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The Animation That Changed Me: Céline Desrumaux on ‘Grave Of The Fireflies’
"The more you expand your own emotional journey through life, the more the movie gives back to you," says Desrumaux.
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Tools Of The Trade: Gitanjali Rao on Corel Painter’s Frame Stacks
Welcome to our new series, in which industry artists and filmmakers speak about their favorite tool they used on a recent project.
The Animation That Changed Me: Aaron Long on ‘Mind Game’
"The sprawling story seems to touch on almost every aspect of human life," says Long. "I found it overwhelming and strangely addictive."
Tools Of The Trade: Maryka & Quentin on Procreate
Welcome to our new series, in which industry artists and filmmakers speak about their favorite tool they used on a recent project.
The Animation That Changed Me: Wesley Louis on ‘Akira’
"I just don't think we'll ever get something that game-changing in animation again," says Louis of Katsuhiro Otomo's cyberpunk classic.
The Animation That Changed Me: Joanna Quinn on ‘Carnival’
Susan Young's 1985 short is set during London's famed Notting Hill Carnival. "The thing that really excited me was that she’d used animation to say something about society at that time," says Quinn.
Industry Artist Matt Watts Explains How To Build A Great Rig Using Toon Boom Harmony
Matt Watts talks about an important and often overlooked part of the 2D animation process: character rigging.
How To Teach Schoolkids To Make A Festival-Ready Animated Film In 20 Hours
Portuguese filmmaker Abi Feijó believes children should do more than just watch animation; they should also learn how to bring their own stories to life. And he's been teaching kids how to create animated films for over 30 years.
Reallusion Is Offering A Free Trial So You Can Participate In Its Annual Animation At Work Competition
Animators are invited to create videos across a range of categories using Cartoon Animator 4.
The Animation That Changed Me: Sawako Kabuki on ‘Neon Genesis Evangelion’
"I have a kind of fascination with things that have gotten out of control," says Kabuki. "It's animalistic and erotic."
Blue Pigs And Mutant Mandrills: Designing The Post-Apocalypse In ‘Kipo And The Age Of Wonderbeasts’
How do you create a world that's both cute and threatening? The show's art director Angela Sung explains.
A Character Animator’s Adventures In Motion Design
Veteran animator Morgan Williams offers motion designers some valuable advice — and runs courses for those who want to learn more…
Secrets Of A Creative Marriage: 10 Animation And Filmmaking Tips From Disney Directors Ron Clements And John Musker
Learn to take criticism. Don't assume you'll learn much at school. And always think of the nose…
No Budget? No Professional Animators? No Problem For Kenji Iwaisawa, Director Of The Madcap Anime Feature ‘Our Sound’
Kenji Iwaisawa made his award-winning film for one tenth of a normal anime feature's budget. He tells us how he did it.
The Surprisingly Intimate Production Process Of A ‘Beetle Bailey’ Comic Strip
A new documentary reveals how the 70-year-old comic strip is produced.
Faith, Nazis, And The Queen Of Scratch: A Conversation With Andreas Hykade
We speak to the renowned filmmaker ahead of the Annecy premiere of his autobiographical new film "Altötting."
‘Kill It And Leave This Town,’ The Striking Polish Feature That Was 14 Years In The Making (Interview)
Ahead of its Annecy screening, director Mariusz Wilczyński tells us how he made "the first feature animated art film in the history of Polish cinema."
Studio Ghibli’s Steve Alpert: Disney ‘Could Have Pushed The Ghibli Films Harder’ (Interview)
Ghibli's former head of international speaks about the studio's awkward relationship with Disney — and much more — ahead of the release of his memoir.
How ‘The Willoughbys’ Uses CGI To Create A Handmade Look (Exclusive Art)
The director and production designer of Netflix's latest animated feature talk about their creative approach and influences, from "Citizen Kane" to bats in toilets.
‘Onward,’ Pixar’s First Original Feature Since 2017, Set To Open With $40–$50M
The film's global opening could break the $100-million mark, despite turmoil caused by the coronavirus.
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