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by Gints Zilbalodis in about 4 months with Toonboom, AE & PS. This guy went on to make the feature film 'Away' on his own.

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This is my first animated short film.
Feedback appreciated.

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Hey Duggee - Series 3: 24. The Biology Badge

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Duggee and the Squirrels hop inside the Biology Bus and go on a voyage of discovery.

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Adobe blog post about making this show using Animate.

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Animating a masterpiece.

Star Wars! What else should I say!

We all grew up with it. It prompted us to dress up and speak like Darth Vader. It made us excited about space travel. Still young and still as exciting as ever! And when it came to doing an animated version of the series, Lucasfilm turned to Titmouse Inc., the premier animation studio based out of Los Angeles. I had a chance to interact with Barry J. Kelly and Mike Roush, the director and animation director of the show respectively. Here's an extract of that interview.

How did this project materialize?

Barry: Titmouse made some shorts for Lucasfilm a few years ago leading up to "The Last Jedi." They were really cute, fun shorts featuring BB-8. Lucasfilm was a really great creative partner, and the project went really well. They gave us a call when they were looking to do another line of animated shorts for their new "Galaxy of Adventures" brand, which consisted of toys and merch aimed at soon-to-be "Star Wars" fans.

I saw "Star Wars: Galaxy of Adventures" as a Saturday morning cartoon version of "Star Wars." The challenge was to capture the energy of a world you want to escape to - and present it in 60 seconds, much like the main title sequence from a classic cartoon.

How did you decide on the specific look for this series?

Barry: "Star Wars" is everything - it's funny, scary, uplifting, and more. So we needed a style that's flexible to service all that encompasses the franchise.

Line weight is hard to manage. If you get too heavy on lines, the characters become stiff and rigid. if it gets too loose and round, it becomes hard to make the characters feel strong and constructed in cool action scenes. We decided to ditch the contour line to make the style a little more forgiving. Lines were used only for details within the character's silhouette; we added light and shadow on a shot-by-shot basis. There were so many different characters and costume changes in "Star Wars." Everything was constructed on a shot-by-shot basis.

Mike: One of the great things about Adobe Animate is that we could choose any style we wanted for this project. The only restriction is one's ability to think of something new and cool.

Here at Titmouse, we have tons of shows, and they all have unique and drastically different styles. Animate lets us do and go anywhere we feel like. We can't let anything get in the way of what the client is asking for or what our artist can dream up. We love to make those "Fresh Styles."

How did you achieve the specific look? Tell me a bit about the process involved.

Barry: Working in the Adobe family of products really helps streamline our process. Adobe Animate combined with Photoshop and After Effects is a really powerful animation toolset. It's flexible and tried and true.

We animated the characters and effects in Adobe Animate. From the animatic, we'd break it up into individual shots and plug them into our template. Each shot .FLA is like a package that has the storyboard, character layout, background, and audio ready for an animator to take and bring a scene to life. Once the character animation was complete, we'd do an effects pass where our effects animator would add sparks, lasers, water, fire, etc. Symbol libraries were perfect for all the effects we'd reuse. Effects are typically done with matte shapes and colors which we would enhance in After Effects with color shifts, glows and blurs, etc.

Mike: Animate offers the speed and flexibility that is very important to productions with quick turnarounds. Being able to animate, do retakes, implement notes from the director and client without having to stop or slow down maximizes the creative input from our artists. Animate removes a lot of roadblocks and production red tape, and lets the artist jump right into creating. Animate doesn't do the job of the artist, but it does create an environment where the artist can reach expectations, quickly.

That's very interesting! Can you please walk us through the workflow and the timelines you work with?

Barry: I'm constantly going between Animate, Photoshop, and After Effects - switching my brain to each program's functions. Starting from the first storyboard panel, I plan on how the shot will be composited, designed, and animated. I consider how each element is going to go to different departments, and come together again successfully (fingers crossed).

Production animation is like a big puzzle you build only to break it apart piece by piece. The pieces are all remade by artists and then you have put all these pieces back together again to make the cartoon. It's stressful but also very fun.

Mike: From the animator's perspective, the workflow is all about time management. An animator will get a shot with the audio, bg, and character design in an FLA. The animator will then have to rough pose, do breakdowns in between, add effects, clean, and color the shot in a day or two (on average). We work at a breakneck pace of about 8-10 seconds a week on some projects. This timeline is only possible if you have a strong toolset that lets the animator work without slowdown.

