ARC Language Labs for ANM/VFX (SPRING 2018)

Get 1–1 English language and communications tutoring for Midpoint Review, Final Review, Directed Study and language help for any coursework from your third semester until graduation.

MFA and MA students
International and domestic students

Spring 2018: Tuesdays 10-1 / Thursdays 10-11
February 20, 2018—Thursday May 24, 2018

Book in advance:

Erika Weisbrich
EAP MFA Liaison for The School of Animation and Visual Effects
Full-time EAP Faculty

180 New Montgomery, Cubicle 2 near room 307

Spring 2018 ANM Online Director Town Hall Chat

Spring 2018 ANM Online Director Town Hall Chat
Tuesday, February 20th @ 4:00pm Pacific Time

To participate, register here:
Can’t attend? You can request a recording here:
If you have any issues accessing the online meeting room, please contact the Online Help Desk:
Email: Phone: 415.618.3545 or 1.888.431.ARTS

SPA Studios is looking for 2D FX Traditional Animation Artists!

2D FX Traditional Animation Artists
The SPA Studios
Madrid, Spain

The SPA Studios is looking for 2D FX traditional animation artists to join us on this challenging and exciting project that is Klaus!

The perfect candidate would have the following capabilities:


· Experience in digital 2D FX animation to develop appealing animation within the film style.
· Ability to produce rough animation and final cleanup lines for ink and paint.
· Ability to work in a team.
· Must be able to take direction and to embrace change.
· English is a must. Please bear in mind daily work will be in English, so you must feel confident with the language.
· Must be willing to relocate to Madrid, we are not considering remote work.


· Experience in motion picture.
· Working knowledge of 2D/3D art techniques and software packages such as Toon Boom, Maya etc.

Click here to apply under 2D FX Animation.

Spring 2018 Demo Reel Deadline for FAT Tuesdays

CONGRATULATIONS, Hanna Abi-Hanna for your nomination!

Congratulations AAU Traditional Animation MFA Alum, Hanna Abi-Hanna for your Annie Awards nomination on Cuphead!

Click here for more details.

Live Art: The Story and Music Behind Coco with Disney•Pixar

Live Art: The Story and Music Behind Coco with Disney Pixar

Monday, December 4

6:00 p.m. – 8:00 p.m.

Apple Union Square

Join director Lee Unkrich and co-director/screenwriter, Adrian Molina as they take you behind the making of Disney•Pixar’s newest film Coco. You’ll get hands-on with character creation and learn how to draw one of the movie’s characters using an iPad Pro and Apple Pencil. Then enjoy a musical performance by the voice of Miguel, Anthony Gonzalez. Coco is in theaters now.

300 Post Street

San Francisco, CA 94108

For more information, click here.

Tonko House will be at the Castro Theater on December 10th

Tonko House will be screening their new short series, PIG: The Dam Keeper Poems at the Castro Theater on Sunday, December 10th for FREE

10:00 am – PIG: The Dam Keeper Poems (46 min)

10:46 am – Onstage Q & A with director & writer Erick Oh and production manager Courtney Lockwood. Including live drawing demonstration from visual development artist JJ Song (30 min)

11:15 am – Meet & Greet with Tonko House team: Robert Kondo, Dice Tsutsumi, Erick Oh, Courtney Lockwood, and JJ Song. (60 min)

Click here to the link to the Eventbrite page for the event. They can learn more about it and sign up for seats here.

Last chance to submit your film to the 2018 SFFILM Festival on December 4!

Animators play it old school with Cuphead

Inspired by the cartoons of the 1930s, Studio MDHR Entertainment released their new video game this year, Cuphead. Within the first two weeks of its release, it has sold over one million copies.

Academy of Art University alumni from the Traditional Animation MFA program, Hanna Abi-Hanna, Joseph Coleman, and Danielle Johnson, have worked on the development of the game for the past few years. We asked them to share their experiences with us.

What is the game about?

