What I’ve often found particularly helpful when it comes to Toon Boom is the ease of which it can slip into production pipelines that incorporate outside software for asset creation and post-production. Its ease of workflow, naturalistic line/brush tools and largely intuitive workspace made it clear that it was an ideal option for generating content quickly and effectively, regardless of scale or scope of a project. Beginning with a largely hand-drawn short back in 2010, simply using an earlier incarnation of Toon Boom for the digital inking and painting of the scanned art proved a revelation. While commissioned projects often have their own pipelines and softwares specified, for personal work Toon Boom has ranked particularly high for me in the last five years or so, starting around the time I finally embraced my Cintiq and (semi) retired my lightbox. As the subject of independent animation, both from an audience and creator’s perspective, is clearly close to my heart, the impulse to create personal work will always be with me. As some may already know, alongside my role as Managing Director here at Skwigly I am most often entrenched in the world of 2D animation and motion graphics, alternately as a freelancer and, when resources and circumstances allow, an independent director of auteur short films.

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