Enjoy the Funny and Cute Animated Famous Cartoon Characters

We all must have fought to watch our favorite cartoon shows and enjoy the funny and cute animated cartoon characters. Today when Hollywood and superstars stature is phenomenal, fictional carton characters too have achieved name, fame and popularity. Various TV channels, programs and films are made on Cartoon characters. They have the long list of kids fan following.
Some of the most widely popular characters, loved by everyone are-

Mickey Mouse:

Mickey Mouse is an iconic Academy Award-winning comic animal cartoon character. He was created in on November 18, 1928 by the Walt Disney. Mickey is the most famous character. And he has appeared in animated cartoons, comic strips, films, toys, clothes and games along with his love interest Minnie.

Donald Duck:

Donald Duck is an animated comic-book character from Walt Disney Productions. Donald appearance is a white duck with yellow-orange bill, legs, and feet. He often wear
sailor shirt, cap, and a red or black bowtie. The main reason behind the Donald's rise to stardom is attributed to his most identifiable voices in all of animation.

Tom and Jerry:

We have all grown up watching the cat-mouse fight between Tom and Jerry. They are an Academy Award-winning animated cat (Tom) and mouse (Jerry). Tom and Jerry is the collaboration that is created, written and directed by animators William Hanna and Joseph Barbera. Hundreds of animations series of Tom and Jerry cartoons were produced by the Metro-Goldwyn-Mayer cartoon studio in Hollywood that were likes and praised by everyone.

Tweety:

Tweety Bird is popularly known also known as Tweety Pie or simply Tweety. It is an Academy Award-winning fictional character in the Warner Bros. Tweety's popularity rose high like that of The Tasmanian Devil, following the dissolution of the Looney Tunes cartoons. Today, Tweety is counted, along with Taz and Bugs Bunny, among the most popular of the Looney Tunes characters. Tweety is a yellow colored small bird and instead widespread speculation that Tweety was female; it is always a male character. He is by everyone for his cute appearance.

Garfield:

Garfield is a comic strip created by Jim Davis featuring Garfield the cat. The popularity of the strip led to an animated television series and films On Garfield including a large amount of merchandise.

Superman:

Superman is a superhuman fictional character. He is regarded as the most influential and popular superhero of DC Comics. Superman was created by the Canadian-born artist Joe Shuster and American writer Jerry Siegel in 1932 and was sold to the Detective Comics, Inc. in 1938. The Superman first appeared in the Action Comics. Later it appeared in various radio serials, television programs, newspaper strips, and video games. A series of big budgeted Superman movies have been made by the Hollywood giants.

Amberi is an experienced education and entertainments consultant who has been in the industry for quite a few years. Working as a consultant, he also has written a number of articles on entertainments.

Learn How to Create Animated Cartoons!

Creating an animated cartoon seems like a pretty overwhelming endeavour, doesn't it?  Well, you may be surprised to hear that it's not really all that hard.  With the nature of the internet these days, internet cartoons are a dime a dozen and many artists can create them in less than a week if they're motivated enough.  You also have options for there are several pieces of software out there that can help you in creating cartoons.  Most of these softwares have 30 day free trials for you to download and experiment with, so you never have to take a gamble and spend a bunch of money on a piece of software you may or may not like.

In my opinion, out of all the software out there, I have found Adobe Flash to be the best option.  You can do almost anything in it, from animating cartoons to creating interactive media.  With Flash, while your skills evolve, the software is expansive and robust enough to never feel limited.  Other softwares, like Anime Studio, while good for animation, aren't good for much else past that.  And now with the new version of Adobe Flash, its animation tools meet and in many cases succeed that of rival softwares.

Okay, so you've tried out some animation softwares and found something that works for you.  What now?  How do you get started in making these cartoons?  The good news is with places like YouTube and Google Video being so popular, you can find some great video tutorials on how to draw, animate and much more.  Video tutorials are great for stuff like this because you can follow along with the lesson, pause the video, rewind it if you missed something, or replay it entirely if you need to watch it again.  And if you want to really get into some elaborate lessons, many sites out there offer them at modest fees.  Google is your friend, use it and use it often.  If you have a question on the software you are using, just type that question into Google and you're bound to find a solution to your problem.

I can tell you I have learned a lot from watching tutorials, both paid and free versions.  I now create cartoons and Flash media for a living.  With a little motivation and some creativity, you'll be on your way to making cartoons for the world to enjoy.

Animation Training Choices - Self Taught Versus School Taught

With all of the how-to programs, software and recording devices it seems as if you really don't need to go to enroll in an animation school to produce things creative. The immediate gratification of creating a segment and uploading it to a distribution network, whether it is a personal site or a community site, is certainly tempting and the focus of many aspiring artists, animators and filmmakers.

