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Viewing: Blog Posts Tagged with: Animators, Most Recent at Top [Help]
Results 1 - 25 of 484
1. Can You Identify These Legendary Animators?

Tonight, just for fun, I posted a series of photos of legendary animators from the Golden Age of theatrical animation. We owe them a great deal. Without the pioneering efforts of these artists (and hundreds of others like them), animation would not be nearly so advanced as it is today. How many of these animators can you identify? You can click through to Instagram for the identifications.

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2. John Kricfalusi Accepts Texas Avery Award in Dallas [Video]

"Ren & Stimpy" creator John Kricfalusi attended the Dallas International Film Festival this weekend to accept the Texas Avery Award.

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3. Watch: Bruce Timm’s New Short ‘Batman: Strange Days’

DC Comics has posted online the new Bruce Timm short "Batman: Strange Days" that was created in honor of the character's 75th anniversary.

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4. The Meditative and Mysterious Films of Tatsuhiro Ariyoshi

Born in 1984 in Aichi Prefecture Japan, Tatsuhiro Ariyoshi is an independent animator who lives and works in Tokyo. He graduated from the Musashino Art University (Department of Imaging Arts & Sciences) in 2009, followed by a graduate degree from the animation department at the Tokyo University of the Arts.

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5. A fun animator mash-up with “Scrambled Ink”

Hollywood’s hardest working animators bring their blockbuster talent to comics to tell stories too big for the silver screen in this jam-packed, jaw-dropping, just-plain-fun compendium of illustrated awesomeness! Hilarious and moving, undeniably innovative, and stunningly beautiful, each tale transforms the page into a lushly realized world of imagination – a surefire prize for any fan of illustration or anyone looking for a great yarn spun in a whole new way.

Get Scrambled Ink on Amazon.com

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6. ‘The Hero of Color City’ Brings Crayons to Life

If LEGO can have its own movie, so can crayons. At least that's the thinking behind "The Hero of Color City," an animated feature being distributed in the U.S. by Magnolia Pictures, which also distributes the Oscar-nominated short films as well as documentaries like "Jiro Dreams of Sushi" and "Blackfish."

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7. Blue Sky Director Carlos Saldanha Wants to Try Live-Action

Veteran Blue Sky director Carlos Saldanha (Rio, Ice Age: The Meltdown, Rio 2) is currently in negotiations to take over the direction of 20th Century Fox’s sci-fi picture Rust. The film’s original director, Joe Cornish, recently left the production for unspecified reasons.

The E.T.-esque film, based on a recent graphic novel by Royden Lepp, is described by the Wrap as the story of “a family of farmers struggling in the wake of a devastating world war [whose] lives are changed when Jet Jones, a young boy with a jetpack, crashes into their barn while being pursued by a giant decommissioned war robot.”

Saldanha has been with Blue Sky since its earliest features. He co-directed the studio’s first two films—Ice Age and Robots. As animation fans, we can only hope that this is a mid-life crisis of the kind experienced by Andrew Stanton and Rob Minkoff, and that Saldanha will return to animation after getting the live-action bug out of his system. Because, seriously, what sane person would give up the opportunity to direct Ice Age 6?

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8. Who Are The Oldest Living Animation Artists?

Last week, I had the pleasure of attending the 99th birthday party of animator Willis Pyle. Pyle has had a cartoon career for the ages. On Pinocchio, he cleaned up Milt Kahl’s scene of Jiminy Cricket getting dressed while running to work. He was a key animator during the early days of UPA and animated on the studio’s first theatrical short for Columbia, Robin Hoodlum, as well as the first Mister Magoo short Ragtime Bear. In the classic UPA film Gerald McBoing Boing, Pyle animated the climactic scene of Gerald performing sound effects at the radio station.

I’m incredibly grateful that we still have living links to the Golden Age of animation like Willy, and attending his party made me wonder who else is still around. The list below is every animation industry veteran I can think of who is 85 years or older. I’m sure there are plenty of others too, and I invite you to help fill out the list. The growth and development of our art form owes much to these men and women.

  • Bob Balser – 86 years old
  • Dean Spille – 86 years old

  • Rudy Cataldi – 86 years old
  • Sam Clayberger – 87 years old
  • Stan Freberg – 87 years old
  • Ken Mundie – 87 years old (?)
  • Walt Peregoy – 88 years old (?)
  • Ray Favata – 89 years old
  • Gene Deitch – 89 years old
  • Charles Csuri – 91 years old
  • David Weidman – 92 years old (?)
  • X. Atencio (pictured right) – 94 years old
  • Martha Sigall – 95 years old (?)
  • June Foray – 95 years old
  • Bob Givens – 95 years old
  • Stan Spohn – 98 years old
  • Willis Pyle – 99 years old
  • Don Lusk – 99 years old

  • Tyrus Wong – 102 years old
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    9. Jin Kim Caricatures His Disney Co-Workers

    Disney character designer Jin Kim drew this suite of twenty-five caricatures of co-workers for Disney’s annual in-house caricature show. Like the rest of Kim’s work, these drawings are distinguished by their expressive line and confident shapes. His prodigious abilities make it look far too easy. Above, from left to right, Lino DiSalbo, Don Hall, and Shiyoon Kim.

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    10. Five Amazing Annecy Signal Films Created by Gobelins Students

    Yesterday the Annecy International Animated Film Festival came to a close. For everyone who was unable to make the annual jaunt to Haute-Savoie to bask in the excellence of the graphical beaux arts, the festival has its own way of simultaneously enticing you and making you feel bad about your creative self. By this, we mean the signal films.

    There were five signal films in total, conceived, designed and as usual, beautifully realized by the students at Gobelins.

