Gunther’s journey to discover who he truly is.
Previously on Cartoon Brew
A look at animators on Instagram.
Learn about the wide variety of careers taken up by alumni of School of Visual Arts’s animation, computer arts, and vfx courses.
An animation supervisor and a senior animator at Framestore discuss the challenges — and surprising upsides — of working remotely.
An independent film by French filmmaker Kajika Aki Ferrazzini.
Four aliens crash-land into suburban America. They can’t agree on whether Earth is awful or awesome.
“The Spongebob Movie: Sponge on the Run” is currently due to hit theaters on August 7 — among the earliest scheduled releases in the calendar.
The company sees a big opportunity in the current crisis.
The courses are tailored to artists at various career stages. They start on May 23.
The agency will work with the character “in all areas, including tv, film, and brand strategy and commercial endorsements.”
A music video for John Legend’s “When You Can Fly,” a song from the vr experience “Crow: The Legend.”
Joseph Wallace spent almost six years developing “Salvation Has no Name.” Weeks into the shoot, he had to shut it down.
Kanter oversaw the launch of Disney Junior and the development of many Disney tv shows.
Fifty percent of production spending in Ireland is now animation.
The Chinese government has found a new use for animation: spreading anti-U.S. propaganda.
If March was defined by the shock of the coronavirus’s global spread, April is when we started to really see its repercussions for animation, and glimpse how the industry may change for good.
Welcome to the first episode of Cartoon Brew’s new podcast hosted by Jen Hurler.
In this anijam, animators depict positive things they have experienced, seen, or thought in the midst of this strange time.
The company’s animation studio has produced a segment of Netflix’s “Love, Death & Robots,” Disney’s “101 Dalmatian Street,” and music videos for Gorillaz
Her résumé also includes “Brave,” “The Book of Life,” “Elf,” and an eight-year stint as a layout artist during the Disney Renaissance.
In a guest piece, industry executive Aaron Simpson explains how the animation industry had been preparing for this disaster for decades without even knowing it.