Michael Ford and Alan Lehman take us through the step by step process of planning the setup of a 3D character. While these steps may sound time consuming the authors assure us it will pay off in the end! The first of several excerpts from the book, Inspired 3D Character Setup.
Technology is moving at breakneck speeds and the computer you just bought is now a mere shadow of its former self. What do you do? Buy an entire new system every five-minutes? We don't think so. Dariush Derakhshani shares how you can help turn back the tide of time.
Mark Simon continues his series of twelve excerpts from his new book Producing Independent 2D Character Animation: Making and Selling a Short Film, with some helpful advice on storyboarding.
Mark Simon begins his series of twelve excerpts from his new book Producing Independent 2D Character Animation: Making and Selling a Short Film, with some helpful tricks of the trade. Includes a QuickTime movie clip.
Gene Deitch talks succinctly about why contrast is so essential to not only good animation, but all art in general.
Darlene Chan interviews nine leading voice actors and finds out what surprised them most after making it in the business.
Gene Deitch believes that measuring animation in footage does not help the creative process or make much sense in these global times, therefore, he proposes to make time the global unit of animation production.
Jean Detheux continues his series on the nature of art and draws us to understand that perhaps mimicking reality isn't a true representation of the world.
Will Ryan reviews Voice Over Etiquette, a new book that teaches the basics of doing voice over work. While focused primarily on the advertising business, the book may offer a few tips for beginning animation hopefuls.
While the basic technology of animation changed little prior to the advent of the computer, the principles of animation that are used today were all developed in one amazing decade. Gene Deitch explains.
Jean Ann Wright finishes her series on writing for television animation with some tips on how to add comedy and gags to your script.
This month, Jean Ann Wright outlines the elements that make a successful animation scene. Get in, get out, and make it snappy!
Christopher Hart concludes his series of six tips on how to bring animated characters to life. This month Chris reveals an often misunderstood aspect of animation -- shoulder motion.
Animation timing is one of the toughest skills to learn...and yet one of the most vital if one's animation is going to take on that elusive illusion of life. Here Gene Deitch lays down the basics.
Dialogue can be the trickiest part of a script. Lucky for us, Jean Ann Wright continues her series of articles on writing for television animation and this month tells us how to tame the words of animated actors.
Christopher Hart continues his series of six tips on how to bring animated characters to life. This month Chris discusses the impact of acting on dialogue.
Iain Harvey traveled to Korea for the Jeonju International Film Festival and not only uncovered a great festival, but an enthusiastic crowd and a country on the rise.
Jean Ann Wright continues her series of articles on writing for television animation. Writing the animation script is her topic this month.
Christopher Hart continues his series of six tips on how to bring animated characters to life. This month we move into the difficult business of mouth movements.
While many of us believe drawing is knowledge based, Jean Detheux explores how venturing beyond this "given" opens up an entire new realm of paradoxes, dilemmas and ultimately success.
Jean Ann Wright continues her series of articles on writing for television animation. This month she focuses on writing an outline for an episode of an animation series.
Christopher Hart continues his series of six tips on how to bring animated characters to life. This month we learn about simplifying character designs so that animation is easier.
Jean Ann Wright begins a series of articles on writing for animation. Here she outlines the steps to getting started, what to discuss in your first story meeting, and writing, the all important, story premise.
Gene Deitch, who began his animation career at the UPA studio at its start in 1946, describes the UPA animators' enthusiasm for making "different" films from the established Hollywood cartoon formula.