How has your experience been using Adobe tools? What are your plans in the near future?

**__**Mike: We see tremendous value using Adobe Animate and the greater Adobe family of products. In partnership with Adobe, we keep Animate growing and developing into an even stronger and more powerful tool. Together, we are working on tools that will push our abilities and make it even easier and faster to make the highest quality animated projects that push the art to areas that weren't possible in the past. We are super excited to show our audiences what we have cooking.

Do you have advice to young artists aspiring to be a character animator?

Barry: My advice is simply to draw, draw, and draw some more. You don't need to know how to draw everything, but you need to train yourself on how to approach drawing so you can draw anything - especially things you don't understand, from an animal to a car, or understanding what makes an action or expression complete. It's all types of problem-solving that comes with trying to convey your art and story clearly.

Mike: Do yourself a big favor and get a subscription to the Adobe suite. Get familiar with the software that is used in your artistic specialty, and you will immediately become more desirable to future employers. Adobe is the gold standard here at Titmouse. When I'm hiring animators the first question I ask is, "Do you know Adobe Animate?" If the artist has the abilities I'm looking for and if the answer is "Yes," then I say, "Welcome to the team."

Thank you very much. It was a pleasure talking with you.
Learn more about this series at these links: https://www.youtube.com/starwarskids https://lol.disney.com/star-wars-kids You can get more information about all the wonderful things happening at Titmouse at these links: https://www.instagram.com/titmouseinc/ https://www.facebook.com/titmouse.cartoons https://twitter.com/titmouseinc
Please feel free to let me know your thoughts about this interview and any other interesting story related to Animate that we should feature. As always, you can reach me at _ ajshukla@adobe.com_.

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Animating a masterpiece. Star Wars! What else should I say! We all grew up with it. It prompted us to dress up and speak like Darth Vader. It made us excited about space travel. Still young and still as exciting as ever!

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Adobe blog post about making this show using Animate.

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Transforming a podcast to an animated series.

Popular imagination typically associates animation with children. Titmouse is known for bending the rules of engagement time and again, and they did it once again - this time with an adult animated series on Netflix. I got a chance to talk to Antonio Canobbio, chief creative officer for Titmouse, and Mike L. Mayfield, supervising director for "Midnight Gospel." Here is an excerpt.

Tell me a little bit about yourself and your association with the animation industry.

Antonio: I started in the animation industry knowing absolutely nothing about it. All I knew was that I drew a lot and loved cartoons. Learning on the job isn't necessarily the best way to go. There is a great deal of "paying dues" attached to it. Only after joining Titmouse and getting my hands dirty in all areas of making cartoons did I fall in love with the process. I got to art direct shows like "Metalocalypse," "Black Dynamite," "Motorcity," "Niko and the Sword of Light," "Little Big Awesome," and "Nerdland," to name some. And lucky me, we are making plenty more these days.

Mike: Animation is all I've ever wanted to do, and I've always been obsessed with what makes something funny. I've made comedy cartoons my whole life (as a kid, flipbooks) and still make shorts for fun whenever I can. In 2003, I got my BFA in animation from the University of the Arts and started my first job at "King of the Hill." Since then, I've been lucky enough to work exclusively in adult animated comedy, and for over a decade in some sort of directing capacity. I knew of Titmouse since the birth of the studio, but finally got to work with them in 2010 when I directed season one of Brad Neely's "China IL" for Adult Swim.

What is your role on "Midnight Gospel?"

Antonio: There are no templates for a show like this one. So I worked with Pen, Duncan, Mike, Jesse, and Elle discussing processes - helping from shaping teams, guiding art, to reviewing final footage.

I worked most closely with Jesse Moynihan, the art director, discussing his vision and making sure it was carried to the final picture. I miss working with this genius.

Mike: I was the supervising director, as well as a writer (alongside creators Pendleton Ward and Duncan Trussell, with a few others). I at least dipped my toe into every aspect of the production, both to make sure everything was aligning with the creators' vision and because I honestly find every step really fun! During production, I might weigh in on BG paintings in the morning, animate a shot over lunch, and then sit in on an audio mix in the afternoon. It kept my days amazingly varied, and I had the honor to be in the trenches with brilliant, creative minds in every department.