    The Retake created by Maxime Delalande, Nadya Mira, Semiramis Mamata, Laurent Moing and Rayane Raji

    Sawa created by Camile André, Janis Aussel, Clément Doranlo, Maud Girard and Jong-Hyun Jung-Boix

    Copernicus created by Elssa Boyer, Anne Courtin, Myriam Fourati, Sarah Simon and Pedro Vergani

    The Fancy Family created by Debora Cruchon, Eve Ceccarelli, Marie-Pierre Demessant, Batiste Perron and Simon Masse

    See Saw created by Marlène Beaube, Marion Bulot, Thibaud Gayral, Guitty Mojabi and Raphaëlle Stolz

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    11. Exploding Disney Princesses

    Simone Rovellini likes to make actresses explode—literally. Here’s the Disney princess edition:

    (via Kottke)

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    12. “The Day I Killed My Best Friend” by Antonio J. Busto Algarin

    Twenty-two-year-old Antonio J. Busto Algarin made The Day I Killed My Best Friend at Middlesex University in London:

    Regla is a nine-year-old girl, whose only friend is imaginary. Regla hates bath time and always has to be ordered to do it. However, she usually gets rid of her bath water without her mother knowing. One day Regla and her indulgent imaginary friend are forced to confront the sudden arrival of her first menstruation and the problems that come with it.

    The sexually charged film has the kind of youthful energy and playful experimentation with form and technique that can make watching student films such an enjoyable experience. Even if all the pieces don’t quite fit together, Busto’s campy aesthetic is something fresh and different. Since making the film, Busto has launched an animation collective with other colleagues called Rabano. I look forward to seeing what he comes up with next.

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    13. Advertising Mascot Makeovers

    I was at my local Target the other day, and as I was passing down the cereal aisle, I came across this. General Mills is doing a “retro” promotion for it’s more popular cereals, like Lucky Charms and Cocoa Puffs, complete with the old designs of their mascots on the boxes.



    There’s something undeniably charming about some of these old designs. Although seemingly crude on the surface, the simplicity of it all, from the geometric-like bodies down to the poses the characters are standing in make them all the more iconic than their current Disney-like incarnations. And seeing them literally side by side on store shelves made it all the more jarring to me.

    Nearly all advertising mascots have changed over the years: Tony the Tiger, the Vlasic Pickle stork, even a design so deceivingly simple as the Kool-Aid Man has moved on with the times.


    The addition of a human pelvis was totally unnecessary… and kinda creepy.

    Of course, most of these character’s designs evolved over the course of a few decades. Watch a Trix Rabbit commercial from 1959 and compare it to one from the 60′s, 70′s, 80′s, 90′s and today and you’ll notice how gradual some of these design changes are. Larger commercial budgets, different advertising firms and animation studios, as well as the advent of computers and advancement of software are a contributing factor to these alterations.

    A lot of characters, like the Keebler Elves and Toucan Sam, have even made the big leap from 2D to 3D. While many people have collectively poo-pooed the CG makeovers of some of these classic characters, I personally find that most of them still retain their traditional charm. Take this new Froot Loops commercial for example: http://vimeo.com/65089474

    Some makeovers are a bit harder to digest:

    But in this day and age, we seem to be embracing the past more than ever. Childhood nostalgia has sort of become a big new marketing strategy for some advertising companies, and consumers seem to eat it up (no pun intended). Why else would General Mills revert to utilizing these old “vintage” designs on the boxes, even for a limited time? Some companies are even “re-aging” their mascots, making them look like their former selves, while still refurbishing them for the 21st century.


    Bye-bye, pelvis.

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    14. Your Guide to Animation Events at San Diego Comic-Con (Day 2)

    Today, Comic-Con International: San Diego released the event schedule for Friday, July 19th, the second day of programming at the convention. We’ve compiled all the animation-related events below.

    The Con’s Friday line-up is heavy with TV animation programming, and the creators of many TV series will be putting in appearances including Pen Ward (Adventure Time, J.G. Quintel (Regular Show), Bryan Konietzko and Michael DiMartino (The Legend of Korra), Jackson Publick and Doc Hammer (Venture Bros.), Dan Povenmire and Jeff “Swampy” Marsh (Phineas and Ferb), Loren Bouchard (Bob’s Burgers) and numerous others. Other Friday events include a spotlight on Bruce Timm and a Who Framed Roger Rabbit panel with animators Andreas Deja, James Baxter and Tom Sito.

    Animation Events: Friday, July 19

    Cartoon Network: Regular Show
    Care to join the not so regular cast and crew for an eventful hour of over the top regular? Yeeeeeeeeuh you do! Check out exclusive content and get the inside scoop on your favorite slackers and some of their closest friends. The panel features: Regular Show creator J. G. Quintel (voice of Mordecai), William Salyers (voice of Rigby), Sam Marin (voice of Benson, Pops, and Muscle Man), Sean Szeles (supervising director), Matt Price (writer), and storyboard artists Toby Jones and Calvin Wong. Part of the back-to-back Regular Show/Adventure Time Panel Extravaganza, continuing at 11:00.
    Friday July 19, 2013 10:00am – 11:00am
    Indigo Ballroom, Hilton San Diego Bayfront

    Cartoon Network: Adventure Time
    What’s algebraic and schmowzow and righteous all over? It’s Adventure Time! Holy stuff! As if chatting up the coolest kids in the cartoon kingdom wasn’t enough, get ready for your eyeballs to be fixed on some never-before-seen content and your jaw to drop at a rad surprise or two. The panel features Adventure Time creator Pendleton Ward (Lumpy Space Princess), Jeremy Shada (Finn), John DiMaggio (Jake), Tom Kenny (Ice King), Olivia Olson (Marceline), Kent Osborne (head of story), and Adam Muto (supervising producer). Part of the back-to-back Regular Show/Adventure Time Panel Extravaganza, beginning at 10:00.
    Friday July 19, 2013 11:00am – 12:00pm
    Indigo Ballroom, Hilton San Diego Bayfront

