Toon Goggles Takes on ‘The Mojicons’

Ink global announces that the quirky animated series starring the emoji that grace our email and text messages will stream on global platform Toon Goggles.

Ink Global has announced that quirky new animated series The Mojicons is coming to global on-demand streaming platform Toon Goggles. Ink Global represents The Mojicons (26 x 11 min.) worldwide.

The Mojicons is a 3D series that reveals the behind-the-scenes world of the internet inhabited by the Mojicons — the emoji that grace our emails and text messages. When a mysterious digital villain steals the “@” symbol, all electronic correspondence grinds to a halt.

The Mojicons must undertake an awe-inspiring and dangerous quest to restore their system. Their mission is complicated by the fact that the zany bunch of condensed emotions are clueless about how the web works. Along their adventure, the internet reveals its secrets to the Mojicons and their audience.

The deal with Toon Goggles adds to the show’s global presence, with digital platforms and broadcasters across Greece, Turkey, MENA, Southeast Asia, Portugal and Israel.

“As soon as I saw The Mojicons, I knew it would be perfect fit for Toon Goggles,” said Toon Goggles CCO Lee Adams. “It’s bright, fresh, funny and incredibly original, so I’m sure our millions of viewers will love it as well!”

“Toon Goggles is a fantastic platform and full of great entertainment for kids — so we are delighted to have signed this agreement,” Ink Global Director Claus Tømming said. “It represents another step forward for what is becoming a very popular global show.”

Source: Ink Global

Expert Speaks: Acting vs Animation

Whenever Stanchfield mentions about acting in animation, he would talk about getting sensitive to the gesture.

By this he means to be able to first see and feel the motivation behind the pose.
Nicolaides calls it the inner impulse behind the pose and provides excellent exercises to make you capable of touching the gesture (inner impulse) and then develop the pose/s onto it.

Some frames from Brave –


In the world’s most popular acting methodologies developed by Stanislavsky, the key teaching is to be able to generate the inner motivation (current) in reality by the actor on stage (using methods like affective memory), same or similar to the one needed by the character being played on stage.
“ our art you must live the part every moment that you are playing it, and every time.” – Stanislavsky

Some frames from Black Swan-



ACTING is asking you to generate that motivation (current) in reality and let your mind and body respond to it on stage. ANIMATION is asking you to be sensitive to the gesture so you are able to touch and be one with the inner motivation of the animated character, so you are able to create series of gestures most apt for those inner impulses.

Good ACTORS are able to portray very subtle and intricate inner motivation. In ANIMATION it takes lot of effort and is bit difficult to achieve this intricacy.

In ACTING, good actors are able to create intense and pure inner motivation (current), matching the character at that moment of story, BUT its very difficult to keep out trace of mannerism of the actor himself. Same character played by two renowned good actors, one can make out which actor is playing it, even if the face and voice is modulated.

In ANIMATION, since the person is not using his own body, its bit easy to keep one’s mannerism out while generating gestures matching the inner impulses of the established character at that moment of story.

One thing stands large that in both the artforms, its not the outer look and form that is prime, its the inner impulse, motivation, current that communicates, tells the story.

Without this prime factor any system or artform can become “..theatrical claptrap..” – Stanislavsky

This is what happened to the Delsarte system of expression.

“it led others into stereotyped and melodramatic gesticulation, devoid of the very heart that Delsarte had sought to restore.”, Wangh

New Season of One Animation’s ‘Oddbods’ Goes into Production

Turner picks up in-production third season of ‘Oddbods’ for Cartoon Network and Boomerang (Latin America) and Boomerang (EMEA).

One Animation has announced that the third season of its award-winning, kids’ CG animated comedy Oddbods has gone into production. The new season of 60 seven-minute episodes was greenlit earlier this year and has since been picked up by broadcast partners, including Turner for Cartoon Network and Boomerang in Latin America, and Boomerang across EMEA.

The studio also revealed new broadcast deals for the previous long-form season, including Nickelodeon (Benelux), SVT (Sweden) and Carousel (Russia). Netflix began its global rollout to audiences in the US, Australia and New Zealand in April.

Oddbods follows the crazy antics of seven hilarious characters: Zee, Fuse, Bubbles, Slick, Pogo, Jeff and Newt, and has amassed a loyal online following with a cumulative 1.5 billion views, and tens of thousands of fans on social media.

Sashim Parmanand, CEO of One Animation, said: “Oddbods has a strong fan base spanning not only kids but also teens, young adults and parents. Our broadcast partners are reporting strong viewing figures, and we’ve seen phenomenal growth from our social media following over the last 12 months. Both of which reflect the change in viewing habits — increasingly audiences want to engage across multiple platforms whether it’s a TV or a mobile phone.”

One Animation is based in Singapore. This will be the second long-form Oddbods season and third season overall, including the short-form first season.

Source: One Animation