How did the idea for "Midnight Gospel" come about?

Mike: Pen and Duncan could detail the very beginning, but Pen was a fan of Duncan's podcast ("The Duncan Trussell Family Hour"), and the two met over coffee to discuss ideas for a cartoon. Both of their minds work in such fun, interesting ways that it's no surprise a show so unique and special came out of that initial meeting! I was brought in pretty early, and when I started, they had concepts for Clancy's world (the Chromatic Ribbon) and a bunch of potential apocalypses he could visit in his universe simulator. From there, we dug in with the storyboard artists, Storyboard Supervisor Joey Adams, and Editor Megan Love to assemble these disparate puzzle pieces into full narratives. At every stage, we added gags, and (with the guidance of Art Director Jesse Moynihan) some really wacky beautiful art. It wouldn't exist without Pen and Duncan, but they were also so gracious about letting go and allowing the series to be truly collaborative the whole way toward a final product.

How does this idea differ from other (traditional) animated series? What made you want to work on it?

Antonio: When those two guys, Pen and Duncan, walk into your shop with a show, you know it will be different, you know you'll have fun. You don't say no. Netflix did the same thing.

Mike: In so many ways, "The Midnight Gospel" is experimental TV. Although I've worked on plenty of sitcom-style shows, I personally lean toward oddball projects and how to make a functional, watchable show within unchartered territory. Animating to real interviews has been done, sure - but to my knowledge, never in such a way where what's appearing visually only has tangential or symbolic ties to the conversation. We really wanted to construct ecosystems that felt unique and whole, whether that was inventing the entire life cycle of parasitic clowns or a hellish "Groundhog Day" prison break. I'd argue that these episodes, regardless of the podcast conversation, still function as engaging narratives and are only further elevated by the insights the characters discover as they discuss some big and heavy topics.

Each one of the TV shows you do has a different look and feel. Tell us a little bit about the approach you took for this particular series.

Antonio: I've seen companies fail because they are trendy and don't renew themselves. I make sure we don't repeat work we've done so we stay fresh and it's more fun! Pen had the same idea, I think. He did not want to create another conventional TV show and repeat what he had done in the past. This took time and effort ahead of production to develop this concept into a show. We had some form of originality to every step of the production to fit our needs.

Mike: Not only did we work hard to distinguish "The Midnight Gospel" from other shows, we also knew right out of the gate that Clancy would visit different planets that each needed a distinct visual flavor. To unify them all for the series, we wanted everything to feel handmade and minimize anything that looked too digital or computer-generated. Art Director Jesse Moynihan did a lot of concept art with gouache and air brush, and the look he achieved with these physical-world techniques was constantly referenced for the BG paint style. We knew we wanted the character animation to inhabit these gorgeous pieces of art in an integrated way, so we developed a process to get digital vector lines looking like gritty colored pencil and solid-color fills to include real paint and paper textures. We mostly animated on threes (three drawings per second) because lowering that rate makes the movement feel more tactile and less digital, and we included airbrush "puffs" on animated props wherever possible.

How did Adobe Animate help you achieve this?

Antonio: Pen was very clear about letting the animators be creative and infuse ideas into the animation - pretty moments, I call them. At Titmouse, we have various tools to make these 'pretty moments.' Adobe Animate was the perfect canvas to free animators and letting them animate fully in house - in the U.S.!

Mike: For the textured lines and fills specifically, we did rough animation and then cleaned up using the paint brush tool in Animate (guided by Animation Director Mike Roush). Then, we did an elaborate "secret recipe" in After Effects (developed by Compositor Nicolas Mermet) to separate the lines from the fill and composite each with a different stack of effects. This got us the gritty colored pencil lines with paper and paint textured fills. For BG painting, we were able to use Photoshop to mimic all the real gouache and airbrush concept art made by Jesse, and we took textures from Photoshop into Animate to make props feel more tactile and handmade.

What else are you excited about in the near future?

Antonio: Getting back to the office and seeing people face-to-face would be nice, for one.

We've been inundated with cool projects lately, even since before isolation. I'd be curious to compare the number of animated projects in production today, to the one 10 years ago for the industry in general. It must be staggering.

Most importantly, I've witnessed a shift coming from platforms and networks, and I believe they've recognized the need to take risks in order to get ahead. "Midnight Gospel" is a perfect demonstration of this courage.