    Nickelodeon’s The Legend of Korra Returns!
    Executive producer and creator team Bryan Konietzko and Michael DiMartino (Avatar: The Last Airbender) and co-executive producer Joaquim Dos Santos (Avatar: The Last Airbender) discuss what’s in store for the highly anticipated Book 2: Spirits. The mind-bending panel will be full of never-before-seen artwork and the ultimate of sneak peeks. You’ll also get to hear from your favorite characters, as talented voice actors Janet Varney (voice of Korra), David Faustino (voice of Mako), and P. J. Byrne (voice of Bolin) share their experiences working on the series. Moderated by Bryan Konietzko.
    Friday July 19, 2013 11:15am – 12:15pm
    Ballroom 20

    Grimm Fairy Tales Animated
    Zenescope Entertainment co-founders and co-producers Joe Brusha (Grimm Fairy Tales, Neverland, Oz) and Ralph Tedesco (Grimm Fairy Tales, Inferno, Salem’s Daughter), along with director/producer Jon Schnepp (The Venture Bros, Metalocalypse, ABCs of Death), discuss the Grimm Fairy Tales Animated pilot. Find out about this horrific re-imagining of the Grimm Fairy Tales from Zenescope Entertainment, Titmouse Inc, and Schneppzone. Learn how the project came to fruition, and what big names have gotten involved in the project. With talent like Lena Headey, Chris Hardwick, Briana Evigan, and Robert Forster (to name a few), this project is turning a lot of heads!
    Friday July 19, 2013 12:00pm – 1:00pm
    Room 4

    [adult swim]: The Venture Bros.
    Show creators Jackson Publick and Doc Hammer discuss the original series, now in its fifth season, and answer fan questions. They will be joined by the voice of Brock Samson, Patrick Warburton (Seinfeld, The Tick).
    Friday July 19, 2013 12:15pm – 1:00pm
    Indigo Ballroom, Hilton San Diego Bayfront

    Phineas and Ferb
    “Mom! Phineas and Ferb are doing a Comic-Con panel again!” Join show creators Dan Povenmire and Jeff “Swampy” Marsh, along with voice talent Vincent Martella (Everybody Hates Chris), Alyson Stoner (Camp Rock), Dee Bradley Baker (American Dad), and Olivia Olson (Adventure Time) for an exclusive behind-the-scenes look at what’s to come for Disney Channel’s hit animated series, including a sneak peek at this summer’s epic crossover event Phineas and Ferb: Mission Marvel.
    Friday July 19, 2013 1:00pm – 2:00pm
    Room 6A

    VIZ Anime Featuring Neon Alley
    Find out what’s new and hot in the world of VIZ anime, distributors of Japan’s superhits Naruto, BLEACH and many more. Come join members of the VIZ animation team for announcements, a chance for prizes and an exclusive look at Neon Alley, the 24/7 anime streaming experience that’s like nothing you’ve seen before.
    Friday July 19, 2013 1:00pm – 2:00pm
    Room 32AB

    Go Green! With the Lean, Mean, Ninja Team: Nickelodeon’s Teenage Mutant Ninja Turtles!
    Check out Nick’s latest mutation as executive producer Ciro Nieli (Super Robot Monkey Team Hyper Force Go!) and Peter Hastings (Kung Fu Panda: Legends of Awesomeness) discuss the upcoming finale for season 1, and get an exclusive look at what’s in store for Season 2. Meet members of the incredible Ninja cast: Sean Astin (voice of Raphael), Greg Cipes (voice of Michelangelo), Rob Paulsen (voice of Donatello), Mae Whitman (voice of April O’Neil) and Kevin Michael Richardson (voice of Shredder). Stick around for the “unmasking” of a fan-favorite character. Moderated by Peter Hastings.
    Friday July 19, 2013 2:15pm – 3:15pm
    Room 6A

    Spotlight on Bruce Timm
    Comic-Con special guest Bruce Timm is a legend in the world of animation. Starting with Batman: The Animated Series in 1992, Timm’s name on a Warner Bros. Animation project has become synonymous with a faithful- but entirely original-translation of DC Comics characters from the comic page to the TV screen. Timm’s award-winning work includes Superman, Justice League, Batman Beyond, and Teen Titans, as well as executive producer of a series of original DC Universe animated movies whose premieres have packed Comic-Con panel rooms over the past six years, since Superman/Doomsday in 2007.
    Friday July 19, 2013 2:45pm – 3:45pm
    Room 5AB

    [adult swim]: Robot Chicken
    Co-creators/executive producers Seth Green and Matthew Senreich are joined by co-head writer/executive producer Tom Root, actor/writer Breckin Meyer, and writer Matthew Beans to discuss the Emmy-winning series. Get a sneak peek and get your questions answered about the upcoming new season and the next Robot Chicken DC Comics Special. Keith Crofford, vice president of production for Adult Swim, moderates.
    Friday July 19, 2013 3:15pm – 4:00pm
    Indigo Ballroom, Hilton San Diego Bayfront

    ASIFA-Hollywood’s State of the Industry
    What do the pros think of the animation scene today? Is 2D dead? What’s happening in VFX? How do you get a job? Join Tom Sito (Osmosis Jones), Zeb Wells (Robot Chicken), Jamie Kezlarian Bolio (Ernest & Celestine), Rick Farmiloe (Little Mermaid), Carol Wyatt (Foster’s Home for Imaginary Friends), and Joan Collins (Starship Troopers) for the discussion!
    Friday July 19, 2013 4:00pm – 5:00pm
    Room 9

    Bob’s Burgers
    Creator and executive producer Loren Bouchard, executive producer Jim Dauterive, and the always entertaining cast including H. Jon Benjamin, Dan Mintz, Eugene Mirman, John Roberts, Kristen Schaal, and Larry Murphy will be serving up hilarious never-before-seen footage followed by a Q&A.
    Friday July 19, 2013 4:00pm – 5:00pm
    Indigo Ballroom, Hilton San Diego Bayfront

