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The post Mixed Parts, New Community Hub For Animators, Launches appeared first on Cartoon Brew.

The online destination for digital art industry professionals gets a makeover.

It's been one week now since CG Hub, the popular portfolio site and social network for digital artists, unexpectedly shut down, leaving thousands of its users angry and confused.

This week the influential Gawker Media brand launched an animation-specific site called, quite simply, Animation. The blog is a subsite of the larger io9 brand, which already publishes a fair amount of animation coverage. Another Gawker site, the gaming-oriented Kotaku, covers anime and will continue to do so.

Google's homepage celebrates the vernal equinox today with a charming animated Google Doodle.

Video editor Trevor Carmick is receiving all sorts of attention for his new side project called Beer Labels in Motion, a collection of beer labels cleverly animated in GIF format.

Carmick was inspired by a set of cinemagraphs that documented a brew session with Dogfish Head. Originally published by The New York Times in 2011, these animated GIFs set a new bar across the Internet. “It’s so hard to look at them and not lose track of time,” said Carmick in an interview with Cartoon Brew. But Carmick’s GIFs do more than cinemagraphs—they imagine unrealized movement, bringing a whole new dimension to a flat graphic.

Carmick’s process usually begins in a location familiar to many animation artists—the beer aisle—where a certain label will catch his eye. He then separates the beer label in Photoshop and fills in behind elements that move, a process he was first exposed to while working on Forgotten War: The Struggle for North America for Mountain Lake PBS.

Carmick is actually surprised no one had thought of animating beer labels before. “It seems like such an obvious thing to do,” he said. “I just thought it would be so cool if these labels came to life.”

To see more examples of Carmicks animated beer labels, visit his site.

Vine, Twitter’s mobile looped video app, is less than a year old and still remains a new frontier. Not everyone is sure how to use it and like most of the Internet, the common subject matter of Vines center around cats, babies and high school kids. For that reason, the people who are experimenting with the capabilities of Vine as a medium truly stand out.

Etsy has recently produced a handful of stop motion Vines that are not only fun to watch, they reinforce the DIY aesthetic that defines the online market’s brand. Etsy’s initial Vines were a product of Hack Week, an event where the company’s engineers are encouraged to abandon their regular work and focus on any project of their choosing. Nicole Licht and Clare McGibbon, one of Etsy’s in-house designers and support staff members, respectively, decided to take advantage of the event. “The goal for us during that week was to jump start Etsy’s participation on Vine, experiment, and collaborate across teams,” Licht told Cartoon Brew.

Hey, we've got a surprise for you. Open the box http://t.co/k109LUw4FG #craftparty

— Etsy (@Etsy) May 16, 2013

Even though the team had no experience in stop motion animation, they set out to make at least one video a day. Prior to each shoot, they sketched out their ideas and gathered craft supplies, but kept their agenda loose. “We found that improvising and seeing how the materials responded in the moment made the most sense,” said Licht. With just natural lighting, a lightweight tripod, and an iPhone mount, the process of making a single six second vine took anywhere between one and four hours. “We really had to just go for it once we started shooting,” added Licht. “With Vine, you either post or not. There are no editing or saving functions, so we never reshot.”

Few other companies, thus far, have discovered how to effectively use Vine. They could certainly take a lesson from Etsy, where employees are given the freedom to take new approaches and experiment with ideas and tools along the way.

Animography aims to make life a little easier by offering animated typefaces delivered in neatly organized After Effects files. The type foundry is the creation of Jeroen Krielaars, a graphic designer who runs the Amsterdam-based design studio Calango.

Animation and typography has always been a tricky combination. Hundreds of hours go into designing a family of type, a process that is, at times, highly exact. The moment you start toying with any typeface by scaling and adjusting the characters, you risk creating a warped graphic that doesn’t look quite right. For that reason, Animography should be on your radar. The typefaces offered on the site are scalable without any loss in quality.

What’s particularly promising about Animography is that it creates opportunities for graphic designers and animators to collaborate, experiment and build together. Currently, the site has teamed up with designer Derek Weathersbee, whose newly released typeface called Franchise is being animated one glyph (character) at a time by 110 different animators. In the challenge, each animator is given a single glyph to animate in a maximum of one second, 25 frames, and four colors. There have only been a handful of completed glyphs, but it promises to be a challenge worth keeping an eye on (check out animator Daniel Savage’s letter B submission—B is for Bouncy Beard—above).