When you look at animation and creative works in general you can spot the difference in the styles and quality of the piece generated by a person who has learned everything on their own as opposed to someone who has gone through a training or school system.

The differences between the two creative paths have to do with the age old argument of commercial versus noncommercial. Animation is no different and if anything even more contentious. If you do want to get into an animation or visual arts school you usually need to have been through some other arts classes or submit a portfolio. Hence there is already the element of being self taught. How else would you know if you really enjoyed the medium without trying it out?

A self-taught animator may express fears of getting corrupted by the system or selling out their creativity after having worked with an arts group and having had some personal creative success. Sometimes this attitude is a response to the stigma that the works are not taken as seriously thus being considered a mere "hobby". There is validity to being on your own journey of discovery however it may take a much longer time to access and understand the knowledge and equipment.

Generally if an animator is self taught, there is a tendency to be imitative in terms of character design, scene structure and color palette, usually derived from a favorite comic book or animation genre. It is understood you have to start somewhere and although imitation is the sincerest form of flattery, it can hold you back from developing a personal creative style. The other setback is that the lack of networking may reduce your ability to reach the audience you had hoped. More often than not, truly dedicated animators will outgrow these early stages, overcome these obstacles and create something truly phenomenal and develop a grass roots and festival following.

A school taught animator usually displays more solid character design, character movement, scene composition and structure as well as strong and appropriate color palette choices. A well run animation or visual arts school can provide a time limited framework for the creative process that encompasses scheduling, budgeting time and creative and post-production resources. Usually you have the opportunity to learn and work with professional equipment. Curricular exposure to other disciplines within the animation field allows you to find your creative niche within the production, collaborative and commercial system.

Another important feature of attending an animation or visual arts school is the sense of community and the mentorship of teachers who usually are animators who actually worked on various animation projects from personal to commercial to feature length. It offers the opportunity to get to know peers and be able to exchange ideas and techniques. Exposure to and embracing other techniques and styles helps with getting actual jobs in animation, since a client or studio may want their particular style of character to be animated. Getting paid to help on another project can mean funding for your personal project in the future. These are all foundations for future creative and career opportunities that a self taught animator might not have the focused opportunity to participate in.

Going to an animation or visual arts school does not mean giving up your creative soul. What is important is to acquire the tools to actually create the animated vision you have in your head. The time should be used to open yourself up to trying new skills, making career connections and really develop your own creative identity. More skills mean having more tools to break through creative challenges and allowing you the ability to become a valued and sought after member who can contribute to other collaborative projects.

One important tip to remember is that even if you attend an animation or visual arts school, it does not guarantee a position in an animation studio. What could get you in the door could be that demo reel which ironically may have been the piece you used to get into the animation school in the first place. The best thing about going to a school is that it is a great opportunity to create a professional looking demo reel and portfolio to use to get the job or that funding to produce your "next big thing". Decision makers don't want to be told about your talent, they need to see your talent.

In summary, being self taught allows you to learn on your own schedule and on your own terms. The negatives are that you could miss out on getting those helpful pointers that give your animation style that extra crispness, visual improvement and you may be isolated from valuable networking opportunities for your craft. The problems with attending an animation or visual arts school include the cost, bowing to scheduling and time constraints and the big ego challenge of having someone criticize your animation which you thought was perfect. It is important to keep the big picture in mind. Whatever the goal, whatever the path; be open to learning and exploring your style. It is crucial to stay in touch with the creative community and most of all to enjoy making and sharing your animated film talents with others.

Picking the Right 3D Animation Studio to Work With

Picking the right animation company for your project will determine the success and failure of your marketing effort! So...how do you ensure you are picking the right one? The following is my honest advice regarding this subject matter:

1. Let me first start by saying that some companies excel at certain genres and other companies at other genres. There are some - like mine - which specializes mainly in animated commercials, broadcast animation for documentaries, medical visualization, character design and architectural visualization. There are companies who specialize solely in special effects or architectural visualization work. The very first thing you do is to ensure that you find a company that best fits what you want to do. Find a company that has an extensive portfolio or one that has done something similar to what you have in mind. The first ensures an experienced company and the second gives you the confidence that they have done something similar before and can probably deliver the same to you.

2. Make sure that the company is using more in-house staff than freelancers. Many freelancers are unreliable and may disappear when the going gets tough. Ultimately the company is responsible for their conduct, but you would have wasted your time and perhaps missed a good opportunity to impress with your presentation or marketing campaign. So you stand to lose out even if you don't have to pay for the project ultimately.

