Hello Reader 👋

This week, something finally clicked.

Ever since I started writing this newsletter—or even writing content on LinkedIn—I thought, one day, I have to talk about music and animation.

Because for people who know me, music was my first love.

I’ve been playing guitar for 37 years now, and honestly, everything I’ve built—yes, even Animator NOW—was, in some way, about finding space for more music in my life.

But I never found the right angle to connect the dots… until this week.

I’m still in Bali, surrounded by coconut trees and curious little geckos, and while chatting with a traveling guitarist from New Zealand, something hit me. I told him:

And that’s exactly how I feel about animation.

I started as an animator, obsessed with every frame and key pose. But over time, I wanted to go wider: to tell stories, to make films, to build worlds. And today, I just wrapped up my second short film for a client—not my own story, just a simple children’s tale—but with complete creative freedom. That freedom to make mistakes, to try, to fail, and to learn? That’s gold.

It’s why so many animators become directors. Brad Bird. Pete Docter. Andrew Stanton. Because once you learn to think like an animator, you see the whole picture differently.

And this week, I stumbled on something that honestly shook me—a LinkedIn post from a production designer literally calling for work, saying he needed help to pay his rent and to buy food.

Not promoting his portfolio, not showcasing his creativity. Just calling for help.

I don’t want to see that in our industry—not for animators, not for artists, not for anyone. No one should have to beg online just to survive.

I don’t have a magic fix, but I do believe in finding new angles, in reinventing yourself, in creating new opportunities instead of hitting your head against the same wall. That’s what I want Animator NOW to be about—not just teaching animation, but helping people build careers and independence so they never have to make a post like that.

Because there’s always another way to play the music. 🎸

Now, on to this week’s issue 🌴😊

This week, I want to bring you a quiet, emotional gem: The Stained Club.
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It’s a beautifully crafted CG short by a team of five talented directors – Mélanie Lopez, Simon Boucachard, Alice Jaunet, Chan Stéphie Peang, and Béatrice Blue.

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The film was created during their time at Supinfocom Rubika, one of Europe’s top animation schools, and it’s been showcased at numerous festivals worldwide, picking up awards for both its storytelling and art direction.

The story follows Lucas, a boy covered in mysterious stains who discovers a group of kids just like him. As a shy, introverted kid myself when I was young, I deeply connected with characters like Lucas. Those stains feel like a metaphor for being different from everyone else – whatever our personal “stains” might be. And even now, as an adult, I’m deeply aware of the scar tissue those experiences left on me, growing up feeling like the outcast kid.

Lucas’ design immediately caught my attention too – especially those big black eyes, which instantly reminded me of Gorillaz characters. It’s a subtle but brilliant design choice that gives him both innocence and edge, perfectly fitting the story’s tone.

Visually, the film is stunning: painterly textures and soft lighting that give the CG world a warm, tactile feeling, paired with expressive character animation that says more in a glance than in any line of dialogue. The design choices lean heavily into emotion: soft, rounded forms, muted colors carrying a quiet melancholy, and subtle acting choices that make you feel the weight of every moment.

The Stained Club is the kind of short that stays with you, not because it’s loud or flashy, but because it’s honest and deeply human.

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