Animography seems to have more plans in store, and is on its way to carving out a completely new niche. For more, check out Animography’s brand reel of animated typefaces from dead or fictional brands:

Patrick Smith (not to be confused with indie animator Pat Smith) is an artist whose work tends to be constructed of colorful objects as if toy construction and geometric block sets have assembled into new beings and landscapes.

Patrick is the rare artist who is equally accomplished in the technical aspects of digital design and programming as he is working on paper. He built the interactive Vectorpark website early in the history of online Flash animation using self-taught ActionScript programming techniques to produce curious worlds for users to manipulate with mouse clicks (and now with fingers on updated mobile versions).

Above is a screenshot from one of the Vectorpark pieces, Feed the Head.

You can see a portfolio of drawings and paintings here and more drawings on his blog.

When Jace Cooke and Alex Chung founded Giphy, they simply wanted a convenient platform for sharing and searching GIFs. But now, Giphy, which launched in Febrary, is reaching beyond its search engine origins and aims to serve as a tool to empower artists and animators.

The first round of features to roll out on Giphy over the coming month are built to serve GIF makers rather than consumers. Artists will have dedicated URLs, making their work easily accessible for fans. When embedded on another blog, each GIF will include a coded block that shows the creator’s name. That’s right, no more stumbling onto a great GIF on Tumblr and wondering who created it. “I want Giphy to be what Vimeo is for videographers or Soundcloud is for musicians,” co-founder Jace Cooke told Cartoon Brew.

Cooke invited several notable GIF makers to launch artist pages, including  animator Frank Macchia (see GIF below) and wildly popular Tumblr GIF artist Matthew DiVito (aka mr. div). The next step will be providing GIF makers with uncapped uploads—Tumblr, for example, has a maximum upload of 1 MB per GIF. Eventually, artists will have personalized dashboard with analytics for tracking where their GIFs are being shared. “I want to lend more credence to GIFs, give them a wider audience and open up the possibility of monetization for artists,” adds Cooke.

For Cooke there are two major questions going forward: For GIF makers, how can Giphy adapt to best serve their needs? For everyone else, how can Giphy encourage more people to try creating GIFs? Cook is turning to the animation community to find answers to these questions, particularly the latter. Many creative people who work in CGI are interested in GIFs, but they haven’t yet given it a shot. “There’s a learning curve,” Cooke says . “They understand the value and they’re excited about it, but they’re a little apprehensive.” Ultimately, Cooke hopes to see more animators embrace GIFs, which he describes as “animated trading cards.”

Even though there are many GIF repositories and search engines like GIFSoup, Tumblr, and Google’s new animated image search, Giphy is the first coherent attempt to elevate GIFs as an artform. “There is something really powerful about an art that is halfway between a photo and a video,” says Cooke. “GIFs are a legit medium, a form of expression that’s only going to grow.”

Earlier this month, it was announced that DreamWorks Animation had purchased the YouTube channel AwesomenessTV for $33 million in cash. Factoring in earning and performance targets, the sale has a maximum earnings potential of $117 million.

An online aggregrator-network aimed at young male entertainment consumers, AwesomenessTV was founded as collaboration between TV producer Brian Robbins (Smallville), United Talent Agency and law firm Ziffren Brittenham. According to the May 1st press release, it “has already signed up over 55,000 channels, aggregating over 14 million subscribers and 800 million video views”.

“Awesomeness TV is one of the fastest growing content channels on the Internet today and our acquisition of this groundbreaking venture will bring incredible momentum to our digital strategy,” said DreamWorks head Jeffrey Katzenberg. “Brian Robbins has an extraordinary track record in creating family content both for traditional and new platforms and his expertise in the TV arena will be invaluable as we grow our presence in that space.”

Under the new partnership, the network AwesomenessX, that will offer “original sports, gaming, comedy, pranks and lifestyle content” targeted toward males in their teens and 20s. Robbins, who has stayed on to run the company, has also been rewarded with an executive position at DreamWorks to develop a DreamWorks Animation-branded family channel.

AwesomenessX will pick up some AwesomenessTV faves like The City – Basketball, Sk8 Spotterz, That Was Awesome and How To Be Awesome as well as launch a new series around Winter X-Games gold medalist David Wise and videos of choice game moves and swimsuit model photo shoots. Shows like Frank the Dog, Baby Gaga and Fingerlings – which provide pop and web culture commentary from a dog, a baby and finger puppets, respectively – will also be featured.

