Every frame of this movie is joy, even when the sad moments.

From: Robot Dreams (2023), dir. Pablo Berger, Arcadia Motion Pictures

From: Robot Dreams (2023), dir. Pablo Berger, Arcadia Motion Pictures

Character design work by Yasuhiro Nakura for Moomin (1990–1991), dir. Hiroshi Saito, Telescreen

Another great free Sunday newsletter from Animation Obsessive, unpacking the unique music of Samurai Champloo animationobsessive.substack.com/p/the-music-...

After two decades, Samurai Champloo's soundtrack is still iconic. Its influence is everywhere. Shinichiro Watanabe loved underground hip hop -- and he hired artists like Nujabes to create music that doesn't just fall into the background. We explore: animationobsessive.substack.com/p/the-music-...

From: The Marzipan Comedy (1987), dir. Viktor Kubal, Slovenská Filmová Tvorba A very unusual retelling of the Hansel and Gretel story

From: My Friend Tiger (2021), dir. Tatiana Kiseleva, Soyuzmultfilm

From: Magic Boy (1959), dir. Akira Daikubara and Taiji Yabushita, Toei Doga

You don’t need Disney-level resources and drawing skills to create animation. People have made classics with sand and a source of light. With magazine clippings, or their own bodies animated via stop motion. There’s no barrier to entry, as we explore: animationobsessive.substack.com/p/sand-and-a...

Concept art by Alex Niño and Marcelo Vignali for Mulan (1998), dir. Barry Cook and Tony Bancroft, Walt Disney Feature Animation

The latest newsletter from the Animation Obsessive @ani-obsessive.bsky.social is very good, discussing the many options available to animators and the splendid works of art people can create with unorthodox styles and materials. It highlights animationobsessive.substack.com/p/sand-and-a...

From: Cannon Fodder (1995), dir. Katsuhiro Otomo, Studio 4°C This film was designed to flow without hard cuts -- the camera just goes and goes and goes

God the money I'd pay for a physical @ani-obsessive.bsky.social magazine.

This style of light doesn't really appear in animation anymore. You know it when you see it -- it's bright, hot and almost dangerous. Our new issue explores the tricks behind it, and how one artist has revived the look for the digital age: animationobsessive.substack.com/p/dangerous-...

I wrote an article for my favorite substack, @ani-obsessive.bsky.social about the research and technique that went into making the light in Spirit Jumper.

Very cool and enlightening article on @ani-obsessive.bsky.social about how to achieve the backlit glows from 80's-90's cel animation, as shown in @spktraspktra.bsky.social's new music video: animationobsessive.substack.com/p/dangerous-...

From: Treasure Island (1986–1988), dir. David Cherkassky, Kyivnaukfilm

Visual development art by Lou Romano for The Incredibles (2004), dir. Brad Bird, Pixar Animation Studios

Thanks! For those interested in how Prince of Persia got made, you can find my published journals, and my graphic novel REPLAY, on my website at jordanmechner.com -- along with archival materials and commentary (some of which is referenced in this article).

Prince of Persia was an experiment in rotoscoping. It put lifelike animation on '80s home computers. Designer Jordan Mechner converted VHS tapes and movie footage into pixels -- and went way beyond the tech of his time. We explore: animationobsessive.substack.com/p/how-the-li...

A selection of shots animated by Geoff King for Song of the Sea (2014), dir. Tomm Moore, Cartoon Saloon

Seriously if you're not following @ani-obsessive.bsky.social do yourself a favor and fix that right this instant. It's one of my favorite accounts.

From: The Shepherdess and the Chimney Sweep (1965), dir. Lev Atamanov, Soyuzmultfilm

From: Big Fish & Begonia (2016), dir. Liang Xuan and Zhang Chun, B&T Studio/Studio Mir

From: BoxBallet (2020), dir. Anton Dyakov, Melnitsa Animation Studio

In the '60s, an all-star team of Soviet artists assembled -- including Yuri Norstein. Together, they crafted a gentle, quiet gem called The Mitten. It's lovely stop motion, and it laid the groundwork for the team's later Cheburashka. We explore: animationobsessive.substack.com/p/a-film-for...

Concept art for Lilo & Stitch (2002), dir. Chris Sanders and Dean DeBlois, Walt Disney Feature Animation Art by Andy Harkness and Craig Grasso

Satoshi Kon talks about how Requiem for a Dream took from his film Perfect Blue (1997)

From: Abel's Island (1988), dir. Michael Sporn, Michael Sporn Animation

Concept art by Hayao Miyazaki for Future Boy Conan (1978), dir. Hayao Miyazaki, Nippon Animation

The Powerpuff Girls have three of the most memorable character designs in cartoon history. But how did they come to be? Craig McCracken spent years refining Blossom, Bubbles and Buttercup -- until they became iconic. We explore the process: animationobsessive.substack.com/p/designing-...

The animated titles for Jeeves and Wooster (1990–1993), Picture Partnership Productions Sequence directed by Derek W. Hayes of Animation City

Storyboard art for The Secret of NIMH (1982), dir. Don Bluth, Don Bluth Productions Sketches by Don Bluth, color by unknown artists

One Hundred and One Dalmatians is a gorgeous film. After 65 years, its design is still fresh. Disney's artists went for a new, adventurous look -- one that Walt Disney himself opposed. We explore how they did it: animationobsessive.substack.com/p/designing-...

From: Cinderella (1979), dir. Ivan Aksenchuk, Soyuzmultfilm

Background paintings by Sylvia Liu for The Mr. Peabody & Sherman Show (2015–2017), DreamWorks Animation Television

From: The Tell-Tale Heart (1953), dir. Ted Parmelee, UPA

Character design work by Peter de Sève for Treasure Planet (2002), dir. Ron Clements and John Musker, Walt Disney Feature Animation

Sherlock Hound is a gem. Hayao Miyazaki built an idea from an Italian studio into a brilliant adventure series. It was a turning point in his career, and his last TV show. Behind it were clashing visions, young talent and lots of money, as we explore: animationobsessive.substack.com/p/miyazakis-...

Concept art by Mark Whiting for The Iron Giant (1999), dir. Brad Bird, Warner Bros. Feature Animation

Character design progressions from The Secret of Kells (2009), dir. Tomm Moore and Nora Twomey, Cartoon Saloon

This modern gem was animated frame by frame on a screen of 277,000 metal pins From: The Night Boots (2024), dir. Pierre-Luc Granjon, Am Stram Gram Full film: www.youtube.com/watch?v=_hyO...

From: Cannon Fodder (1995), dir. Katsuhiro Otomo, Studio 4°C

Animation about being forced to fit in From: Dogmatism (2022), dir. Lei Xiao, Chengdu Academy of Fine Arts

Michiya Kato shows how they animated the rippling hallway in Paprika (2006), dir. Satoshi Kon, Madhouse

Concept art by Hayao Miyazaki and Nobuo Tomizawa for Sherlock Hound (1984–1985), dir. Hayao Miyazaki and Kyosuke Mikuriya, Tokyo Movie Shinsha

Haunting Soviet animation set in the faraway future of 2026 From: There Will Come Soft Rains (1984), dir. Nazim Tulyakhodjaev, Uzbekfilm

From: A Town Called Panic (2009), dir. Stéphane Aubier and Vincent Patar, La Parti Productions