Ever wondered how Fleischer Studios produced Betty Boop and Popeye cartoons during the 1930s?
Daniel Hashimoto developed the ultimate A-ha template, then used it to create the ultimate parody video.
Welcome to Series Craft, a new series in which we explore a creative facet of a show’s production in depth and discuss the choices that led to the finished result.
Independent animator Cas van de Pol tells us how he organically grew his following into a hit Youtube channel.
Welcome to Series Craft, a new series in which we explore a particular creative facet of a show’s production in-depth and discuss the creative choices that lead to the finished result onscreen.
Tom Sloan explains how, back in the 1980s, he and his colleagues animated the little man who lived on a plastic cup.
The editor is one of the most important – and least understood – roles in modern feature animation filmmaking.
French artist Marie Paccou has added a new invention to the long history of animation production: the umbrellotrope.
Make this essential tool for hand-drawn animation using just a few basic supplies.
“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.