It is real, or is it animation? Bill Hilf explores the aesthetic implications of our new digital realm.
Jo Jugens answers everything you ever wanted to know about basic computer animation but where afraid to ask. Think you don't know enough to be hired? Think again.
Surviving a war and sanctions, the Bikic Studio returns to the marketplace and prepares for an uphill waltz.
Traditional animator Guionne Leroy describes her first digital experience. Currently working on a new clay short, she is shooting it with a digital camera and having a blast with the new opportunities.
William Moritz profiles the career of John Whitney and his significant contribution to computer animation.
Sean MacLennan Murch describes how companies are integrating 2D and 3D animation in order to obtain the best of both worlds.
Those plush toys, toothbrushes and lunch boxes are continuing to gain importance. Deborah Reber reports on the most successful Licensing International Show to date.
With digital animators being the hottest commodity on the market, AWM profiles three schools that have recently received major donations from leading corporations. Mike Scroggins profiles CalArts. Dr. Richard Weinberg discusses USC's program, while Robin King describes the Sheridan College experience.
MainBrain's Tom Mason (Dinosaurs For Hire), Steve Rude (Nexus) and Randy and Jean-Marc Lofficier (The Garage) describe their experiences in the world of development.
Mark Langer chronicles the evolution of one of the most enduring characters in animation history, the sailor man who got his start in comic strips.
As the world becomes smaller, individual countries' comics industries are changing. John A. Lent explains.
So how does one go about getting a comic book published? This is the exact question we asked the following folks. Whether you choose to go the distance with a large established company like Dark Horse or delve into the world of self-publishing, a few things remain certain. Getting a comic book off the ground requires not only amazing talent, skill, and knowledge of the marketplace but also determination and an ego of steel.
Also, for tips on how to submit materials to a publishing company, see our compilation of Submission Guidelines compiled...
Compiled by Animation World Magazine and Dark Horse Comics. Before sending unsolicited work and ideas to a publisher, there are standards and specifications that one should know about to avoid the dreaded "unopened returned mail" response. Following are sample guidelines for submitting art, proposals and scripts to Dark Horse Comics, one of the industry's leading publishers. All guidelines herein are courtesy of Dark Horse Comics. Other companies will have different guidelines and regulations. Be sure to contact individual publishers for information. First...
AWM's report from the mother of all animation festivals includes A Booming MIFA, But For Whom? by Buzz Potamkin, and Annecy: The Long and The Short of the Carnival by the Lake in English and in French by French journalist and Annecy veteran Michel Roudevitch.
Dark Horse Comics, Inc. 10956 Southeast Main Street Milwaukie, Oregon 97222: I understand that you may submit the Submitted Material ("the Material") to third parties, motion picture studios, and distributors. I recognize the possibility that the Material may be identical or similar to material that has or may come to you from other sources. Such similarity in the past has given rise to litigation so that unless you can obtain adequate protection in advance you will refuse to consider the Material. The protection for you must be sufficiently broad to...
Brian Camp reviews The Complete Anime Guide , a Japanese Animation Film Directory and Resource Guide.