French artist Marie Paccou has added a new invention to the long history of animation production: the umbrellotrope.
“In some ways, being remote on a large production has probably protected me by having fewer daily interactions and distractions,” says Nathan Love’s Joe Burrascano.
Take breaks. Record yourself working. Make your deadlines public. And turn off the internet!
Colin Jack tells us why he started using the app — and why he published a tutorial to help others do the same.
The teams behind three projects pitched at Annecy’s MIFA market tell us what was gained — and lost — in the shift to virtual pitching.
Learn to take criticism. Don’t assume you’ll learn much at school. And always think of the nose…
What does it take to make it as a storyboard artist? The people behind “Summer Camp Island,” “Apple & Onion,” and “The Amazing World of Gumball” give advice.
A new documentary reveals how the 70-year-old comic strip is produced.
Some tips to get started: push color, disregard how light really behaves, and don’t let the background upstage the characters.
Zeyu Ren explains how he thinks Quill could benefit all animators working in 3d.
Arthur van Merwijk started making “Morphle” by himself. Now, it’s a global entertainment brand with millions of Youtube subscribers and billions of views.
Get drunk with your director, treat them like a spouse, and be ready to annoy them. This worked for Nicolas Schmerkin, at least.
Camila Kater explains how she combined five different mediums in her debut film — and why she compares women to meat.
Sam Spina’s comic reveals the joys, anxieties, and endless procrastination that his career involves. Read it here.
The artists behind the Oscar frontrunner have described their creative process in a range of interviews. We’ve compiled their most insightful comments.
Nelson Lowry explains how he harnessed the studio’s unique capabilities for its latest feature.
Ever wondered about all the steps involved in producing a 2d animated tv series?
Director Jérémy Clapin walks us through the making of his new feature “I Lost My Body.”
Matt Williames talks us through the special appeal and unprecedented challenges of working on Sergio Pablos’s “Klaus.”