I’ve been a reader of this magazine since issue 50. It always inspired me while I was studying animation. Now that I’m working professionally as a digital animator, I particularly enjoy your issues that focus more on the animation industry. Issues 113 and 124 have been some of my favourites thus far, because the insight into other professionals reminds me that no matter how tough the job can be at times, I’m always grateful that I get to explore such a stylistically open realm, such as animation. The constant boost in enthusiasm is always welcome, so I can make the most of my experiences. Mark Kilkelly, Ireland. Beren replies It’s great to get this specific positive feedback from readers. We have loads of fun putting together each issue, but it’s important to remember what our readers get excited about. Animation is one of those industries where there’s a wealth of transferable skills, so whether you’re a storyboarder, illustrator or comic artist, the advice from animation artists is invaluable. We’re also looking to make more animation issues, so hopefully you’ll stay enthused and inspired for issues to come!
As a fledgling illustrator fresh out of art school and wanting to do both traditional and digital art, Donglu Yu’s approach has helped me view photobashing in a new light. Wanting to paint things from scratch and use reference as a guide, photobashing had always conjured up a bad taste for me. But Donglu’s approach in issue 124, with her wanting to paint slightly over the photos to make everything retain a painterly feel, puts my over-thinking mind at ease. I’m mostly a traditional artist with a strength for characters, but this will make my selftaught digital training a breeze. Izzy Reza, via email
Here’s an example of Mark’s work for Disney’s Wander over Yonder.