How Do I Sign Up for an Online Workshop?

Check out the link below for “How To” videos to help you sign up for ONLINE workshops!

Traditional Animation with Cuphead Lead Animator Hanna Abi-Hanna

Date: Sat, Apr 6 | 10:30am–12:30pm

Cost: $65 non-members | $55 members
Note: This workshop is for students ages 13 & up

Location: Walt Disney Family Museum

Characters in the cartoons of the 1930s featured a distinctive aesthetic, often with pie-cut eyes and rubber hose limbs. Several of Walt Disney’s early projects played with the whimsical nature of the era’s animation style, showcased in short films such as those starring Mickey Mouse and those in the Silly Symphonies series (1929–39). When creating the game Cuphead (2017), Studio MDHR drew inspiration from these 1930s Disney cartoons as well as Fleischer Studios creations, which not only harnessed the iconic style but also pushed its limits. In Gallery 3, see examples of Disney shorts and then come learn about the stylistic quirks of animation from this era in our unique workshop taught by Studio MDHR and Cuphead lead animator, Hanna Abi-Hanna, to create your own 1930s-style hand-drawn looping animation. 

Hanna Abi-Hanna is an Annie Award-winning character animator based in Oakland, California. Originally from Lebanon, he moved to San Francisco in 2004 to pursue an MFA in traditional animation from the Academy of Art University, and has since worked independently with clients across film, television, and video games.

He has contributed his work to a variety of animation studios including Titmouse, Duncan Studio, Disney, and Ghostbot. In 2014, he joined the team at Studio MDHR as a Lead Animator on the 1930s-inspired video game, Cuphead. Most recently, he worked on the hand-drawn animated sequences in Disney’s Mary Poppins Returns (2018). He is currently back with Studio MDHR working on additional content for Cuphead and other studio projects. 

For ticket info, click here.

An Animation Analysis Of ‘Spider-Verse’ By Animator Jean-Denis Haas

From Cartoon Brew: Click here for the article and video.

In anticipation of that release, Jean-Denis Haas, a senior lead animator at Industrial Light & Magic as well as an instructor at Animation Mentor, released a terrific video yesterday where he talks about his appreciation of the film’s animation using clips that have already been posted online:

Haas’ half-hour breakdown helps to explain what sets apart the performances in Spider-Verse from other animated films. Much of the praise for the film thus far has centered around the film’s boundary-pushing visual style, but after you watch this video, you’ll most definitely have a new appreciation for the animation performances as well.

There are two areas in particular that Haas focuses his analysis. The first is the interaction of the characters with props and clothing. In Spider-Verse, props and clothing are not just cg elements placed into scenes and onto characters, but they play a role in the storytelling. How Miles takes off his backpack or how he puts his hands into his hoodie are specific creative decisions that add layers of complexity and nuance to his performance, and help to create the feeling of a lived-in world, which is extremely difficult to pull off in cg.

The second key observation by Haas centers on the framing of action. One of the old-fashioned holdovers from the classic days of animation is that all acting needs to be clearly staged and visible to the audience. But that’s not how the real world works though and it’s not how acting works. The Spider-Verse filmmakers understood this and attempted to create a more cinematic approach to framing and staging where not every gesture and movement is played to the audience.

An example of this highlighted by Haas is when Miles steps out of his dad’s car, and closes the door of the car with his foot. It’s something I never even noticed when I saw the film, and that’s because you never actually see his foot closing the door. While the foot is offscreen, the shifting weight of Miles’ body and the closing door make it clear what’s happening.

That type of attention to detail, having Miles do things as a teenager would without drawing blatant attention to the behavior, almost never happens in animation. And even if audiences don’t pick up on every moment, the overall effect was certainly felt by audiences.

ASIFA-Hollywood’s Animation Educators Forum’s Annual Scholarship Program

ASIFA-Hollywood’s Animation Educators Forum’s annual scholarship program is now accepting applications. This is an international opportunity, assisting students in completing their education in accredited college-level animation programs, applications are accepted from students entering their year or above and from graduate students. Awards range from $2,500 to $5,000 and may be applied to tuition, books supplies, animation equipment, formal academic research and senior or graduate thesis production.

2019 Submissions begin on February 15 and end at 11:59 PM PST on May 1. To apply, go to http://scho

For more details, please visit the AEF scholarships page:

Spring 2019 ANM Online Director Town Hall Chat

Wednesday, February 27th @ 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

PIXAR SPARKSHORTS: “Kitbull” by former AAU student, Rosana Sullivan

Spring Show 2019 Submission Guidelines

Check out the submission guidelines here.

Spring 2019 Onsite Town Hall Meeting

BlueSky is coming on February 21st!

Annecy International Animation Film Festival- Deadline February 15

The Annecy International Animation Film Festival is a competition between cartoon films of various techniques (animated drawings, cut-out papers, modelling clay, etc.) classified in various categories including feature films, short films, films produced for television and advertising or the internet and student films. It’s free to enter.

Deadline is February 15.
Here is the link on how to submit:.