    Sony & Screen Gems
    Among the projects that will be presented at this panel: Cloudy with a Chance of Meatballs 2 — You remember Sony Pictures Animation’s Cloudy with a Chance of Meatballs — Flint Lockwood invented a machine that turned water into food, and it worked, but it also unleashed a dangerously delicious tsunami of food weather and Flint was forced to destroy it. Or so he thought…In Cloudy with a Chance of Meatballs 2, the adventure and fun continue when Flint discovers that his old invention is still working and is now creating new food-animal hybrids — foodimals! Come join stars Anna Faris and Terry Crews along with directors Cody Cameron and Kris Pearn, to get a taste of this new animated movie from Sony Pictures Animation.
    Friday July 19, 2013 4:05pm – 6:15pm
    Hall H

    Grant Morrison: 18 Days
    Superstar creator Grant Morrison’s (Batman, Action Comics, Dinosaurs Vs. Aliens) only panel at Comic-Con this year will unveil the launch, with Graphic India, of his YouTube animated series 18 Days, based on the epic eastern myth the Mahabharata. See exclusive clips from the series and enter the mind of one of the most groundbreaking creators in the world today in this engaging debate on Eastern versus Western storytelling archetypes. He is joined by series executive producers Sharad Devarajan (co-founder and CEO, Liquid Comics/Graphic India) and author Gotham Chopra (The Sadhu, Seven Spiritual Laws of Superheroes).
    Friday July 19, 2013 4:45pm – 5:45pm
    Room 6A

    Archer: Screening and Q&A
    Archer is an animated comedy that revolves around the International Secret Intelligence Service (ISIS) and its employees, who use every covert operation and global crisis as another excuse to undermine, sabotage, and betray each other for personal gain. The voice cast of H. Jon Benjamin (Bob’s Burgers), Aisha Tyler (The Talk), Chris Parnell (30 Rock), Judy Greer (Arrested Development), Amber Nash (Frisky Dingo), and Lucky Yates (Good Eats), along with executive producers Adam Reed (Sealab 2021) and Matt Thompson (Sealab 2021), discuss bringing this animated series to life.
    Friday July 19, 2013 5:00pm – 6:00pm
    Indigo Ballroom, Hilton San Diego Bayfront

    [adult swim]: China, IL
    Creator and executive producer Brad Neely and executive producer Daniel Weidenfeld discuss the second season of the animated series China, IL, which will air this fall. They will be joined by cast member Hannibal Buress (30 Rock, SNL). Moderated by Jonah Ray (The Meltdown, The Nerdist).
    Friday July 19, 2013 5:00pm – 6:00pm
    Room 25ABC

    A Celebration on Walt Kelly’s 100th Birthday
    The creator of one of comics’ great newspaper strips, Walt Kelly, would have been 100 years old on August 25th of this year. His magnum opus, Pogo, is now receiving its first ever complete reprinting in an Eisner Award-nominated series from Fantagraphics Books. So it’s a good time to remember him with Kelly fans Jeff Smith (Bone), Paul Dini (Batman), comic historian R. C. Harvey, Maggie Thompson (Comic Buyer’s Guide), Carolyn Kelly (co-editor of the Complete Pogo series and Walt’s daughter), and moderator Mark Evanier (Groo the Wanderer).
    Friday July 19, 2013 5:30pm – 6:30pm
    Room 8

    Bravoman Animated Series: Comedy, Action, and Stretchy Romance!
    Join ShiftyLook editor-in-chief and Bravoman producer-director Rob Pereyda as he shows what’s next for everyone’s favorite stretchy hero. Meet the cast: Bravoman and Alpha Man’s Rob Paulsen (Animaniacs), Doctor Bomb and Anti-Bravo’s Dee Bradley Baker (American Dad), and Waya Hime’s Romi Dames (Winx Club), with a special appearance by Jennifer Hale (Mass Effect). Hear from the Bravoman creative team of writer Matt Moylan and character designer-artist Dax Gordine too! Bravo-tastic fun for all!
    Friday July 19, 2013 5:30pm – 6:30pm
    Room 28DE

    Making Roger Rabbit: 25th Anniversary
    The making of Who Framed Roger Rabbit is revealed with a world class panel of animators led by legendary producer Don Hahn and featuring a special appearance by the voice of Roger Rabbit himself, Charles Fleisher. The panel includes animation masters Andreas Deja and James Baxter, animator/writer/historian Tom Sito, and special effx wizard Dave Bossert, along with incredible clips and stories from the making of this classic film.
    Friday July 19, 2013 5:45pm – 6:45pm
    Room 6BCF

    Creators and executive producers Waco O’Guin and Roger Black, executive producer Zac Moncrief, and actors David Herman (Office Space), Tom Kenny (SpongeBob SquarePants), Jerry Minor (Anchorman) and Natasha Leggero (Community, Burning Love) will be on hand to premiere a hysterical episode from its second season, followed by a Q&A panel discussion.
    Friday July 19, 2013 6:00pm – 7:00pm
    Room 25ABC

    Animation Domination High-Def
    Nick Weidenfeld, head of FOX’s all-new Saturday late-night animation programming block, Animation Domination High-Def, will show an exclusive advance preview of two new animated series, Axe Cop and High School USA!, premiering July 27 on FOX. Joining Weidenfeld on the panel Q&A will be Axe Cop executive producers Matt Silverstein and Dave Jeser (Drawn Together), High School USA! creator Dino Stamatopoulos (Community), Axe Cop comic creator Ethan Nicolle, and special surprise appearances by the series’ voice talent.
    Friday July 19, 2013 6:45pm – 7:45pm
    Room 6DE

