Super hip SIGGRAPH was founded in the world of academia and military tests far before visual effects were even considered. Joan Collins traces the growth of computer animation through the organization's conferences.
Computer animation is prevalent in the U.S., U.K., Canada, France and Japan, but what about the rest of the globe? Olivier Cotte investigates...
Computer animators Steve Williams, Webster Colcord and Doug Dooley reveal their top ten animated films.
Gene Walz chronicles the mysterious career of Charlie Thorson, a crucial character designer who was quite a character himself.
We have all been glued to our television screens, amazed by the images of Mars that are being beamed thousands of miles through space. How do they do that? William B. Green and Eric M. DeJong from the California Institute of Technology Jet Propulsion Laboratory explain.
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.
Frederik Schodt explains to Maureen Furniss a few aspects of the Japanese culture behind manga and its huge success.
Michael Goldman probes the life and times of Marvel's exuberant creator of such titles as Spider Man, The X-Men, The Incredible Hulk and many more.
UCLA Greek literature professor Dr. John Rundin conducts a lively review of Disney's feature adaptation of the traditional Greek fairy tale.
Mark Kausler reviews Serious Business: The Art and Commerce of Animation in America From Betty Boop to Toy Story, and has some serious problems.
Heather Kenyon introduces this issue with a focus on two hot topics in the comics world plus introduces two new features of the magazine.
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...