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A timeline is presented of events related to animated film and television program directors and producers such as Friz Freleng, Bill Melendez, and Yoram Gross.

The article mentions several anniversaries, including the animated character Gertie the Dinosaur, which was created 100 years ago, the animated film series known as the Alice Comedies series were first presented with "Alice's Day at Sea" 90 years ago, and the 95th anniversary of the cartoon character Master Tom, also known as Felix the Cat.

The article presents profiles of several animation and visual effect industry creatives. The article discusses Sebastian "Sacha" Kapijimpanga, senior animation supervisor at Sony Pictures Imageworks, Pete Travers, visual effects supervisor also at Sony Pictures and Brian Burke, a lead CG (Computer Graphics) artist at Method Studios. The article also profiles entertainment industry professionals Jenny Fulle, Craig Mumma and Josh Grow.

The article presents a brief profile of several individuals that the journal has identified as rising stars within the animation industry in 2011. The work of animator Peter Browngardt is highlighted, including his creation of the animated television series "Secret Mountain Fort Awesome." Red Kite Animation studio's assistant director Hugo Cuellar is praised for his work on the series "Wendy." Al Di Leo, director of the animated short film "The Boy Who Wanted to Be a Lion," is also discussed.

The article lists the Rising Stars of Animation for 2010 which include Noah Z. Jones, Soo Kim, and Marc Beaujeau Weppenaar. Jones, the creator and co-executive producer of "Fish Hooks," admits that he likes to draw monsters and dinosaurs when he was a child. Soo, the creator of "Team Umizoomi," explains that she started her animation work at MTV Animation. Weppenaar claims that he was inspired by the visual effects in the film "Jurassic Park."

The article presents the top animators and visual effects artists in the animated television markets in France. These includes Miguel Ortiga, a character modeler of Venice-California-based Digital Domain, senior character animator Jeff Schu of Sony Pictures Imageworks and visual effects supervisor Carey Villegas of Sony. In addition, supervising technical director Guido Quaroni of Disney/Pixar and 3D modeler Pascal Raimbault of Weta Digital are also mentioned.

The article presents insights from several animators and animated series directors including Bob Boyle, Peter Hannan, and Phil Lord regarding their best animated films, characters, and animated television shows that changed their lives. Boyle states that the television series "Mighty Mouse: The New Adventures" gave him hope to pursue a career in animation. Hannan reveals that Popeye cartoons made him want to do animation. Lord cites that his inspiration is the television program "The Simpsons."

The article discusses how Greek animators overcame difficult times and use the medium for critical and creative expression for 70 years with little support. Topics include the animated film "Duce Narrates," by Stamatis Polenakis produced in 1945, "Corpus," by Thanassis Rentzis in 1979, and animated short "Sssst," by Thodoros Maragos released in 1971. It says that animated shorts are being produced to criticize the government and put humor on the economic troubles facing the Greece.

The article profiles several animators for 2009. Pendleton Ward is the creator of the Adventure Time, an animated short in the Cartoon Network. He claims he was already drawn to cartoon drawings at an early age aside from the encouragement from his parents. Lauren Montgomery, a director of Warner Bros., pays credit to her teacher for offering a job in the animation industry. Kirsten Lepore, the director of animated film "Sweet Dreams," claims of starting her career as a freelancer in studios.

The article offers information on several people related to the world of animation. It is stated that the hobby of Tom Gibbons, an animation supervisor of California-based Tippett Studio is assembling the dead animals and his favorite animated character is 'Mighty Joe Young'. Andy Jones, an animation director at WETA Digital Ltd., suggest the job seekers to give their best at work. The favorite animated character of Pete Nash, an animation supervisor is 'SpongeBob.'

The article features several rising stars of animation and visual effects in 2008. These animators include Chris Williams and Byron Howard. Williams and Howard are the animators of Walt Disney's "Bolt." Another featured animator is Thurop Van Orman, creator of "The Marvelous Misadventures of Flapjack."

The article profiles several celebrities in the animated film sector. Cartoon Network's executive producer of "Chowder" Carl Greenblatt discovered his passion for animation after he worked as director on advertising campaigns at Young & Rubicam. LAIKA Entertainment animator Travis Knight likes working about stop-motion films because of the challenges involved in making them. Line Andersen of DreamWorks' "Bee Movie" took classes at The Animation Workshop to become an animator.