“[AwesomenessX] will attract some girls as well,” Robbins added.

Google is celebrating the birthday of graphic designer Saul Bass (1920-1996) with a classy animated tribute on their homepage to Bass’s famous film title sequences including Vertigo, The Man with the Golden Arm, Around the World in 80 Days and West Side Story. The piece was designed and directed by Matt Cruickshank who offers some behind-the-scenes production details on his blog.

It’s a busy time for Cruickshank, who is also the illustrator of the new Monsters University Golden Book that will be released next week. It’s available as a pre-order on Amazon for $3.59.

Opinions on animated GIFs range from pure hatred to unabashed overuse. “Hide your eyes,” wrote one reporter on CNET. Meanwhile, Tumblr, which is the undisputed platform for animated GIF enthusiasts, announced it has reached over 100 million blogs. Now that Google has released a new search tool for these dynamic images, some wonder if we’ve reached peak GIF.

We may be experiencing the second incarnation of animated GIFs, a 25-year-old medium, but it feels totally different this time. More than just dancing babies and glittery hearts, animated GIFs now have the potential to evoke a whole new narrative depth. They can be distractingly anarchic or subtly creepy. They can also strike a balance between these two, offering a small, yet thoughtful charge of emotion. Alastair Macaulay’s homage to the State of Liberty in The New York Times was illustrated with three animated GIFs, each with calming, subtle looping movement—the rolling waves of the New York Harbor, a bird soaring past Lady Liberty, and the swaying branches of the trees on Ellis Island. Why aren’t all newspaper articles illustrated so dynamically?

Whether or not the revival of the animated GIF is a fleeting trend, they present an opportunity for animators and the community-at-large. Vine, which is Twitter’s answer to the animated GIF, is quickly becoming a teachable moment. “Vine is a wonderful thing,” wrote Daniel Stuckey on Motherboard. “It’s teaching the mainstream how to loop.”

On an obvious level, animated GIFs are a simple, lo-fi educational tool for teaching loop cycles. But I think they could yield far greater potential; animated GIFs could be to up-and-coming animators as ACEOs are to illustrators, painters and print makers— highly collectible miniature works of art that are traded and sold. I could also see an increase in animators taking commissions to create customized GIFs for avid fans.

Now that apps and software have foolproofed the GIF-making process, many have begun to experiment in wholly refreshing ways. Animators like Polly Dedman are creating animated GIFs unlike any I’ve seen before (see above). Major events, such as elections and award ceremonies, are being live GIFfed. Even Hollywood is exploring how animated GIFs can effectively promote feature length films by making them available as collectible downloads. The GIF is here to stay. So how can the animation community stake its claim in this rapidly evolving narrative medium?

The world of TV animation is changing drastically, mainly by the fact that new animated shows aren’t even appearing on TV. Netflix has announced a deal with DreamWorks Animation in which they will produce an original animated series based on the upcoming feature Turbo and stream the show on-demand.

The DreamWorks/Netflix deal doesn’t appear to be a one-off experiment The NY Times reports that Amazon’s competing Prime Instant Video is developing five children’s shows of its own.

DreamWorks head Jeffrey Katzenberg, whose company still produces TV shows like Kung Fu Panda: Legends of Awesomeness and How to Train Your Dragon for traditional cable outlets, was careful to couch the announcement in a way that didn’t outright state the demise of TV, by claiming that the deal is “part of the television revolution.”

In reality, though, the Netflix deal is a paradigm shift that upends the entire television model. When Netflix debuted its live-action series House of Cards earlier this month, they offered all of the first season’s thirteen-episdes at once. There is a chance that something similar will happen with the Turbo series.

A good analysis of what Netflix is doing can be found in this New Yorker piece, “Why Netflix’s The House of Cards Could Signal The Decline of Cable Television.

And more about the new Turbo series from the official release:

LOS ANGELES — Netflix and DreamWorks Animation will create the first ever Netflix Original Series for kids. Based on the highly-anticipated DreamWorks Animation movie Turbo, premiering in theaters this summer, the Netflix series Turbo: F.A.S.T. (Fast Action Stunt Team) debuts exclusively this December in the United States and across the globe in the 40 countries where Netflix offers its service.

