How often does mainstream Hollywood scare up an animated horror film? Alain Bielik reports how Sony Pictures Imageworks combined performance capture and keyframe animation to create a unique hybrid style in Monster House.
Taylor Jessen reviews five short films One Rat Short by Alex Weil, Smile by Chris Mais, Memorial by Matt Clausen and Jon Gutman, Coffee by Rohitash Rao and Abraham Spear, and Dog Worries by Chris Armstrong. Includes QuickTime movie clips!
In this months Animated Scene, Joseph Gilland gives readers a sneak peek at his upcoming book, Elemental Magic: The Classical Art of Hand-Drawn Effects Animation.
Joe Strike follows the journey of Iceboxs Queer Duck from its early webisodes to its new coming out party on DVD.
Jim Korkis uncovers the secret life of animators, who in lean times or more prosperous times have all worked in the world of comicbooks.
Lisa Goldman was invited to be a judge at the Mumbai Intl Film Festival, where she discovered a new world of animation in the city formerly known as Bombay, the center of Bollywood.
Danny Fingeroth and Mike Manley have given AWN an excerpt from their latest book, How to Create Comics from Script to Print.
Entertainment licensors increasingly look at alternative means, such as blogs, iPods or mobile devices, to create and maintain awareness and boost demand for licensed goods. This was one of the notable trends at this years licensing show.
Marisa Materna chats with director Richard Linklater on the production of A Scanner Darkly, which utilizes interpolated rotoscoping to bring live-action footage into an animated dream world.
This months Mind Your Business takes a darker tone with Mark Simon channeling the death dealer of business to explain the 80/20 rule.
Philippe Moins attends the 2006 Annecy Festival, giving us his impressions of the films and an apparent return of British filmmakers.
Marisa Materna got in touch with five recent animation short winners from the biggest festivals in the world to find out more about the making of their award-winning work.
From websites to mobile phones, iTV and more, Janet Hetherington investigates how independent animators are finding new ways to deliver interactive content over multiple platforms.
Alain Bielik rides along with the visual effects artists on The Fast and the Furious: Tokyo Drift for a trip to a virtual Japan.
In part two of AWNs in-depth Cars coverage, Bill Desowitz discovers the roots of Route 66 in creating the highly detailed, luscious and complex world.
Joe Strike checked in with a host of School of Visual Arts famed alumni at a recent Animation Summit to find out how independent animators have thrived own their own and at the studios.
Alain Bielik recounts how Cinesite (Europe) recreated the legendary death scenes in the remake of The Omen using state-of-the-art digital technology.
In this months Animated Scene, Joseph Gilland contemplates whether the animation industrys relationship with animation education facilities is a marriage made in heaven, or an unholy matrimony.
During their recent trip to the U.S., Taylor Jessen sat down with Stephen and Timothy Quay, whose work has influenced nearly every stop-motion animator, to uncover the secrets of the brothers surreal sensations.