The article profiles several animation industry executives and professionals. Jack Thomas and Heather Martinez are the executive producer and animation director of Disney Channel's "The Replacements." Sandra Equiha and Jorge Gutierrez are the creators of Nickelodeon's "El Tigre." Ada, Pava and Tim McKeon are the creators of Cartoon Network's "Re-Animated."

The article focuses on the milestones in animation films. 100 years ago, James Stuart Btackton, an animator, made the three-minute-long "Humorous Phases of Funny Faces," one of the first examples of animation. 95 years ago Winsor McCay animated a brief adaptation of the "Little Nemo" comic-strip. 85 years ago Max Fleischer, an animator set up his own studio with Koko as its star animated character. 25 years ago Disney's "The Fox and the Hound," an animation film, was released in theaters. 5 years ago Ralph Eggleston's project "For the Birds" won an Oscar Award for the Best Animated short film.

The article presents information on the animated film "The Chronicles of Narnia: The Lion, the Witch and the Wardrobe," directed by Andrew Adamson. The opening of the film introduces four English children who flee the London blitz in World War II and fall into the magic land of Narnia through a mysterious wardrobe. Creating photoreal furred characters was a challenge also tackled by the animators at the animation studio R&H. Giant Studios' 100-day mocap shoot also played a major role in Narnia, providing data for a host of half-human characters. INSET: Atticus Finch Meets the Lion King..

The article presents the experience of animator Rob Coleman in animating the cartoon character General Grievous for the motion picture "Star Wars: Episode III: Revenge of the Sith." Due to its epic scope, CG animation supervisor Rob Coleman and company were expected to produce a third more animated shots for Episode III than for Episode II. Coleman's workload ranges from replicating Wookiees to cloning Clones, from propelling spaceships and vehicles to animating hordes of droids and even choreographing a CG water ballet called "Squid Lake." INSET: Must-See Clone Wars Marathon Chronicles Events Between Movies.

Describes how director Robert Zemeckis and digital experts at Sony Pictures ImageWorks Inc. developed the computer-generated animation for the movie "The Polar Express." Zemeckis' practice of using visual effects to create a uniquely cinematic visual style; Collaborators that Zemeckis assembled to help him work on the movie; Characters that actor Tom Hanks was able to take on thanks to performance-capture technology; Tasks handled by the animators. INSET: Filmmakers Express Themselves in IMAX 3D.

The article focuses on the visual-effects of the film "Avengers: Age of Ultron," which required 19 companies to complete. It notes that the animators listened to the vision of actor James Spader for his character, Ultron, which evolves into a more complex hero-character, Ultron Prime. The work of visual effects companies Industrial Light & Magic (ILM) and Trixter to the fictional characters Hulk, Quicksilver and Scarlet Witch are also discussed.

The article announces the nominees for the animation industry's 42nd Annual Annie Awards which include "Big Hero 6" in the best animated feature category, "Adventure Time" in the best animated television/broadcast production for a children's audience category, and "How to Train Your Dragon 2" in the outstanding achievement for editorial in an animated feature production category.

The article discusses the role of women executives and animators in the motion picture and television industries as of February 2014, focusing on the education that is provided by some animation and visual effects schools such as the California Institute of the Arts. Topics include directors such as Jennifer Lee, executives such as Brooke Keesling, and the animator Jenna Bors. Films like "Frozen" and "The Fantastic Flights of Sophie Blanchard" are mentioned.

The article discusses the animation industry in Norway on the occasion of its 100th anniversary in November 2013. Topics include animators such as Ivo Caprino and Torill Kove, films such as "Flåklypa Grand Prix," also known as "Pinchcliffe Grand Prix," computer-generated animated films, and the history of animation in Norway.

The article focuses on the crowd-funding website Kickstarter. The article discusses several animators that have used the website to support their endeavors including animator Bill Plympton, writer Charlie Kaufman and animator Ralph Bakshi. The article goes on to offer advice about using the website from spokesperson Justin Kazmark, including information about creating a pitch video, clearly defining the project and getting an endorsement from a celebrity.

An interview with Butch Hartman, a creative artist is presented. When asked about the creation of the Nickelodeon show "T.U.F.F. Puppy," he shares that the support from Brown Johnson, the head of animation at Nickelodeon, has led to the complete development of the character Dudley Puppy. Hartman cites the use of the good guy versus the bad guys as the concept used for the show. He describes the character of Dudley as a nasty animal.