    World Premiere of Justice League: The Flashpoint Paradox
    Warner Bros. Home Entertainment, DC Entertainment, and Warner Bros. Animation invite you to be the first to experience Justice League: The Flashpoint Paradox, the highly anticipated next entry in the ongoing series of DC Universe Animated Original Movies. When time travel allows a past wrong to be righted for Flash and his family, the event’s temporal ripples prove disastrous, creating a fractured alternate reality where the Justice League never formed, and even Superman is nowhere to be found. Amidst a new world being ravaged by a fierce war between Wonder Woman’s Amazons and Aquaman’s Atlanteans, Flash must team with a grittier, more violent Batman and government agent Cyborg to restore the continuity of Flash’s original timeline. Come for the film, but stay for the star-studded panel that features Grey’s Anatomy stars Justin Chambers and Kevin McKidd as Flash and Batman, respectively, along with C. Thomas Howell (Southland), Cary Elwes (The Princess Bride), Sam Daly (The Daly Show), and a few surprise voice cast members, plus the filmmaking team of producer James Tucker (Superman: Unbound), director Jay Oliva (Batman: The Dark Knight Returns), dialogue director Andrea Romano (Batman: The Dark Knight Returns), screenwriter Jim Krieg (Green Lantern: The Animated Series), and character designer Phil Bourassa (Young Justice). Moderator Gary Miereanu will add to the fun with a special announcement of the 2014 DCU movie slate, as well as exclusive, cast-autographed prizes for a few lucky fans.
    Friday July 19, 2013 7:30pm – 9:30pm
    Ballroom 20

    Axe Cop
    Join brothers Ethan Nicolle and Malachai Nicolle, the 32-year-old and 9-year-old creators of the Dark Horse comic series Axe Cop, with surprise guests to celebrate the premiere of the new Axe Cop TV series as part of Animation Domination Hi-Def, beginning Saturday, July 27 on FOX. Panel events will include a live Ask Axe Cop Q&A, a series of staged battles between cosplayers choreographed by Malachai, and a screening of the premiere episode of Axe Cop.
    Friday July 19, 2013 8:00pm – 9:00pm
    Room 6DE

    Showcasing the Best in Korean Comics, Animation, and Its Influence in Today’s Hottest Comics
    A team of Korea’s prolific artists and animation studios represented by Jongmin Shin (Padak, Breakups, Demian) showcases the latest and greatest trends in Korean comics and animation. They will also showcase their recent and upcoming productions on some of today’s hottest comics. Join Jongmin and crew for this Q&A session moderated by Austin Osueke (Publisher of eigoMANGA).
    Friday July 19, 2013 8:00pm – 9:00pm
    Room 32AB

    Worst Cartoons Ever!
    Presented by ASIFA-Hollywood, animation historian Jerry Beck (CartoonResearch.com) returns with an all new program of some of the worst cartoons ever made, including more episodes of Phys Ed super-hero Mighty Mr. Titan, space cadet Johnny Cypher and some of those 1960s Marvel Super Heroes cartoons. Have a ball with the best/bad animation ever!
    Friday July 19, 2013 8:15pm – 9:15pm
    Room 6BCF

    Spike & Mike’s Sick & Twisted Gauntlet of Animation
    You, the lunatic fringe of society, vote on the new Sick & Twisted films, love or hate! See the craziest, most grossed-out, gut wrenching, bloodthirsty, sexy, and hilarious animated short films the world has to offer. Highlights include films from around the world: My Bloody Lad, Pool Cat, and more. Please note: adult content.
    Friday July 19, 2013 9:30pm – 11:30pm
    Room 6BCF

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    15. How Bullwinkle’s Boss Brightened A Young Girl’s Life

    Animation legend Jay Ward produced such cartoons as Rocky & Bullwinkle, Mr. Peabody & Sherman and George of the Jungle. Besides having a fine sense of humor, it turns out that he was a lovely human being, too. Cartoon researcher ‘Don M. Yowp’ uncovered this story published in a 1962 edition of the Abilene Reporter-News:

    Linda Dill is a senior in Baird High School. She fell in love with the Bullwinkle nonsense when it came along, and since she has marked artistic talent, she made some tiny dolls to represent the characters, wrote a script for them and let them “perform” for various Baird classes. One day, she bundled up her Bullwinkle dolls and mailed them to Jay Ward. That started a friendship-by-mail. Jay wrote that the dolls were on exhibit in his Hollywood studio. He sent Linda a Bullwinkle clock and a battery-operated Bullwinkle figure. Linda, in turn, got up a “petition” in Baird seeking statehood for Moosylvania.

    Then it developed that Jay Ward would be in Dallas for a show in mid-November and he wrote an invitation to Linda to drop by if she could. Linda would have but six-weeks exams conflicted and she had to decline the invitation. On Wednesday evening last week a long distance call came to Baird from Jay Ward at Dallas. He asked to speak to Linda. Then he learned. Linda is deaf, her mother told Jay…

    Grab some Kleenex and read the rest of the story on the Tralfaz blog.

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    16. Robert Valley Talks About “Shinjuku” Webseries and Wonder Woman for DC Nation

    A quick glance at animation director Robert Valley’s filmography reveals major projects from storyboard work on Aeon Flux in 1994 to animation for big corporate names like Nike and Coca Cola, and working with Passion Pictures on music videos and short films for the Gorillaz. When he discussed his latest project—a new webseries called Shinjuku—with Cartoon Brew he was quick to relate his professional experiences with that of an assistant coach in the major league. “At some point I needed to venture out and present myself as a coach in my own right, so regardless of success or failure I feel compelled to put myself out there and see what happens.”

    Shinjuku, which is based on the Dark Horse graphic novel of the same name by Christopher ‘Mink’ Morrison (Twistory) and Yoshitaka Amano (Final Fantasy), is a work of noir fiction based in a Tokyo of a not-too-distant future. Morrison presented the project to Valley with the intention of adapting it for the screen, releasing it in monthly two-minute installments while simultaneously collecting the artwork from the episodes into book form. “What’s really important for me is this cross-over between animation and graphic novel, so periodically we will be releasing a book based on the animated films,” Valley explained. “This [is] my goal, film, book, film book, and so on…”

    Over the last several years, Valley has been honing his personal aesthetic by self-publishing his own comic series—turned—animated film, Massive Swerve, which has become a creative jumping off point for defining his approach. “This has been a great way to develop a personal style and voice. I take ideas from my Massive Swerve books and re-purpose them for the task at hand.” His look, which he defines as a “burning man/muscle car/beach theme” was heavily debated by comic book fanboys when DC Comics unveiled his recent Wonder Woman shorts for their DC Nation franchise.