3. Ask for milestones and deliverables. Understand what the company's pipeline is like. Any animation companies worth their salt would be able to tell you a pipeline and milestone delivery that sounds logical and reasonable. Click here if you missed my section on Working with an Animation Company to find out more.

4. Find a company that responds fast to emails and phone calls. If the company takes a long time to return mails and calls, chances are they are either too busy to respond, can't be bothered to respond or too disorganized to respond. Either way you should move on and look for the next vendor.

5. Find a company that has project managers or account managers in place. You want to speak to speak to marketing people who understand your marketing needs and not animators who think about cool special effects and nice animation.

6. After giving concise background information of your company and what you want to achieve, see how fast and pro-active the company is in coming back with a proposed solution and a quotation. See if the quotation makes sense and that the company can account for each of the service listed.

7. I would not advise going around for quotations because quite honestly every animation company may charge differently according to their staff strength, reputation, portfolios, whether they are using freelancers or perm staff, standard of work, etc. There are too many variables and it is akin to comparing the prices of cars of different makes. It won't be fair in this respect. Try to go for whichever company can possibly deliver what you need within your budget.

8. Lastly, always work with a company you feel comfortable with. Go with your gut feeling. If you don't feel good about the company, it means you don't have chemistry with the people there and chances are you won't enjoy the working relationship. This will affect the end product.

a creative businessman who is active in music composing and production, internet marketing, casual games production, animation production, cartoon production and character licensing. His 3d animation studio - Mediafreaks - is focused on producing high-end animation work for documentary producers, advertising houses and cartoon animated series - with projects ranging from the animation of dinosaurs to the visualization of natural disasters and something as chic as 3d jewelry animations or as intricate as 3d medical animation.

Japanese Manga Art Drawing Animation Comics

While Marvel comics shows off its American appeal all across the globe, Manga is easily gaining popularity within the United States. Today's Manga has been enjoyed by the Japanese culture for over half a century and its popularity in Japan covers all generations. Manga is a Japanese word for a style of comics that illustrates a certain cinema technique with continuous action, great story lines and characters within the story that have wonderful expressions. In America culture, comics sales are aimed to a certain age group of youngsters while Japanese Manga is aimed at every age group, young and old.

Today's Manga has its own style of artwork and they particularly have their own style of drawing faces, foreheads, chins, noses, eyes and expressions. You read Manga story books opposite of how English reading countries do. You start reading from the back of the book and you read each page from right to left. Manga is a storytelling style that is also artistic in the way it is done. Great works of art have been published using Manga style techniques and are highly prized in Japanese culture.

The differences with the Japanese style Manga and American comics is in each American comic volume, each comic has its own separate plot. The Manga style will all follow the same plot throughout the life of the Manga volumes. This is why Manga books is sometimes thought of as a graphic novel. Many of the Japanese culture Manga books inner pages are illustrated in black and white drawings and also each volume is serialized within a bound book. In Japan, Manga is either read as a serialized ongoing monthly volume or as a put together novel in a book length completed series as a graphic novel. In the United States today, comics are not respected too much as art or literature. In Japan, Manga is a much respected form of art and literature. Since Manga is well respected in Japan, many of the series find their way into television shows and movies.

With Manga being the ideal media venue to the Japanese culture, it is easier to tell a story about anything you want to your readers. This makes it easy to describe complicated descriptions that matter in a story. Using Manga as a tool to deliver a message as a story is really helping companies realize the power of Manga. If you took the whole years complete sales of American comics against Japanese Manga, the Manga beats out sales of the comics in only 1 weeks time. That is the power of Manga literature. Manga has a reach to all people young to old and in every walk of life.

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The Future of 3D Animation - The Virtual World on Steroids and Life As Simulator

The future of animation is nearly upon us, where you become your own avatar in a virtual world, interacting with characters and becoming one yourself. Let me explain, a few years backy I met an interesting Gentleman at a Coffee Shop, Robert V. Ries, was his name. Bob expressed to me that he felt our life experience was nothing more than a really good simulator which put us into organic bodies to experience the Earthlings Realm and to test our will and strength of character in a variety of situations.

He went on to say that we were interacting with many other is the same simulator. We talked for hours and his theories seemed somewhat far-fetched, although he did go into a long scientific explanation of how this might work. He explained our advancement of Artificial Intelligence, Simulation, Electronic Gaming, as well as modern day movies such as Vanilla Sky, The Matrix and Fight Club. We discussed the Department of Defense's Net-Centric Battlespaces where your targets came up in augmented reality and how your night vision and eye-tracking systems became human brain-mind-eye interfaces with the silicon world in a 4D world where you could see below, beyond and 360 degrees.