The article features animator Pendleton Ward who developed the animated short film "Adventure Time with Finn and Jake." He was nominated for an Annie Award for Best Short in 2008 and developed it into a new series on television. According to television series executive producer Fred Seibert, the genius of original short was in the manner in which Ward was able to deal with main characters Finn and Jake shifted from one subject to the next.

The article focuses on the special effects of the film "Kung Fu Panda," directed by Mark Osborne and John Stevenson and starring Jack Black. In the picture's ultimate demonstration of contrast, the film actually features a stylized two dimensional sequence animated by James Baxter. For the film's action sequences, the production called on Rodolphe Guenoden, a supervising animator who is also a practitioner of martial arts.

The article relates the favorite electronic gadgets, animated character, and movies of some of the animators and visual effect gurus in the U.S. Tim Harrington's favorite character is Jack Skellington in the film "The Nightmare Before Christmas," and his favorite software is Maya. William Groebe preferred the films "Indiana Jones and the Kingdom of the Crystal Skull." Peter Giliberti's favorite animated character is Ren from the film "Ren and Stimpy."

The article provides information on the life and success of Marjane Satrapi, a notable graphic novelist and animator. Satrapi was born in Iran during the Islamic Revolution. Her first graphic novel "Persepolis" was recognized as one of the major competitors of the 2007 Oscar Awards. She was described as an outspoken artist, a strong and a courageous woman. Some of her movies also emerged as the top winners at the 2007 Cannes Festival and Annie Awards.

The article focuses on the creation of the epic visual effects for the film "The Golden Compass." Six effects studios have combined their efforts under the supervision of Mike Fink. They have made several daemons who interact with people and the environments. They have also rendered the daemons to look like real animals and all of them have received a special shimmer of color in their coats to suggest that these animals are spirits.

The article offers ten suggestions for animators that would help them to convince television executives to broadcast their animations on television. Knowing the audience, thinking about the online and mobile application for an animation idea and establishing ongoing relationships with the people who can buy a show are some of the suggestions offered. President of Warner Bros. Lisa Judson states that good stories, good writing and good characters are important for a successful show.

The article discusses the influence of comic books on a new generation of animators. Linda Steiner, producer of the comics-based hits for Warner Bros. Animation company, considers comic books as a great help in adding the level of sophistication of the animation. In addition, movie supervising producer Michael Goguen asserts that many people who work in animation have grown up in comics.

The article provides information on several experts in animation. Tim Alexander, visual effect supervisor of Industrial Light & Magic, is now working on his latest animated project "Harry Potter and the Order of the Phoenix." "The Host, naturally!" is the most anticipated movie of The Orphanage creature supervisor Corey Rosen. David Schaub, animation director of Sony Pictures Imageworks, advises job seekers to keep their work at best.

The article focuses on the influences of the animated advertising industry. The author discusses that animated advertisements is the last of the great cottage industries. Advertising-related company executives views that advertisements gives animators the chance to explore and develop their edge and capacities to introduce it for career opportunities. The author cites Wild Brain Inc., and LAIKA Entertainment as some of the companies engaged in the industry.

The article focuses on the Acme On Air animation mentoring program developed by Dave Master, director of artist development at Warner Animation. Acme is telecasting from several studios, including Pixar, PDI/Dreamworks and Disney. It operates with support from foundations. Master directs Acme's curriculum and is planning to expand beyond the United States.

The article presents views from several animators on topics related to animation. Animator Steve Nichols has presented his favorite animated characters including Skeleton number 3 from "Jason and the Argonauts" and Vermithrax Pejorative from "Dragonslayer." Amanda Dague, animation technical director of Rhythm & Hues, has presented her most anticipated animated film of 2006.

The article focuses on the use of various technology and software relevant to the speed of development and animation on the film "Ice Age 2: The Meltdown," produced by Fox/Blue Sky. Alias Maya 6.5 was used for character animation, while Blue Sky's proprietary package CGI Studio was employed for rendering. Makers of the film also used the new fur technology which allowed for far greater realism in how the hairy coats relate to wind and water, and even internal forces such as breathing. The supervising animators are Mike Thurmeier, Jim Bresnahan and Galen Chu with lead animator Eric Maurer. INSET: De SIGN by de SÉVE.