Hanna Abi-Hanna (H A-H): I’m not the best person to answer this question but here is my best shot: The game is a “run-and-gun” 2D side scroller, animated in the style of 1930’s cartoons.

Joseph Coleman (JC): Cuphead is the story of two brothers (Cuphead and Mugman) who lose a bet and their souls to the Devil. In order to keep their heads, they strike a deal to collect the souls of all the Devil’s debtors.

H-AH: Also, they have cups for heads!

Hanna Abi-Hanna and Joseph Coleman with Cuphead

How did you get the job?

H-AH: I was contacted by Studio MDHR in late 2014 to help with the animation for the game.

JC: I was introduced to the project by Hanna. He was my former teacher during graduate school at the Academy of Art.

I started as a part-time animator. My initial role was as an in-betweener for Hanna and Studio MDHR. After several months of work, the studio hired me as a full-time animator.

From there, I have designed and animated many characters and special effects for Cuphead. My duties also expanded to illustration for the game, merchandise, and promotional materials.

Danielle Johnson (DJ): Hanna and Joseph are close friends of mine.

How long have you worked on it?

H-AH: I worked on it from November 2014 till April 2017.

JC: For over two and a half years now.

DJ: A year and a half.

What programs did you use?

DJ: Everything was done traditionally on paper.

H-AH: Toonboom Harmony was used for scanning and peg-hole registration.

JC: It was used to compile the drawings, and to send for inking after testing and approval.

Screenshot of a scene done on paper by Sherrie H. Sinclair.

What was the most challenging part about working on this game?

H-AH: Constantly generating new ideas, and staying within the 1930’s style.

DJ: Being remote and learning how to do things on the fly during crunch time.

JC: The biggest challenge was stepping away from work. Working from home, while I absolutely love it, requires a lot more discipline than one would think. It was very easy to neglect rest when I became focused on meeting deadlines. I had to remain vigilant of the hours I worked to avoid burning out.

What scene did you specifically animate and work on?

H-AH: I did animation on several of the boss fights in the game. The bosses I primarily worked on are the Vegetable Garden, the Flower boss, Beppi the Clown, the Dragon, the Pirate Ship, Sally Stageplay, the Cat and Mouse, and the Devil. I also worked on several of Cuphead’s attacks and super-moves, and oversaw the animation of Mugman and a few of the secondary characters throughout the game.

DJ: I was originally brought on as an assistant animator to Hanna. I worked on some levels with him, then moved on to animating the world map npc’s, and doing character design concepts. I was also involved with inking.

JC: I designed and completed all of the animation for Hilda Berg and King Dice.

Hilda Berg was my first big solo task for the game. Many hours went into research and design. I felt like Dr. Frankenstein, as I was combining so many unrelated elements into this zany character. Not so strange if you are channeling animation from the 1930s, I suppose.

For King Dice, I was greatly inspired by Cab Calloway. It was really important to me that I honored the Black artists of this era. When given the opportunity to design and animate characters for the game, King Dice flowed from heart to paper with ease.

The Cuphead Production Team

So…what’s next for Cuphead and for you?

JC: What’s next for Cuphead? Well, that is a secret. What I can say is that the future looks bright for our team.

DJ: Not sure what’s next but I am excited for the future.

H-AH: Cuphead has hopefully learned his lesson, and will stop making deals with the Devil! As for myself, I’m currently working on a feature project at Duncan Studio, and I definitely hope to work with Studio MDHR again on their future projects. Over the course of this journey, they have grown from just a handful of people to a full-fledged studio, and it was a wonderful and humbling experience to be a part of the Cuphead family for the last 3 years.

JC: As for me, I will take this time to work on other personal and professional projects in need of my attention. There is always work to be done as an artist!

Members of the Cuphead team: Sherrie H. Sinclair, Joseph Coleman, Danielle Johnson, and Abby Lee at this year’s Creative Talent Network 2017

Director of the Traditional Animation MFA program, Sherrie H. Sinclair, also participated with her former students in the production of Cuphead. She shared her thoughts with us.