He explained paradigms of time, space and mind. Additionally I brought up other concepts which assisted the conversation; concepts of NASA's ten screen Air Traffic Control Simulators, Sci-Fi writer Ben Bova's insights on the future of Mars and space for entertainment tourism, Bill Gate's investment in Six Flags Magic Mountain and DARPA's research with mapping of a human life studying the experiences, emails, movies, conversations and events from birth to death.

The discussion in fact went through all the technologies of simulation from truck driving to first responders. It became apparent to me that even if the life experience was not a simulator, well with the rapidly approaching technology, it certainly could be. We also discussed issues of one in a state of animation where their bodies did not move but they remained in the life simulation event, which they had chosen, and their bodies were flipped over and biometrically watched as to prevent entropy; similar to the movie Coma.

We decided that perhaps it would not be such a bad life as you could chose your dream or simulation, rather than facing a reality. Another thought came out of the conversation which is intriguing and that is the use of a human collective of minds of those who were currently in their simulator. Since many parts of the brain would not be used they would be hooked together at a quantum level to work on problems and being fully exercised while the other parts of the brain were fully engaged in the simulator. In fact we determined by lengthening the dreamtime of the participant we could extend their life by ten fold and still borrow some of their brain capacity while idling the body.

We further surmised that we could use brain in the simulator during their pretend dream times and take them down to 1-5 Hz frequency for super immune healing of the body, blood filtration cleaning and ion-therapy. Meanwhile while operating at such low frequencies the mind would be straddling what we perceive as time. We could then send others into the simulator for brief visits to ask questions of the participant to see how their life simulator was progressing, interact with them and then report back the findings and possible futures that their brains had picked up on.

When the person woke up they would feel younger, be in perfect health, be many years forward in their actual life and then return to society free from psychological issues, health issues and in the future. But who would volunteer for this? Rather who might pay for this. Our thoughts were anyone dying of a disease, anyone who could not cope, anyone who felt that they were living in the wrong time period or anyone who really wanted to experience an extreme in life. Extreme pleasure, adversity or challenge seekers would be worthy candidates, also it would be great for offenders of society or prison rehabilitation as they would be donating brain capacity to the collective for important projects, learn a new lesson, be cured of their disruptive behavior and so on.

Anime - The Popular Animated Japanese Art And Artists

Starting in the early 1960s, anime has blossomed into one of the most popular forms of entertainment in the world. Originating in Japan as comic books and magazines, and going on to animated forms, the series of incredible stories developed with various characters, their life and growth have attracted fans around the entire planet, both young and old.

Anime is, of course, an abbreviation of the word "animation." There are a wide variety of artistic styles in anime because it depends on the specific style of the artist or studio and what they create in their own imagination. In many series, the characters have large, round eyes and big hair but this isn't always the case.

All animation must first be hand-drawn by the artist, and these artists have mostly also done comic renditions for comic books and started out with that as their goal. This then expanded into the animation sector, and was often assisted by other animators in studios, sometime using computer techniques. The procedure of turning drawn cartoons into animation is a long and complicated one but fulfilling for both the artist and eventual viewer.

Early on, the Japanese film industry solved the problem of low budgets and other restrictions by making their movies from the characters in the early comic books. The artist could have free reign to create whatever kind of characters they wanted. Since Japanese anime usually emphasizes backgrounds for atmosphere, any scene whatsoever was possible, from the big city, nature, to different countries around the globe and even outer space settings. Thus any story line could be complimented by the illustration coming from the artist's free creativity. Any sort of action and activity was feasible, from wild fights, to whole cities blowing up. The possibilities were endless.

The artists of these characters and story lines often took part in the animation process, sometimes devoting literally years to creating the series. The anime went on to become television broadcasts and occasionally full-length movies.

One of the most popular anime series is called Inuyasha, a feudal fairy tale. Rumko Takahashi, a Japanese manga (comic book) artist, developed the tale originally. Her incredible talents led her to become the best selling female comic artist in history. Studios adapted her comic illustrations to the screen, and now there are currently about 167 episodes of Inuyasha on DVD for all to enjoy. It is still an on-going plot and thus fans can continue to enjoy Inuyasha far into the future.

DragonBall, another extremely popular series, was created by Akira Toriyama who spent over 11 years producing hundreds of episodes. Over 160,000 people a month search for DragonBall Z on the main search engines, and it is likely growing by the day.

Credit must be given to the Japanese culture for producing such original and thoroughly enjoyable entertainment for all ages. It has competed with the American cartoon industry that has mostly concentrated on the children of our culture, but now competes with the animated movies becoming more and more popular in present day.