Veteran animator Morgan Williams offers motion designers some valuable advice — and runs courses for those who want to learn more…
Director Jérémy Clapin walks us through the making of his new feature “I Lost My Body.”
In her autobiographical film, Regina Pessoa expands her repertoire, introducing object animation and wall drawings alongside hand-drawn animation.
For his new film, acclaimed animator Theodore Ushev adopted a style of painting pioneered by Egyptians thousands of years ago.
Canadian animator Chris Dainty walks us through the complex production process of his new NFB short.
A new way of looking at Hong Kong through animation…
The Nick Jr. series is a striking hybrid of live action and animation. Its creators break the production process down for Cartoon Brew.
The happenings of someone’s nostrils.
Colombian animation studio Venturia shares tricks and techniques they used to create a vintage-style animation piece.
The misadventures of Black Vinyl LP, a superhero shunned by the citizens he protects.
For the first time this century, all the BAFTA short animation nominees are hand-drawn films. We explore the visual development of each film.
A unique look at “Spider-Man: Into the Spider-Verse” at its earliest stages.
Working with a limited budget, Nigerian artist Shofela Coker created a lush series of “breathing paintings” for the hybrid documentary “Liyana.”
Behind the scenes of the uniquely styled photocollage/2d/3d G-Shock ads featuring the animated Gorillaz.
Although Nick DenBoer uses standard off-the-shelf software, he’s using the tools in pursuit of a comic vision that is infrequently seen in the vfx arena.
On the day of the film’s world premiere, director Milorad Krstić talks about his action-packed and intellectually stimulating animated thriller.
Glassworks, Headless Productions, and MPC collaborated to create the stunning visual landscape in “A Monster Calls,” opening wide in the U.S. today.
There’s never been a better time to composite your vfx/animation projects and do color grading — for free.