Digital Harmony: The Life of John Whitney, Computer Animation Pioneer
William Moritz profiles the career of John Whitney and his significant contribution to computer animation.
William Moritz profiles the career of John Whitney and his significant contribution to computer animation.
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.
Wendy Jackson talks with the renowned Czech surrealist filmmaker upon the release of his new film and receipt of a lifetime achievement award.
P. Pluie-Toile expounds on the mysteries and surprising richness of religious imagery found in the fledgling works of various European animation industries.
New York producer Michael Sporn's commitment to making films about human issues has lately led him to animated documentaries for which the children's market has been most receptive. Janet Benn reports.
John Serpentelli relates his experiences teaching the folk art of animation to children in Philadelphia.
Ann C. Phillipon talks with "quintessential independent American animator, George Griffin" about his life and art.
Dutch filmmaker Piet Kroon contributes the first in an occasional series devoted to a day in the life of an animation artist. Herein, Kroon explores the whys and wherefors of how he balances working as an independent filmmaker while holding down a full-time job at Warner Bros.
Maureen Furniss recounts her experiences as a member of the Ottawa 96 selection committee, providing some friendly advice from her and her fellow jurors.
Wherein the Museum of Modern Art's Adrienne Mancia reminisces to Mark Langer about her past efforts in animation programming and her thoughts about the state of the craft today.
La Freccia Azzurra (The Blue Arrow) is a film that uses computers in a highly refined manner; so much so, that one hardly notices. Guided by an electronic brain, its camera is able to execute tracking shots and pans which one only thought possible in a live-action movie; drawn with pixels, the film's characters are seen across 30-40 levels, with each one staying in perfect focus. This is one of the secrets to the basic "lightness" of a film like no other, one which tells an amusing and fun-loving fairy tale set in the 30s, with the touch of a modern electronic storyteller. Scarafoni...