    The shorts, produced by Valley and his buddy Jorden Oliwa, and featuring Wonder Woman as a West Coast urbanite cruising the shores in her invisible Charger, seemed to be a perfect fit for DC Nation, which showcases creative reinterpretations of popular superhero properties. “Some people like the spin I had,” Valley said. “Others are completely repulsed by it.” When you consider the fickle nature of comic book geeks, perhaps that is the greatest compliment one can receive.

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    17. “New York Times” Profiles Five Rising Animators

    Worth a read today: the New York Times profiles five rising animators in the American animation scene. The five featured artists are Rebecca Sugar (Steven Universe), Minkyu Lee (Adam and Dog), Jason Ruiz (Murder Police), Justin Roiland (Rick and Morty), and Timothy Reckart (Head Over Heels).

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    18. Layout Artist Maurice Noble Didn’t Get Along With Chuck Jones

    In their new episode, the podcast 99% Invisible profiles legendary layout artist Maurice Noble. Noble made significant contributions to Disney films like Dumbo and Bambi, but he is better known for his layout and design work with Chuck Jones on memorable Warner Bros. shorts like Duck Amuck, Duck Dodgers in the 24½th Century, Ali Baba Bunny, What’s Opera, Doc?, and the Road Runner/Wile E. Coyote series.

    That’s why it may be surprising for many readers to learn in this podcast about the personality battles between Noble and Jones, and how the two men weren’t particularly fond of one another despite their frequent collaborations. The subjects who were interviewed for the podcast are reliable authorities on Noble: his biographer Bob McKinnon; Tod Polson whose upcoming book about Noble’s techniques will be a must-own; and Pixar artist Scott Morse, who worked with Noble early in his career.

    (Thanks, Bob Flynn)

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    19. Mickey Short “Croissant de Triomphe” Picks Up Two Emmys

    The Academy of Television Arts & Sciences has announced the juried winners for the 65th Emmy Awards. Among the winners are six artists for Outstanding Individual Achievement In Animation. The Creative Arts Emmy Awards will be presented in a ceremony on Sunday, September 15, and the show will be televised on September 21st on FXX (a spinoff-network of FX). Congrats to the winners!

    • Adventure Time “Puhoy”
      Cartoon Network/Cartoon Network Studios
      Andy Ristaino, Character Design

  • Disney Mickey Mouse “Croissant de Triomphe”
    Disney.com/Disney Television Animation
    Jenny Gase-Baker, Background Paint
  • Disney Mickey Mouse “Croissant de Triomphe”
    Disney.com/Disney Television Animation
    Joseph Holt, Art Direction
  • Disney TRON: Uprising “The Stranger”
    Disney XD/Disney Television Animation
    Alberto Mielgo, Art Direction
  • Dragons: Riders of Berk “We Are Family (Part 2)”
    Cartoon Network/DreamWorks Animation
    Andy Bialk, Character Design
  • The Simpsons “Treehouse Of Horror XXIII”
    FOX/Gracie Films in association with 20th Century Fox Television
    Paul Wee, Character Animation
  • 0 Comments on Mickey Short “Croissant de Triomphe” Picks Up Two Emmys as of 8/19/2013 3:28:00 PM
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    20. Looking for Con Pederson

    I don’t typically do this, but I’m in a bit of a rush on a project so I’m going to put this out there: does anybody know how to get in touch with visual effects/computer graphics legend Con Pederson (2001: A Space Odyssey, Robert Abel & Associates)? If you do, please drop me a line. Thanks!

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    21. BREAKING: “Paperman” Director John Kahrs Leaves Disney

    Per the official Twitter account of Walt Disney Feature Animation, Academy Award-winning animation director John Kahrs, of Paperman fame, has left Disney. Good luck wherever you’re headed, John!

    0 Comments on BREAKING: “Paperman” Director John Kahrs Leaves Disney as of 8/30/2013 10:10:00 PM
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    22. Say It Ain’t Sayonara, Miyazaki

    Japanese animation director Hayao Miyazaki, 72, has retired, say reports from the Venice Film Festival. The announcement was made by Koji Hoshino, the president of Studio Ghibli. “Miyazaki has decided that Kaze Tachinu will be his last film and he will now retire,” Hoshino said.

    As industry observers know, this is not the first time that Miyazaki or someone from his camp has announced his retirement. We posed the question on Twitter, and most people seem to believe that Miyazaki has announced his retirement at least three times.

    Hoshino promised that more details would be revealed at a press conference next week in Tokyo.

    0 Comments on Say It Ain’t Sayonara, Miyazaki as of 9/1/2013 6:50:00 PM
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    23. Interview with “Uncle Grandpa” Creator Pete Browngardt

    Uncle Grandpa premieres this evening at 8 p.m. (ET, PT) on Cartoon Network. The show was created by Peter Browngardt, 34, who also voices the handlebar-mustachioed star of the show. Uncle Grandpa has been gestating since 2008 when it was part of Cartoon Network’s Cartoonstitute program. The original pilot gained a following online after it was posted on YouTube in 2010, the same year in which the pilot was nominated for an Emmy.

    The show revolves around Uncle Grandpa, a fanny pack-adorned, propeller beanie-bedecked gentleman of uncertain origin who travels in a magical RV dispensing ‘Good mornins’ while helping children achieve their dreams. If it sounds like an unconventional setup for a children’s cartoon, the show’s style of humor is even more unique.

    Surrealist visual humor, the type of which was practiced by cartooning giants like VIP Partch, Tex Avery, and Don Martin, went out of fashion sometime in the late-Eighties. Uncle Grandpa rejuvenates this strand of comedy with gusto: bodies disassemble and reassemble on command, random human limbs parts pop out of unlikely places, and parallel worlds exist in fanny packs (or belly bags, per the show’s lingo). Browngardt’s new show dispenses with the polite verbal banter of other animated TV series; it is visually vulgar and aesthetically abrasive, and because of its sheer audacity, it’s laugh-out-loud funny.