“Families love Netflix, so creating an original series for kids was a natural for us. And we’re doing it in a big way by adapting Turbo, this year’s DreamWorks Animation summer tentpole movie,” said Ted Sarandos, Chief Content Officer of Netflix. “DreamWorks Animation has a long track record of creating incredibly successful characters and stories that delight people of all ages. We’re thrilled to add Turbo the series as well as all new DreamWorks Animation films, starting with their 2013 slate, to Netflix.”

“Netflix boasts one of the largest and fastest-growing audiences in kids television. They pioneered a new model for TV dramas with House of Cards, and now together, we’re doing the same thing with kids’ programming,” said DreamWorks Animation’s Chief Executive Officer, Jeffrey Katzenberg. “DreamWorks is thrilled to be part of the television revolution.”

Turbo’s pursuit of racing greatness continues in Turbo: F.A.S.T.: an episodic animated television series that picks up where the feature film leaves off. It showcases the world-traveling exploits of our snail hero and his tricked-out racing crew as they master outrageous new stunts and challenge any villain unlucky enough to cross their path.

In addition to the original TV series Turbo: F.A.S.T., new DreamWorks Animation feature titles will be made available for Netflix members in the U.S. to watch beginning with the studio’s 2013 film line-up

I can’t praise enough Google’s use of their homepage to give credit to animation and comic pioneers. Their front-page Google Doodle for Monday, October 15, is a tribute to Winsor McCay and his comic strip Little Nemo.

The interative, animated HTML5 comic is entitled Little Nemo in Google-land and was created by Jennifer Hom and Corrie Scalisi. It’s being released on the 107th anniversary of McCay’s comic. If you can’t wait until tomorrow to see it, it’s already live on Google sites in other parts of the world.

RELATED: Meet the artists who make the Google Doodles.

Those kids at Pixar sure know how to advertise a film. Today they launched an authentic-looking Monsters University college website, more than eight months before the release of the Monsters, Inc. prequel. It’s a lovingly detailed exercise in universe building, complete with a full map of the university campus, a faculty page, and, of course, the chance to buy MU gear.

Brothers Evan and Gregg Spiridellis, founders of JibJab, were visiting New York yesterday to officially launch their new multi-platform children’s project StoryBots. I met them in the afternoon at Rue 57 near Central Park to learn more about their plans for this new venture.

JibJab has evolved constantly since it was founded in a Brooklyn garage in 1999. In the beginning, JibJab was known for its goofy online Flash videos like Founding Fathers. The company gained widespread notoriety in 2004 with its election-themed short This Land, and soon became known for its “Year in Review” animated shorts. In 2007, the company pursued a new business model: e-greeting cards with the innovative “Starring You” technology that allowed people to insert themselves into animated cards. Today, the company specializes primarily in e-greeting cards and has over 40 employees in Venice Beach, California.

Now, with StoryBots, JibJab is expanding in a bold new direction: children’s entertainment. It’s also their biggest push ever into creating original content. Their vision for StoryBots is to build a “Sesame Street for a connected generation.” Using a cast of colorful, simply designed characters that they call StoryBots, JibJab envisions building “hundreds of products in the coming years” that are designed from the ground-up for mobile and tablet devices. These will include apps, ebooks, games, and videos. Educational content and personaliziation will be a key component of many of these products.

StoryBots could pose a major challenge to old children’s media institutions like Disney and Nickelodeon. Instead of doing what other content producers have done in the past, which is to sell a show to a network, JibJab is redefining what children’s entertainment can be in the 21st century and attempting to fundamentally reshape the long-established distribution models of children’s entertainment. Their savviness with monetizing Web content over the past decade leads one to believe that they may actually be able to pull off their ambitious goals.

The initial StoryBots launch includes five separate products:

StoryBots Starring You StoryBooks: A free iPad app that enables parents to create personalized, animated eBooks that include their child’s name and face in the stories.

StoryBots Starring You Band: A free video series on the web that allows parents to insert their kids directly into music videos and jam out alongside the StoryBots.

The StoryBots ABC Jamboree: A collection of 26 one-minute, foot-tapping music videos designed to help kids recognize the sounds and shapes of the letters of the alphabet.

The StoryBots Activity Center: A place on StoryBots.com where parents can download and print over 100 free coloring, tracing, mazes and word finds to – ironically enough – help get their kids off of the computer and back to the kitchen table with crayons and pencils.

