animation presents a detailed unpacking of the artistry happening on Genndy Tartakovsky’s upcoming feature.
A project aims to collect as many letters of encouragement as it can from animators.
What do long-lost sweatbox notes reveal about the creation of one of Disney’s finest films?
Student Marc Hendry has put together an in-depth analysis of the use of design and animation principles in the 1941 Disney film “Dumbo.”
All is not what it seems in this Maya walk cycle tutorial by Nathan Hibberd.
In this 1980 tribute to legendary animation director Tex Avery, fellow legendary director Chuck Jones shared six lessons that he learned about comedy from working with Avery in the 1930s. The advice remains essential to animation director working today.
In a nice bit of Halloween-themed marketing savvy, Sony has released a free character rig of a zombie bellhop from “Hotel Transylvania.”
To the average cartoon viewer, SpongeBob is SpongeBob and Bart Simpson is Bart Simpson, but cartoon connoisseurs recognize that characters evolve over the years, not just personality-wise but graphically.
In his four features and one TV series, the late anime director Satoshi Kon developed a unique style of cutting and editing, says Tony Zhou in a new video essay.
If you can draw a circle, we can teach you animated cartooning.
On a couple occasions throughout the years, people have asked me, Why do so many animated films have dead mothers in them?
Cartoon Brew-ED is our new educational initiative that is edited by veteran animator and teacher Colin Giles. This new forum offers helpful animation tips, links to learning resources, and original educational content.
Mark Mayerson, a TV show creator, animator, and teacher, has written what may be the single best thing I’ve ever read about the contemporary animation pitching process.
Robert Ryan Cory, a veteran character designer on “SpongeBob SquarePants” and “Secret Mountain Fort Awesome,” has posted a helpful set of notes from a character design lecture he presented recently to CalArts animation students.
Todd Vaziri, a compositing supervisor at ILM, has written an enlightening piece about the subtle use of the dolly zoom in a shot during Pixar’s “Ratatouille.”
This song gives a pretty good description of everything you’ll know (or think you know) when you graduate from animation school.
If you missed the CTN Animation Expo last November in Los Angeles, don’t fret. This one-hour lecture features director/animator extraordinaire Eric Goldberg (supervisor of Genie in “Aladdin,” head of animation on “Get a Horse!”) interviewing himself about his personal history. Lots of clips and lots of fun to watch—all from the comfort of your own home.
“This is me,” say lots of today’s animated characters. But who are they talking to?
“The Noble Approach: Maurice Noble and the Zen of Animation Design” ranks among the most unique and delightful animation books in recent memory.