Sherrie H. Sinclair: When my former grad student, Hanna Abi-Hanna, approached me soliciting for help on the Cuphead game project, I willingly stepped up to participate!

As a former traditional Disney animator I was very excited to learn about a project being done “old school” with the hand drawn tactile qualities that today’s computer productions lack for the animator.

It was SO much fun to “flip paper” again and “feel” the images come to life–inbetweening and animating on paper once again was a joy!

I knew Cuphead and Mugman was going to be a very special project, and although my contribution was small, at least I can say, “I had my toe in the water!”

There has been such a tremendous public response worldwide to this game and its look and traditional technique, that perhaps it will send a message to the U.S. industry that Traditional Animation is NOT DEAD and perhaps should be embraced once again.

During her trip to the Creative Talent Network (CTN) in Burbank this year, Sinclair came across another AAU alum that also worked on Cuphead: Abby Lee.

Lee is a graduate from the Traditional Animation BFA program and she shared her experiences with us.

Abby Lee: I was contracted through Hanna (Abi-Hanna) who was already working on Cuphead. I worked on the project for about one month in April of 2015.

The most challenging parts about working on this were the ellipses. Teeny tiny ellipses. Despite my efforts, I have always struggled with ellipses and cups are nothing but ellipses. After working on Cuphead, I feel far more confident now.

I worked on Mugman, and was responsible for making sure his head animation matched up with Cuphead’s body animation such as his idle, jump and attack animation.

Cuphead has been a huge success for both gaming and traditional animation as a medium, and I am excited to continuously witness the response from fans of the game. I think that the success of Cuphead will cause a tremendous boost to interest in the art of traditionally drawn animation.

As for me, I have recently moved to Burbank and I work as a freelance animator in the independent animation scene.

Screenshot of a scene done on paper by Hanna Abi-Hanna and Sherrie H. Sinclair.

An edited version will be featured in the Academy of Art University Newspaper with a release date of December 4, 2017.

Bardel is currently recruiting for talented 2D Harmony Animators

Location: Vancouver, British Columbia, Canada

Department: Creative – 2D

Type: Contracted

Min. Experience: Entry Level

Bardel is currently recruiting for talented 2D Harmony Animators to work collaboratively with our Emmy award winning studio team. Working with one of our prominent clients, such as Cartoon Network, Disney, Starburns, and Warner Bros, this person will be working under the direction of the Lead Animator/Director and production team. Animators will create high quality character animation while simultaneously meeting TV Animation production deadlines.

What you will be doing:

  • Bring characters to life with motion and emotion using a broad range of 2D animation abilities
  • Work with colleagues and supervisors to identify and solve problems, both technically and artistically
  • Actively participate in team/department meetings
  • Mentor entry-level artists by providing them with support, guidance and instruction in areas that provide for their artistic and professional growth

What you bring with you:

  • 1+ years of TV / Film animation production experience
  • Diploma or relevant post-secondary education an asset
  • Strong understanding of traditional 2D animation principles
  • Experience working with Toon Boom Harmony required; Flash or Maya knowledge is advantageous
  • Demonstrated ability to work effectively in a fast-paced, high-volume, team-based setting
  • Strong verbal/written communication skills (English)

Extra points if you have:

  • Experience in a digital build-based animation setting, visual arts and life drawing with a solid grasp of movement and form
  • Advanced technical computer animation knowledge such as dynamics, scripting and tools
  • Experience with acting, live action or staging
  • Recognized higher education qualification in animation, film or a related field

Why work at Bardel?

We’ve got great people, and for good reasons! Bardel offers work on exciting high-profile projects, a generous compensation/benefits package, and a fantastic company culture fueled by career development and artistic skill enhancement. Every day you will collaborate with other influential, career-minded, creative professionals from around the world.

What we want to see in your application:  

Tell us why YOU are the person for the position and how you meet the position’s criteria. Forward us your current resume and samples of your work (eg. a link to your website or reel – don’t hesitate to show off a little!).

How to apply:

Please visit our website at  to apply.

Click here for more details.