We are looking at more original work and content with a point of view. I'd say that's exciting!

Mike: Adult-animated comedies, especially more challenging and thoughtful shows, have only increased in numbers recently, with more and more variety in tone, style, and point of view. I'm excited just to see what comes after a show like "The Midnight Gospel!" I'm hoping the decision-makers keep green-lighting unconventional pitches. I'm hoping shows like this keep inspiring young artists to be the ones to pitch genre-bending cartoons and work their way onto teams making out-there, creative stuff. And I'm hoping the diversity among creators keeps expanding. I think we're seeing all of these things happening. With the huge and scary problems the world is facing, it's at least cool to be so excited about the artform of animation, where it will venture next, and how it will find new ways to connect with people emotionally.
At Adobe, we believe that everyone deserves respect and equal treatment, and we also stand with the Black community against hate, intolerance and racism. We will continue to support, elevate, and amplify diverse voices through our community of employees, creatives, customers and partners. We believe Adobe has a responsibility to drive change and ensure that every individual feels a sense of belonging and inclusion. We must stand up and speak out against racial inequality and injustice. Read more about the actions we're taking to make lasting change inside and outside of our company. We also know many people are still impacted by the current COVID-19 crisis and our thoughts are with you. The entire Adobe team wants to thank you, our customers, and all creators around the world for the work you do to keep us inspired during this difficult time.

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Midnight Gospel on Netflix Animated by Titmouse

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Transforming a podcast to an animated series. Popular imagination typically associates animation with children. Titmouse is known for bending the rules of engagement time and again, and they did it once again - this time with an adult animated series on Netflix.

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By Jimmy Something Doodles

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By Joe Taylor
https://www.instagram.com/p/CIDL0u9CPcM/?utm_source=ig_web_copy_link

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Horsing Around - Muybridge Horse Tattoos by Ver_Clausi

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Horsing Around - Muybridge Horse Tattoos by Ver_Clausi

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https://www.instagram.com/p/CKHr0PajVfh/?utm_source=ig_web_button_share_sheet

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By Felix Colgrave  (May be a bit frightening for kids!)

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by Seoro Oh

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He's trying to stay awake in an afternoon classes.

- Film by Seoro Oh (Graduation film)
- 2015, 2D Digital animation
- 3:50 min

Award & Official selections

2016
Stuttgart Festival of Animated Film - *Lotte Reiniger Promotion Award for Animated Film*
MONSTRA Lisbon Animated Film Festival - *Jury Honorable Mentions, 
Audience Award*
Big Cartoon Festival - *Audience Award*
Annecy International Animated Film Festival - Korean Animation in the 21st Century 2
Melbourne International Animation Festival
International Film Festival Etiuda&Anima
NW Animation Festival "Best of the Fest"
ANIMANIMA (The International Animation Festival) 
HIROSHIMA - Stars of Students

2015
Annecy International Animated Film Festival - Student Competition Official Selection
SIGRAPH Asia Kobe - *Jury Award*
Animafest Zagreb - *Jury’s Special Mention*
Indie-Ani Fest - *Prize for First Flight*
Seoul International Cartoon Animation Festival - *Jury's Special Prize*
New Chitose Airport International Animation Festival - Official Selection

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Muybridge horse light painting by Edu Puertas

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Light painting Muybridge horse animation

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by Seoro Oh

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The happenings of someone's nostrils.

"(OO)" is this week's Staff Pick Premiere. Read more about it on the Vimeo Blog:  https://vimeo.com/blog/post/staff-pick-premiere-oo/

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by Michael Dudok De Wit

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The Red Turtle Official Trailer #1 (2016) Studio Ghibli Animated Movie HD

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by Michael Dudok De Wit

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Michaël Dudok de Wit - Father and Daughter (short film 2000)

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by Art & Graft

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by Students from CMU Pittsburgh

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Rotoscoping assignment for 2D Animation course 60429 CMU School of art
animation.molleindustria.org/
Based on a Eadweard Muybridge plate. 
Music by Mouse on Mars
http://www.mouseonmars.com/niun-niggung/

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by Dana Sink

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An animated film intersecting machinery, life, and media. Power.