    Cartoon Brew spoke to Browngardt about the show. We accompany the chat with a gallery of production and pre-production artwork from the series.

    Cartoon Brew: Did you have an Uncle Grandpa-like figure when you were growing up or is it something that you wish you had?

    Pete Browngardt: Actually, I think it’s sort of a combination. Growing up, I had uncles, but the funny thing is that neither one of them were actually blood-relatives. They were just my father’s really good friends. I think a lot of people have that, where you just call them Uncle Bob or Uncle Dan or whatever. And these guys were larger-than-life characters. Whenever they came to hang out, it was a nutty time. They let me drive when I was seven years old just to see me drive. We’d build potato cannons and all kinds of stuff that you probably shouldn’t be doing with kids. They were kids at heart as well and they had crazy stories of their life. Like, one of them fought in World War II and hid in a cave, and then got captured and escaped from a POW camp. It was always something adventurous or a good time when they showed up. And then also, I did have a lot of imaginary friends as a kid and I’d go out in the woods and play out scenarios, wishing I could get away.

    Cartoon Brew: How many ideas had you pitched before you pitched Uncle Grandpa to Cartoon Network?

    Pete Browngardt: It was my first time ever pitching to a studio. A friend, Stephen DeStefano, had a connection to pitch at the studio. I was living in New York at the time. We flew out, and said, ‘Let’s pitch three ideas each.’ I just did quick pitch bible things for three ideas, and pitched to Craig McCracken and Rob Renzetti. Craig and Rob really responded to Uncle Grandpa. And while I was out there, Carl Greenblatt from Chowder had seen my work and he hired me to board on that. I actually moved out to LA to work on that, and through that time period, Cartoonstitute started.

    Cartoon Brew: This might be a good moment to talk about your background. I heard you started in animation when you were 19?

    Pete Browngardt: I started making animated films when I was seven years old. My older brothers were into making films, they used to make Super 8 horror movies, so I was basically born into a household that liked filmmaking, acting and drawing and all these arts…it was odd to me that other families didn’t do it.

    My brothers explained to me at an early age how animation works, and I was like, ‘Wow, you can actually do this.’ My dad and my brother helped me build a lighttable from the back of the Preston Blair animation book, and one of the first things I ever animated was a character swallowing a bee. I animated dog food falling on a dog. I always drew, and I started making animated films all through elementary school. In high school I made stop motion films and some live-action films, and also took a lot of drawing classes.

    Got into CalArts and then made films there. After my second year at CalArts, they had that job fair and Producers’ Show, and one of the directors at Futurama saw my second-year film and offered me a job. Basically it was a summer job, and they wanted me to stay, but my parents and myself, I wanted to finish school and get a degree. I ended up going back to school. But yes, when I was 19 I did that. The following summer I got picked for an apprenticeship at Industrial Light and Magic, and I tried doing CG animation which wasn’t a good fit for me. Really missed drawing, but it was a great experience and it was amazing to be in an environment like that. Then, after that I moved back to New York, which is where I’m from, and worked at Augenblick Studios, MTV, World Leaders when they were doing Venture Bros. Then, when I was there, I ended up coming back and pitching to Cartoon Network.

    Cartoon Brew: The original Uncle Grandpa pilot was one of the funniest and most original pilots I’d seen. But then you made the series Secret Mountain Fort Awesome, which was based on a gag in the pilot. Was that another one of the pitches? How did it work out that you made a pilot for one thing and got a show for something else.

    Pete Browngardt: Well, it was kind of a thing where they weren’t sure about Uncle Grandpa for filling out a whole show. So they asked me to come up with some other things that spun off of it and Secret Mountain was one of those. It was an amazing learning experience for the whole process—of pitching something and then seeing how it can manipulate and change while you’re working on it.

    Cartoon Brew: You used a lot of metal and thrash music in Secret Mountain. Can we expect Uncle Grandpa to contain the same?

    Pete Browngardt: That music was really for that show. I love that music and when we were doing the animatics for Secret Mountain, I would throw in that music in the temp scores, and it blended really well with the imagery and what I was going for with the design. Now with Uncle Grandpa, there are aspects of that in the music, but we’ve tried to lighten the tone. This new Uncle Grandpa has evolved to be more light-hearted in the sense of a broad kids show, which I’m really excited about. It’s more like Pee-wee’s Playhouse with an expanded cast and expanded world, and I wanted to have more variety in the music and be able to go sort of a happier place, though it does go dark and heavy at times.

    We’re actually breaking format on the shows, where within the eleven-minute episodes, we have two stories plus bumpers. We have a seven-to-eight minute story and a two-to-three minute story. Ren and Stimpy used to do that, and even Dexter’s Lab did it, and I really love it because we’re able to experiment. One of the shorts we’re doing is “Uncle Grandpa Sings the Classics,” and it’s Uncle Grandpa singing all the different genres of music. One of them is black metal, and it’s amazing. I was, like, they’re never going to let us put black metal into a kids’ cartoon, but they did.

    Cartoon Brew: This is one of the few shows Cartoon Network has ever done, if not the only one, where the lead character is over the age of thirty. Usually, the stars of their shows are either kids or teens or in early-20s, but here you’ve got some older dude. I’m curious, within the studio, was that ever a point of contention or awareness that the show was different from everything else they’re doing?

    He’s a magical guy who shows up and takes kids on adventures, so we always say he’s like Santa Claus with a GED.

    Pete Browngardt: It definitely was talked about. The way I approached writing him, and we all do on the show, is that he may look like an old man but he’s basically a man-child. Once you see what he does, how he acts and talks, you’ll be like, ‘Oh he’s kind of a child.’ It never was a major concern. The [network would] want to veer us towards writing him like a kid because it is a kids’ cartoon and that’s what I wanted to do the whole time so it never was in contention.