The StoryBots Beep & Boop iPhone app: Turns learning good behavior into a game kids love, bringing old-school reward chart systems into the 21st century. Parents give kids BEEPs for good behavior and BOOPs as reprimands. Parents can use the app to create goals and prizes to motivate and celebrate their children’s achievements.

Much of what the Spiridellis brothers have planned for StoryBots can’t be announced publicly yet, but I can say that their plans are impressive. The ABC Jamboree is an excellent example of what makes StoryBots such a unique endeavor.

JibJab is hiring talented animators from around the world to create content for StoryBots, and giving them freedom to animate the StoryBots characters in their own styles. The end result is animation that is not only educational, but also fun to watch for all ages. Just a few of the artists and studios involved with StoryBots so far include Alla Kinda (Spain), Rubber House (Australia), Animade (UK), Chris Garbutt, and Estudio Ronda (Argentina).

Here are two of the ABC vids by Max Winston (letter L) and Nate Theis (letter N):

There’s also a StoryBots Tumblr with behind-the-scenes artwork from the various StoryBots projects being developed.

On Thursday, September 6, at 8pm (Central), former Disney animator Tom Bancroft will host a live online drawing workshop. He does these workshops every two weeks; the theme of this week’s workshop is “Art and Commerce: How much is my art worth?” Registration is $10 via Paypal on CharacterMentorStudio.com.

I asked Tom if he could offer more details about the workshop structure for the benefit of Cartoon Brew readers. Here’s what he says:

These workshops are an off-shoot of the concept of mentorship I use as the framework of my newest book, Character Mentor (Focal Press). I believe strongly that we, as character artists, learn the most from seeing someone with experience take on the same drawing challenges we are faced with. That’s artistic mentorship in a nutshell. But with my schedule, I can’t do that one-on-one as much as I’d like so I started the online LIVE workshops. I want to build a community with the artists that are a part of this. They will learn from my experience but also from each other.

The workshops consist of a short lesson/ lecture (it varies every week, but always revolves around artistic “issues”), a live drawing demo, a give-away trivia question (for fun, the prize is the live drawing I do at the beginning), and in the third section I review the assignments that were submitted to me that week. We also do a Q-&-A at the end as time permits.

The redline sketches I do over 3 or 4 of the assignments speak to not just the people that did them, but to the group since they had to tackle the same assignment. I give out the assignment a few days before the workshop and artists email them to me up to the day of the workshop. We also do a Q-&-A at the end as time permits.

Cartoon Brew | Permalink | No comment | Post tags: Character Mentor, Tom Bancroft

Jen Lee is doing something very special with her newly launched on-line comic Thunderpaw: In the Ashes of Fire Mountain. The comic, which is updated weekly, makes extensive use of animated GIFs, which in itself is not a new idea. However, the way that Lee incorporates animation into her narrative is as original as I’ve seen. She’s just getting started and I can’t wait to see where she takes the idea.

Cartoon Brew | Permalink | No comment | Post tags: Animated GIF, Jen Lee, Photoshop, Thunderpaw

I’ve previously plugged Harry McCracken’s ongoing efforts to recognize Columbia Picture’s most popular (and now long forgotten) cartoon star of the 1930s – via his outstanding website Scrappyland. Now Harry has revised the site, presenting new material in blog format – and he’s begun posting updates with his latest Scrappy merchandising finds, rare art, reviews, and vintage cartoons. The whole thing is now easier to navigate and more fun than ever. Ahh, if only all classic cartoon characters had champions like McCracken and sites like this, the world would be a better place. For now, we have brilliantly realized Scrappyland: Bookmark this TODAY!.

Cartoon Brew | Permalink | No comment | Post tags: Dick Huemer, Harry McCracken, Scrappy

Later today, I’ll be appearing again on Stu’s Show, the popular internet radio program hosted by Stu Shostack. We are going to discuss a wide variety of topics, but essentially we’ll debate the merits of current animated features, TV shows and forthcoming DVD releases (like the upcoming Looney Tunes Platinum Collection Vol. 2 at left). We will also talk about what the acquisition of Classic Media by Dreamworks is going to mean for animation collectors. Stu’s Show will be broadcast live at 7pm Eastern/4pm Pacific at StusShow.com. It’s free to listen live today – but after that you can download the show anytime for a mere 99¢. We’ll take question or two via phone, but if you have a question I encourage you to email to Stu in advance (email address here) of broadcast. Join us and listen in here.