The article report that visual effects supervisor Kent Houston delivers the magical vfx of Terry Gilliam's latest spectacle, "The Brothers Grimm." It is reported that for decades, Houston has supplied much of the magic and mayhem that make Terry Gilliam's delightfully off-kilter films such a feast for the eyes. Visual effects supervisor Kent Houston had the enormous challenge of delivering over 700 vfx shots for Terry Gilliam's visually stunning feature. Most of the digital work in Houston's films uses off-the-shelf software--Maya, XSI and Houdini for animation, Mental Ray for rendering all the software packages--a somewhat novel approach.

Looks at how two-dimensional (2D) animation education is surviving in an entertainment industry dominated by three-dimensional (3D) animation projects. Well-known animation schools that are maintaining their 2D animation classes; Growing emphasis on 3D at many other schools; Belief by Sheridan College classical animation professor David Quesnelle that videogames offer a promising career path for 2D artists; Growing presence of 2D animation on the World Wide Web. INSET: Ex'pression's Expansion.

The author advises animation students to make the best out of their experience in animation school to be prepared for real-life work challenges. Topics discussed include lessons in computer-generated imagery (CGI) production and animation history that students need to learn, the difference between creating one's animated characters for school and working on an animated program for a company, and the need to create and promote one's original ideas.

The article discusses opportunities being provided by DreamWorks Animation's online channel DreamWorks TV to animators. Topics discussed include animators' view that they have creative control and creative freedom on their projects, ways on how animators work with DreamWorks including a one-man team and subcontracting, and differences between creating content for television and the Internet.

The article announces the winners of the 2014 World Animation and VFX (Visual Effects) Summit Awards, including the winner of the Talent Manager/Producer of the Year Award, production company CEO (Chief Executive Officer) Ellen Goldsmith-Vein, the Lifetime Achievement Award winner, animator Phil Roman, and the Feature Producer of the Year Award winner, film producer Bonnie Arnold.

A table of contents for the issue is presented.

The article discusses the work and announced retirement of the Japanese animator and motion picture director Hayao Miyazaki as of November 2013, focusing on the film "The Wind Rises." Topics include the fighter plane designer Jiro Horikoshi, the depiction of smoking in the film, and the animated film company Studio Ghibli Inc.

The article presents information regarding European animated television shows participating in the Cartoon Forum in Toulouse, France on September 17-20, 2013. The television shows seek funds and/or production partners. Shows discussed include "Aliens Love Underpants' by Tiger Aspect, "Early Bird" by Jam Media, and "Mondo Yan" by Imira. Also discussed are the number of animation shows presented by countries in Europe, and the proliferation of transmedia venture among the projects.

Several photographs of those working to produce animated television series in 2013 are presented, including those working on the vintage-inspired series "Mickey Mouse," which will air on the Disney Channel television network, and those working on the series "The Aquabats! Super Show!?," which will air on the Hub Network.

The article focuses on the animated television program "Venture Bros." created by writers Doc Hammer and Jackson Publick on the television network Adult Swim. The article discusses the writers' partnership with the studio Titmouse Inc. for the fifth season of the show, the writers' experiences attending discussion panels at events such as Comic-Con and their difficulties with overseas service animators.

The article discusses a project at the University of North Carolina in Asheville, North Carolina, to create a virtual image of the U.S. President Abraham Lincoln delivering his "Gettysburg Address" speech. Particular focus is given to the techniques undergraduate computer animators at the school are using to create a lifelike Lincoln. The student's use of Maya animation software is also discussed.

The author presents a personal narrative of his experiences as an independent animator dealing with topics including his work for major television networks, how he has been inspired by independent animators including Don Hertzfeldt, and his short film "Good Morning."

The article reviews several products related to the animation industry including the visual effects software Softimage from Autodesk, the 3-D animation modeling software Mudbox by Autodesk, and the time image sequence viewing software RV by Tweak Software.

The article presents a profile of the television series "Terra Nova," executive produced by Steven Spielberg, and presents comments from the show's visual effects (VFX) director Kevin Blank. He discusses Spielberg's insistence that the computer animated dinosaurs used in the series be different than those used in Speilberg's film "Jurassic Park," outlines the time needed for the vfx team to implement animation into live-action sequences, and explores technological innovations in television vfx.