    Cartoon Brew: It’s funny that you say man-child because I looked at some of the YouTube comments and the most common adjective use d to describe him is ‘retarded.’ That’s not what he is, but that’s kind of another way of saying man-child.

    Pete Browngardt: He’s a magical guy who shows up and takes kids on adventures, so we always say he’s like Santa Claus with a GED. And also, there’s this running theme that when he helps kids and stuff, we tell the story in a way where at the end, you don’t know if he’s an idiot or a genius. And I think that busts that whole thinking that he’s just an idiot because you’re wondering, ‘Did he have all this figured out from the beginning or is it all by chance?’

    Uncle Grandpa Art Gallery
    Artist: Thaddeus Couldron Artist: Nick Edwards Artist: Nick Edwards Artist: Nick Edwards Artist: Nick Edwards Artist: Carey Yost

    Cartoon Brew: I want to talk a little bit about the visual style of the show. I read MAD when I was a kid, and I see a lot of Don Martin influence in the show. Was that an influence at all, and what are your other visual influences?

    Pete Browngardt: Definitely MAD magazine. I had older brothers and they had Seventies and early-Eighties MAD magazines around the house. I used to draw from them constantly when I was a kid. At a certain age, my mom was like, ‘I don’t know if you should be looking at these things,’ so I’d sneak in and check them out. But definitely MAD magazine overall, and Don Martin, and then I got into [Harvey] Kurtzman later when I discovered who he was and how he’s the genius behind the whole thing.

    Loved Gary Larson’s Far Side as a kid. Really big influence. I had certain breakthroughs as an artist when I was a kid. Like, MAD was one of them. And then in junior high, the Crumb documentary came out. I’d never heard of R. Crumb and when I saw that and got into his work, he was a huge influence. Garbage Pail Kids was huge with me too, John Pound and all those guys. And then, I got exposed to Tex Avery at a really early age. I had a Screwball Classics VHS that I memorized every cartoon on, and old Warner Bros. too. I would say it’s a blending of all of that stuff. I’m also influenced by contemporaries around me, other artists like Pen [Ward] and Aaron Springer, Carl Greenblatt, lot of people. We all sort of feed off each other.

    Cartoon Brew: It’s funny because we have a very similar set of influences because we’re so close in age. When I see your show,, I can understand a lot more where the influences are coming from as opposed to a show created by someone who’s in their mid-to-late 20s. That person will have a completely different set of influences that they’re using, not better or worse, but different.

    Pete Browngardt: Absolutely. When I see some of the other creators at the studio and just in animation in general, I’m like, wow. It might not be that huge of a span of years, but it is what you grew up on. I don’t even know if I realized it at the time, but a lot of our crew were all around the same age, and it’s funny because it’s like a second language. You go, ‘Make that look like this or that,’ and everybody knows because we’re all around the same age. We do have some young people starting out, and some people that might be a little older, but especially around the board artists and writers, we’re all around the same age. We all watched the same stuff and we’re influenced by pop culture the same way.

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    24. “Paperman” Director John Kahrs Breaks Silence About Leaving Disney

    Oscar-winning Paperman director John Kahrs, who quit Walt Disney Animation Studios last week, gave the following statement to The Wrap about his decision to leave the company:

    “I will miss working with them, and feel lucky to have played a part in the revitalization of the studio. They have an abundance of projects; an incredible development slate, but I’ve decided to develop my own projects and pursue directing elsewhere. It was very amicable — they were very gracious about that — and I believe we all left the door open.”

    A Disney studio spokesperson also issued a response:

    “John is an incredibly talented filmmaker and artist and all of us here at Walt Disney Animation Studios are proud of his vision for the stunning and innovative ‘Paperman. We wish him the best in his future endeavors.”

    0 Comments on “Paperman” Director John Kahrs Breaks Silence About Leaving Disney as of 9/6/2013 3:29:00 PM
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    25. Watch A Video of Hayao Miyazaki Announcing His Retirement From Feature Animation

    Earlier today in Tokyo, Japanese animation legend Hayao Miyazaki held a press conference attended by over 600 journalists to formally announce his retirement. He acknowledged that he has said he would quit before: “I’ve mentioned that I would retire many times in the past, so a lot of you must be thinking ‘Oh, not again.’ But this time I am quite serious.”

    Miyazaki explained his reasons for why he no longer wants to direct animated features:

    I’m not sure you all know exactly what an animation director does. And even if you say ‘animation director’ everyone has their own way of working. I started as an animator, so I have to draw. If I don’t draw, I can’t express myself.

    So what happens is, I have to take my glasses off and draw like this. I would have to do that forever. No matter how physically fit and healthy you are, it’s a fact that year after year the amount of time you’re able to concentrate on that decreases. I have experienced this personally, so I know. So, for example I leave my desk 30 minutes earlier compared to during Ponyo. Next I guess it’ll be one hour earlier than that.

    Those physical issues that occur with age, there’s nothing you can do about them, and hating them doesn’t make a difference. There’s the opinion that i should just do things a different way, but if I could do that I would have already done a long time ago, so I can’t. Therefore, all I can do is persist in doing things on my terms, and I made the call that feature films would be impossible.

    Miyazaki is leaving feature animation on a high note. His new film Kaze Tachinu (The Wind Rises) is Japan’s top-grossing film of 2013. At the conference, Miyazaki said that he will continue going into the studio “as long as I can drive and commute back and forth between my home and the studio.” He expects to work for at least another ten years on projects of his choosing, but refused to divulge what those might be, other than hinting that he would become more involved with organizing exhibitions at the Ghibli Museum.

    In a self-effacing moment, one of many during the conference, he related what happened when he told his wife that he was retiring:

    So, this is the way the conversation about my retirement with my wife went—I said, “Please keep making my bento,” and she said, “Hmph…at your age it’s unheard of to have someone still making your lunch everyday.” So I said, “I am terribly sorry, but I’ll still leave it to you.” I don’t know if I said it that politely.

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