Cartoon Brew | Permalink | No comment | Post tags: stu's show

My friend Dan O’Shannon (writer of Redux Riding Hood, Modern Family, The Fan and The Flower) is slowly starting a new website, O’Shannonland, devoted to the many things he loves – including comedy writing, comics (his own) and the City of Cleveland. Knowing Dan, I fully expect to see posts on Fleischer’s Popeye and the Lost In Space robot relatively soon. In the meantime, he has compiled a group of music cues from the classic soundtracks to Grantray-Lawrence’s Spider-Man (1967) TV series. This is the cool-jazzy Ray Ellis music, not the public domain KPM library music that began to show up in the second season. Obscure – but someone had to do it. Thanks Dan. More about the Spider-Man TV music at WFMU’s blog.

Cartoon Brew | Permalink | 2 comments | Post tags: Dan O'Shannon, Spider-Man

Over two years ago, we instituted a strict “no links to crowdfunding” policy. In other words, we will never post links to any fundraising projects on Kickstarter, IndieGogo, or any other number of sites. If it’s a noteworthy project for reasons other than the creator needing money, we may write about it at a later date, but only after the fundraising campaign has ended.

To be clear, we have no issues with artists who use crowdfunding to raise funds for animation projects. We instituted the policy as a response to the growing volume of film funding requests, which threatened to overwhelm our ability to focus on more important topics, like films that have already been finished. Even though we haven’t linked to any crowdfunding projects in over two years, we still receive multiple submissions every single day—imagine the volume if we actually linked to them.

Further, if we linked to projects or artists whose work we personally enjoyed, we could be accused of giving unfair preferential treatment to certain people. Within the tight-knit animation community, we didn’t want to constantly be put in the position of defending ourselves about why we supported one person in their efforts to raise money and not another. The easiest solution was to remove ourselves from the fundraising pool and remain as objective observers of the broader fundraising scene.

In the two years since we’ve instituted the policy, crowdfunding has grown to become an even bigger part of the animation world. Today, mainstream artists like Phil Tippett and Ken Duncan use it to raise funds, and more ambitious projects are being undertaken thanks to this new type of film funding. We thought it would be a good time to revisit the issue and we want to hear what readers think.

Do you think we should treat crowdfunding submissions as we do any other news submission and give them editorial consideration for Cartoon Brew? Should we only focus on projects from established artists who have mainstream credits under their belt? Should we be completely objective and post any crowdfunding submission if they pay a small fee to be listed on Cartoon Brew? Or should we continue with our existing policy and not link to any fundraising efforts? There are any number of ways to handle this and we’re open to your suggestions.

PS – Just to be clear, we are not changing our policy anytime soon so don’t send us crowdfunding links.

Cartoon Brew | Permalink | One comment | Post tags: Crowdfunding, IndieGogo, Kickstarter

French comic artist Boulet (aka Gilles Roussel) animated the seven deadly sins as GIFs. It’s hard to pick, but greed was my favorite in the bunch. Boulet’s Tumblr is also worth a visit.

Greed

This way for more sinful animation.

Wrath

Pride

Lust

Sloth

Gluttony

Envy

(via Chris Arrant)

Cartoon Brew | Permalink | No comment | Post tags: Animated GIF, Boulet, France

Several years ago I was invited onto Stuart Shostack’s internet radio program, Stu’s Show, to discuss the history of Terrytoons animation studio. Somehow we never got around to it. It’s been a running joke of my visits there ever since. So this week we’ve decided to cut the listener phone calls, dispense with the news and just concentrate on discussing the story behind the company that brought us Mighty Mouse, Heckle and Jeckle, Hashimoto Mouse, Tom Terrific, Mighty Heroes, Deputy Dawg, Gandy Goose and Farmer Alfalfa. At least, we’re gonna try.

To be clear, we will NOT be accepting any questions regarding DVD news of any kind; if you want to send in a specific question regarding Terrytoons you may do so at comments-at-stusshow.com today only. Oh, and as a side note, don’t miss the first half hour – June Foray will appear in-studio to discuss her reactions to winning her first Emmy Award. Should be a great show. Tune-in live on Wednesday at 7pm Eastern/4pm Pacific right here!

Cartoon Brew | Permalink | No comment | Post tags: stu's show