"Power" has been an official selection and/or screened following film and animation festivals
Northwest Animation Festival (Official Selection) – Portland OR—2018 
Cardiff Animation Festival (out of competition) – Wales, UK—2018 
Animakom Fest (Official Selection) – Bilbao, Bizkaia, Spain – 2018 
Vienna Shorts Festival (Official Selection) – Vienna Austria- 2018
Regard Festival (Official Selection) – Quebec, Canada 2018
Glas Animation Festival (Official Selection) – Berkley CA 2018
Monstra Festival of Animation (Official Selection) - Lisbon, Portugal- 2017
Reanimania International Anumation Festival (Official Selection) - Yerava, Armania- 2017
Mumia International Underground Animated Short films (Official Selection) - Belo Horizonte, Brazil - 2017
Fresh Off the Grill Festival (Official Selection) – Royal Oak, MI—2017 
Lublin Film Festival (Official Selection) – Lublin, Poland-- 2017
Sommets Du Cinema D'Animation (Official Selection) – Quebec, Canada—2017 
Animattikon Project (Official Selection) – Cyprus, Greece—2017 
Multivision Festival (Official selection) - St. Petersburg, Russia – 2017
Film Columbia Festival (invitation) -- Chatham, NY—2017 
Animage International Animation Festival of Pernambuco (Official Selection) --Recife, Brazil—2017 
CRAFT International Animation Festival (Digital World Panorama)-- Yogyakarta, Java, Indonesia--2017
Cartoons Underground (Official Selection)- Singapore --2017 
New Chitose Airport International Animation Festival, (International Panorama) -Chitose Hokkaido, Japan - 2017
Turku Animated Film Festival (Official Selection)- Turku, Finland --2017
Ottawa International Animation Festival (Official Competition) - Ontario, Canada --2017
Animation Block Party (Official Selection) - New York, NY – 2017
Anima Mundi (Official Selection) - Rio de Janeiro, Brazil – 2017
Cartoons Festival Gandia (Official Selection) – Gandia Valencia, Spain – 2017 
Moviate Underground Film Festival – Harrisburg, PA – 2017 
Neum animated film festival (Official Selection) – Neum Bosnia – 2017 
Vimeo (Vimeo staff Pick) – 2017

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by Ruff Mercy

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DIRECTOR: LAKEITH STANFIELD
DIRECTOR OF PHOTOGRAPHY: DAVID ROEMER / BASIL FAUCHER
EDITED & ANIMATD BY RUFFMERCY
PRODUCER: ALEXEY GALETSKIY 
PRODUCER: COLIN STARK
PHOTO ASSISTANT: DAREN THOMAS
DIGITAL TECH: TARA CHUMPELIK 
FASHION DIRECTOR: TERRY LU 
STYLIST ASSISTANT: AGELIKA POKOVBA 
HAIR STYLIST: SCOTT MCMAHAN
CATERING: MONTERONE

Lakeith Stanfield and Hrishikesh Hirway are MOORS
Here they team up with the Tune-Yards to give you 'MANGO'
Tune-Yards recently scored the film 'SORRY TO BOTHER YOU' starring Lakeith, here is some more info about the track....

CoolHunting >
If “Mango” affirms anything, it’s that Lakeith Stanfield has mastered more than one craft. The track sees the acclaimed actor partnering with music producer HH (Hrishikesh Hirway), under the moniker MOORS, and the result is electrifying. tUnE-yArDs features on the song, amplifying the magnetism and underlining the strange magic of it all. Visual artist ruffmercy directed the video, which incorporates pop art visual manipulation that truly rounds out the experience—which tUnE-yArDs’ Merrill Garbus is quick to point out is, in fact, altogether weird.

GQ  >

A still from the music video Mango by the Moors
UNIVERSAL MUSIC GROUP
And it's as fun and weird as you'd imagine.

For a couple of years now, Lakeith Stanfield, the unpredictable genius and star of Sorry to Bother You, has been making music with producer HH under the name MOORS. Experimental and dark, MOORS makes music that's equally free-associative and confrontational—kind of like Stanfield himself. It's why you need to check out the video for "Mango," the latest track from MOORS, featuring another GQ favorite—tUnE-yArDs.

The video for "Mango" features Stanfield dancing and rapping in a church as RUFFMERCY's distinct animation is overlaid, giving the whole thing a very throwback, Keith Haring-esque vibe.

