This article was written for the April ’25 issue of Animation Magazine (No. 349).

Every year, we spotlight a group of up-and-coming animation professionals who have made big strides in their careers and have exciting projects in the upcoming months. This year is no exception. The 15 brilliant toon pros profiled in this section are but a handful of our industry’s amazing talents, and we are honored to cast a light on their achievements in the following pages. We’re excited to follow their careers as they continue to raise the bar on both the small and big screens in the years to come.

Nicolle Castro

Lead Story Artist, Elio (Pixar Animation Studios, Disney)

Birthplace: Philippines
I knew I wanted to work in animation when: As a kid, I loved watching behind-the-scenes footage you find on DVDs of animated films, and the pencil tests done by James Baxter and Glen Keane in Beauty and the Beast was the Cupid’s arrow that made me fall in love with animation. I was so captivated by the sincerity of their drawings and how they moved with much vigor and character. And I told myself that I wanted to do that one day.
First job in animation: When I was a student at San Jose State University, my 3D animation professor forwarded an email from Tonko House about an internship opportunity as a 2D cleanup artist for a series that they were working on. Being a huge fan of the artists working there, I was motivated enough to polish up my portfolio and submit my application. Shortly after, I got the job!
What I love about my job: The people that I collaborated with! I was fortunate to have worked with a group of incredibly talented, funny, kind and passionate artists who have so much persistence and drive to make the film better. Working on this movie reminded me how important it is to make connections, and because of that, I was able to make good friends along the way.
Toughest part of the job: The biggest challenge for me is maintaining a good work-life balance to prevent burnout. Early in my career, I felt I had a lot to prove, so I would constantly give all my effort into every assignment I was given, which at times led me to disregard my own physical and mental health. But over the years, I learned how to set boundaries and to prioritize breaks when I needed them.
Favorite toons: Sailor Moon, The Powerpuff Girls, Lilo & Stitch, Hercules, Mulan, Kiki’s Delivery Service, Spirited Away, Hey Arnold!
Best advice: I think my biggest advice to aspiring artists is to live life. I know that we want to draw, draw, draw all day long — but it’s important to experience life, because that’s essentially how you will be able to imbue your stories with truth, originality and perspective. Travel to another country, join a club, learn a new skill and do something out of your comfort zone, make new friends and so on! Some of the best stories come from stories of our own.
Future plans: I want to continue working on upcoming projects here at the studio and maybe help on other creative projects outside as well.

Joyce Colson

Production Designer, Lucy Lost (Xilam)

Age: 40
Birthplace: Lyon, France
I knew I wanted to work in animation when: When I first started work 20 years ago, it was for the animated series Shuriken School at Xilam’s studio. I didn’t know anything about animation then, but the working atmosphere in the studio was so great that it just made me want to carry on this activity!
First job in animation: Xilam was looking for a line and color background artist for Shuriken School, so I just sent my artist’s book of illustrations, and they decided to bring me on board.
What I love about my job: Being a production designer is different to my previous work in animation — before I was mostly focusing on background illustration, but now I have to get a more rounded vision of the animation, and I have more meetings and exchanges with the team on this.
Toughest part of the job: This job requires good time management!
Favorite toons: I remember watching with my parents The Snow Queen (1957), a Russian animated feature film directed by Lev Atamanov. I loved the design!
Best advice: Never stop drawing and love teamwork.
Future plans: I’m looking forward to continuing to combine my two passions — working in an animation studio and carrying on my children’s illustrations that originally sparked my love for drawing.

Alison Dubois 

Art Director, Long Story Short (ShadowMachine, Netflix)

Age: 37
School: Rhode Island School of Design
I knew I wanted to work in animation when: I was late to the game and kind of fell into the industry! I was active in the indie comics scene during and after college, and a lot of my peers started working in animated TV around that time. Many of the same things I love about comics carry over into animation, so it felt like a natural evolution.
First job in animation: I moved to San Francisco and took a paint test for a Henry Selick stop-motion film. I worked there for a year in puppet fabrication before the project was unfortunately shut down. I really appreciate the tactility of stop motion.
What I love about my job: I love working on the first season of a show and helping develop the look and feel of our world. Collaborating with our strong design team has been hugely rewarding. It’s been an absolute joy seeing everyone put their own spin, style and personal touches in their work.
Toughest part of the job: I have aphantasia, so it can be a challenge for me to give artistic direction verbally if I haven’t yet had a chance to noodle around on my Cintiq first and work things out visually. I need to draw to think.
Favorite toons: For a year or two as a young child, I watched Fantasia every day when I went down for my nap. I was also a big Nickelodeon kid — Rugrats, Aaahh!!! Real Monsters, Rocko’s Modern Life, SpongeBob SquarePants.
Best advice: When I review portfolios, I’m always most interested in an artist’s personal work. What interests and inspires you? What’s your point of view? What unique perspective can you bring to the project? Keep drawing and sharing personal work, make genuine connections with other artists whose work speaks to you and don’t get too bogged down trying to match the style of existing projects.
Future plans: Seven seasons and a movie, baby! I have a personal animated short I’ve been chipping away at over the past decade. I’d like for people to see it someday.

James Eason-Garcia

Co-Exec Producer & Story Editor, Marvel’s Iron Man and His Awesome Friends (Disney Jr.)

Age: 43 going on 12
Birthplace: Boulder, Colo.
I knew I wanted to work in animation when: I was obsessed with animation from a young age. When I was 9, my family took a trip to Disney MGM Studios in Orlando, where they used to have the Magic of Disney Animation tour. Seeing how Disney’s animated films were made, and the people who created them, melted my young mind. This was the first time I realized that I could actually have a career in an art form I loved so much. From that point on, working in animation was all I ever really wanted to do with my life.
First job in animation: After I finished graduate school, I knew it was finally time to move to L.A. to try to get my foot in the animation door. I must’ve had nearly 30 interviews at different studios in my first five months. I eventually got a meeting with Craig Gerber and Elliot Bour (two spectacular mentors), on Disney’s Elena of Avalor, to be their production secretary. They were so impressed with my passion and enthusiasm (plus the master’s thesis I wrote about the evolution of Disney princesses) that they ended up hiring me as their production associate.
What I love about my job: Our showrunner, Sean Coyle, and our partners at Atomic Cartoons, Marvel and Disney Jr. are definitely a highlight. The time I get to spend with our incredible writing team makes every story break and table read a totally awesome time. As a lifelong comic book reader, the most exciting thing about working on this series has to be writing for these awesome characters. I often say that Marvel has the coolest toys in the toy box, and it is an honor to get to play with them.
Toughest part of the job: It’s also the thing I love the most about it — how busy I am. In a single day, I can be in a story break, reviewing animatics, discussing designs, listening to the score, giving notes on lighting and still have outlines and scripts that need to be story edited. Balancing my time, making sure everything stays on schedule and crafting episodes that excite everyone involved is a challenge but one that I’m excited and grateful for every day.
Favorite toons: The original DuckTales was very influential to me as a young kid. As I got a little older, I became obsessed with Batman: The Animated Series and X-Men: The Animated Series. All the Disney animated features were high on my list of favorites as I was growing up as well. