Comic strips have been adapted into animation since the art form's origins. This month Dr. Toon looks at some of today's leading contenders to make the leap to motion.
Surprised that Spider-Man is racking up such huge sums at the box office? Danny Fingeroth isn't, as he explains, there's a little Spidey in all of us.
In the midst of Spider-Man mania, Danny Fingeroth caught up with two of the most popular producers in showbiz Laura Ziskin and Avi Arad to talk about box office success, becoming a geek, creative changes and the new animated television show.
Jean Detheux returns to look at the path animation has strayed onto a linear, non-experimental path and discusses why and how we should try to bring it back onto the road leading to Art.
In building a more personal, varied animation future, Greg Singer offers perspective for collaborating online.
Not all Tom & Jerry cartoons were produced in Hollywood, U.S.A. Gene Deitch tells how a full dozen were made in Prague, Czechoslovakia.
Justin Leach left the U.S. to experience animation production in Japan first hand. Taking a position at one of Japan's hottest studios he compares and contrasts two similar but very different worlds.
Don't work in a studio or live next to a school but want to learn Maya? John Edgar Park offers a solution and reviews the best Maya training videotapes around.
It is said that love is the mythology that two people create together. At Weta, Ltd., in New Zealand, it is love at first byte.
So you think selling a show is easy? Martin "Dr. Toon" Goodman goes behind the scenes of Atomic Cartoons to see how much work and time goes into getting a show off the ground.
John C. Donkin, Blue Sky's associate producer, reminisces on how the studio transformed itself from a small boutique into a major feature film contender.
Becoming an animation producer is no easy task but Gerard Raiti offers a few pointers from the folks at Duck Soup Studios, Renegade Animation and Wild Brain, Inc., on how you can get in the door and start to succeed.
Jean Detheux begins a series of articles that will explore animation as (commercial) entertainment and animation as an art form. In this first installment Jean discusses how we should approach "the real" as the unknown, and not take it for granted.
Raymond Palma chats with the mother-son team of Betty and Mickey Paraskevas, whose childrens books are turning into television shows like wildfire.
Martin "Dr. Toon" Goodman takes on LAAFs, or Live-Action Animated Features, with a vengeance. How come Hollywood insists on making these flops!?
As technologies improve and the market for animated features becomes more broad and active, animated feature production outside of the major U.S. studios is on the rise. Here we discuss funding, distribution and more with four studios currently taking the plunge.
Jayanti Sen finishes up her profile of animation in India by profiling the current projects, companies and artists that are helping to build India into an animation nation of force.
Martin "Dr. Toon" Goodman takes a moment to ponder going back to a black, white and gray world. Could modern animation benefit from looking back at the aesthetics of yesterday?
DCDC's Josh Prikryl relates ten years of experience and gives us advice about how to produce a successful full-CGI show for the crushing requirements of television.
Charles Falzon, President of Gullane Entertainment, details the current trends in the animation business and warns to choose your animation technique carefully and never underestimate those tweens!
Richard Linklater's latest film has caused quite a stir in the animation community. Is it really animated? Why is it "animated?" Is this just what the animated feature world needs or a sneaky imposter?
Karl Cohen meets the key players behind Pixar's latest, Monsters Inc., and describes why there is that certain Pixar magic...it is technology, amazing story and animation teams, amazing directors and tradition and something else...