Spin >
Recent Sorry To Bother You star Lakeith Stanfield is part of a rap duo called Moors with musician and producer Hrishikesh Hirway, and today, the duo has returned with a new song. With backing music from Tune-Yards’ Merrill Garbus, “Mango” is a new collaborative single following both musicians’ contributions to the recent Boots Riley film. In a statement shared with the single, Garbus writes:

“Lakeith came to our studio in Oakland twice to work on vocals. He had really specific ideas about the track, different characters he wanted to give voice to, and we worked together to keep amping up the weird. Times are weird. Lakeith is reflecting his universes and creating new ones — it’s fascinating and important and we’re grateful and lucky to be a part of amplifying his voice.”

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By butcherbrokerbrains.com #roto

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by Fleischer Studio in the 1930s

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Betty Boop - Minnie The Moocher - 1932 HD

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by Katsuhiro Otomo

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by Remus & Kiki

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by Remus & Kiki

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by Pendleton Ward (Adventure Time) and Duncan Trussell (Duncan Trussell Family Hour podcast).

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The Midnight Gospel | Official Trailer | Netflix

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by Truba

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Year: 2018
Client: Unknown Mortal Orchestra

Hunnybee is the fourth music video from the album Sex & Food. In this, we wanted to create the sweetest vision for a young woman's future, albeit with a little drama and danger thrown in.

Credits:

Designed & directed by Greg Sharp
Produced by Nina Knežević

Animation by Sean Buckelew, Jonothan Djob Nkondo, Bonnie Forsyth, Vincent Tsui & Vuk Palibrk

Backgrounds by Josselin Facon, Fabio Besse & Greg Sharp

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Year: 2018 Client: Unknown Mortal Orchestra Hunnybee is the fourth music video from the album Sex & Food. In this, we wanted to create the sweetest vision for a young woman's future, albeit with a little drama and danger thrown in.

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by Felix Colgrave (not for kids!)

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by Greg Sharp of Truba (not for kids!)

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This short is a comically cynical vision of a future where the water is gone, all that’s left is dust and desperation.

The Future is currently being screened at festivals locally and internationally.

Written, Directed & Animated by Greg Sharp
Music & Sound Design & Voices by Skillbard - skillbard.com
Produced by Nina Knežević


For more info reach out to hello@trubaanimation.com

www.trubaanimation.com

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by Studio Aka

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The BAFTA &
Int. EMMY winning
Pre-School series
created by
STUDIO AKA for
CBEEBIES & BBC WORLDWIDE!

Devised by BAFTA winning & OSCAR-nominated Director Grant Orchard, HEY DUGGEE is based around 'The Squirrel Club' - run by a big friendly dog called Duggee - a place where kids take part in
all kinds of activities, have adventures & earn activity badges all along the way. Duggee teaches the kids about being responsible, working as a team, taking acceptable risks and most importantly...having fun!

Produced entirely at STUDIO AKA, the 52 x 7min episode series enlists the warmth and charm of critically acclaimed comedian Alexander Armstrong who narrates the playful series alongside an outstanding cast of kids in the main roles. Come and watch HEY DUGGEE! You'll be tapping your feet to the music in no time...

Series Devised & Directed by
GRANT ORCHARD
Assistant Director SANDER JONES
Produced by JANINE VOONG
Executive Producers SUE GOFFE JACKIE EDWARDS HENRIETTA HURFORD-JONES
A STUDIO AKA production for CBEEBIES &

For a better experience on our site and to view movies, enable JavaScript in your browser

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The BAFTA & Int. EMMY winning Pre-School series created by STUDIO AKA for CBEEBIES & BBC WORLDWIDE! Devised by BAFTA winning & OSCAR-nominated Director Grant Orchard, HEY DUGGEE is based around 'The Squirrel Club' - run by a big friendly dog called Duggee - a place where kids take part in all kinds of activities, have adventures & earn activity badges all along the way.

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The 1st Simon’s Cat by Simon Tofield (watched over 55 million times!) The Story of Simon's Cat

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by BirdBox Studio

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by BirdBox Studio

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by BirdBox Studio

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by Alla Kinda

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Join us in the subconscious of Manolito to a fascinating journey back and forth and get carried away by strange beings through the rare landscapes of Manolito's Dream!
Retrieving Manolito, our beloved character, at last you can enjoy this short film by Alla Kinda. Music is an original score by Josep M. Baldomà.

