Yellow Submarine was the start of a new era of animation. Robert R. Hieronimus, Ph.D. tells us where some of the creative staff went after they left Pepperland.
On the 30th anniversary of The Beatles' Yellow Submarine, Karl Cohen speaks with the two key TVC production figures behind the film, John Coates and Norman Kauffman.
Peter Chung examines the flaws of today's comics as he reveals the basic nature of visual narrative.
Debra K. Chinn explains the growing U.S. studio interest in international dubbing and the production process involved.
Buzz Potamkin tells us how the much-awaited first annual Annecy International Animated Film Festival faired.
The first installment of Barry Purves' production diary as he chronicles producing a series of animated shorts for Channel 4. An Animation World Magazine exclusive.
Animation World Magazine's annual Jobs & Education issue includes a survey of pointed questions taking a look at the relationship between educators, industry representatives and students. School profiles are included.
As part of Animation World Magazine's monthly Hidden Treasures column on archives, Patrick Loughney, Ph.D. defines what animation treasures lie behind the massive doors of the Library of Congress in Washington, D.C
Michelle Klein-Hs surveys the best animation web sites on the Internet, from her own Animation Nerd's Paradise to Spumco's George Liquor.
Animating under the camera with sand or paint on glass is a tricky feat. Here a host of experts offer their tried and true methods.
A digital opera in three dimensions, combining the theatrical direction of Robert Wilson, the music of composer Philip Glass and the 3-D stereoscopic animation of Kleiser-Walczak Construction Company (KWCC).
How did they create Jack and Rose's frosty breath? Marian Rudnyk describes the rotoscoping process that was used to bring the Titanic experience to life.
Mark Langer relates Walt Disney's role inmaking the atom our friend through his relationships with major Americanarms manufacturers, the U.S. government and the production, Our FriendThe Atom.
Wilson Lazaretti discusses Nleo de Cinema de Animao de Campinas' experiences teaching animation to Amazon Rainforest natives.
Um artigo de Wilson Lazaretti descrevendo suas aventuras ao ensinar animao para os indenas da floresta amazica.
An article by Aline Moens describing her involvement with an animated project in a rural African village in conjunction with Belgium's Atelier Graphoui, an animation studio that works on pro-social projects.
Un article d'Aline Moens, de l'Atelier Graphoui, studio d'animation belge qui a parcicipdivers projets socio-culturels en Afrique et en Bolivie.
An article by Christian Coppin describing his experiences with an animated film project about drug awareness that links Bolivia with Europe. The project was completed with Belgium's Atelier Graphoui, an animation studio that works on pro-social projects.
We asked three companies, Magic Lantern Limited, Transom Technologies and Liquid Light Studios, to describe how they are utilizing animation in unexpected places and for unexpected purposes.
Un article de Christian Coppin qui a animdes ateliers de cina d'animation avec des enfants, des adolescents et des adultes dans des contextes li la consommation de drogue, la fois en Bolivie et en Europe. Ce projet a menpar l'Atelier Graphoui, studio belge d'animation qui travaille sur des projets sociaux-culturels.
Independent German filmmaker Kirsten Winter describes her unique pre-production process of working with composer Elena Kats-Chernin, while developing her visuals.
Film Roman's Mike Wolf outlines the pre-production process of prime time animation and focuses on the features that make prime time special.
Wild Brain's Dave Marshall, co-director of FernGully 2, discusses how he tailored the pre-production process of FernGully 2 to guarantee the best final film for the budget.
How does one build an armature from scratch and end up with a professional foam puppet? Tom Brierton is here to take us through the steps and offer advice.