Those plush toys, toothbrushes and lunch boxes are continuing to gain importance. Deborah Reber reports on the most successful Licensing International Show to date.
With digital animators being the hottest commodity on the market, AWM profiles three schools that have recently received major donations from leading corporations. Mike Scroggins profiles CalArts. Dr. Richard Weinberg discusses USC's program, while Robin King describes the Sheridan College experience.
Who said games weren't booming? Joseph Szadkowski recounts the parties, bustle and new CD-ROM releases from the Electronic Entertainment Expo.
Surviving a war and sanctions, the Bikic Studio returns to the marketplace and prepares for an uphill waltz.
Michael Whitney relates a few of his father's ideas and achievements and his own hopes to fulfill his father's dream of creating an official archive of films and materials.
Janet Benn relates how hard work and The Fates helped Nancy Beiman to her rightful place in the Pantheon of Disney Animators.
Computer animation is on everyone's lips, but what exactly is being said? Heather Kenyon discusses the good and the bad.
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.
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.
William Moritz profiles the career of John Whitney and his significant contribution to computer animation.
Mark Kausler reviews Serious Business: The Art and Commerce of Animation in America From Betty Boop to Toy Story, and has some serious problems.
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...
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.
Dark Horse Comics, Inc. 10956 Southeast Main Street Milwaukie, Oregon 97222: I understand that you may submit the Submitted Material ("the Material") to third parties, motion picture studios, and distributors. I recognize the possibility that the Material may be identical or similar to material that has or may come to you from other sources. Such similarity in the past has given rise to litigation so that unless you can obtain adequate protection in advance you will refuse to consider the Material. The protection for you must be sufficiently broad to...
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.
Developing an animated series or feature from a comic book might seem easy from the standpoint that the comic book would give a development team a solid starting point. However, developing a comic book into an animated property has its own set of special problems. We asked a select group of development executives, "What were/are the most challenging aspects of transferring a property from comic book form to an animated one?" While story plays an important role, it seems the actual shift in medium remains to be the most problematic aspect of the process. ...
As the world becomes smaller, individual countries' comics industries are changing. John A. Lent explains.