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by Matt Abbiss

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Short digitally hand drawn animation with sound by Aaron Lampert.

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The Goat Herder and his Lots and Lots and Lots of Goats

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The Goat Herder and his Lots and Lots and Lots of Goats

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by Will Rose

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The Goat Herder and his Lots and Lots and Lots of Goats

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Winner of Screen Out Loud - Independent Talent Award for Animation Direction Animated Exeter Festival, Winner of 'Best Independent Animation Award 2012' at The Blue Plum Animation festival Tennessee and Winner of 'Best animation for the family and children 2012' at the Sodak Animation festival South Dekota. Also chosen By Vimeo for their 'Staff Picks'. You can buy framed prints from the film here: http://society6.com/WillRose
Inspired by my two year old niece who having seen a goat herder in Spain kept chanting 'lots and lots and lots of goats!'. The story follows a day in the life of a goat herder and his flock of goats as they travel up and down the mountains of Spain. Andy Cabic, lead singer of the band Vetiver http://vetiverse.com/ kindly gave me permission to use his track for the film which was fantastic.
There is no dialogue. The story is told using sound and movement.
I created this film during a break between animating on 'Peppa Pig' and 'Ben and Holly's Little Kingdom'.
I would love to make this in to an app for the iPAD as an interactive animated storybook for kids.

DESIGN/ANIMATION: Will Rose

MUSIC: ‘Soft Glass’ written by Andrew Cabic, licensed courtesy of Domino Publishing Company Ltd. and Bella Union Records http://vetiverse.com/

'Goat Herder' composed and performed by Tom Gisby

SOUND: JM Finch at Fonic Studios

See my interview with @inkygoodness here http://inkygoodness.com/blog/interviews/interview-will-rose/

Follow me:  https://twitter.com/WilboJohnson

See more work at http://wilbojonson.tumblr.com/

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by Guy Harlap

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thom yorke black swan animated video by guy harlap

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Hey all,
this is a unofficiall video of the song Black Swan by Thom Yorke I made (for animation class). As a big fan of Radiohead and Thom's
I began experiencing with the song's rhythm.
After I started animating I just could not stop.
I finished it in few days. the animation was done with no editing,changes or corrections. classic 2d drawn frame by frame animation.(flash,wacom)
I did it with a lot of joy to a song I really love from a great artist and band (my opinion).
Guy :)

animation and design: Guy Harlap

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by Sjaak Rood

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Ik wil koffie! Gewoon, één kopje koffie...
I want my coffee! Just one cup of coffe...

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by Richard Williams

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The Thief and the Cobbler Recobbled Cut Mark 4 Pt. 1

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by Nelson Boles

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my new film. enjoy!

VIMEO FEST 2011 Finalist! 

SXSW 2012 Official Selection Animation Category

Walter and Gracie Lantz Animation Prize

PISAF 2011 Yahoo Korea Prize

Aniwow! 2011

Animayo 2012 Special Jury Mention

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by Alan Becker

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The struggle between a stick figure and its creator, a computer animator. In this fourth installment, the animator is finally shown in real life interacting with his computer monitor. The stick figure, resisting his tormentor, attacks his social life by hacking his Facebook account, traveling onto his iPhone via USB cord, and drawing animations of his own to dismantle the animation interface.

Funded through Kickstarter! http://kck.st/174aalw

Music by Sarah Eide
http://www.thesugarbirdnest.com

Alan Becker Twitter: http://twitter.com/alanthebecker
Alan Becker Facebook: http://facebook.com/alanthebecker
Alan Becker Website: http://alanbecker.net
Alan Becker's Animation Tutorials: http://youtube.com/alanbeckertutorials
Alan Becker in Minecraft: http://youtube.com/alanbeckerminecraft
Make a donation: http://www.alanbecker.net/donate

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by Studio Aka

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Hey Duggee - Series 3: 24. The Biology Badge

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Duggee and the Squirrels hop inside the Biology Bus and go on a voyage of discovery.

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by Michael Dudok de Wit

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Le moine et le poisson | Court métrage d'animation dès 3 ans | Film Complet | Folikids 💫

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A short film I made for the Cystic Fibrosis Trust many years ago.

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Getting Nosey about CF with Oli and Nush | Support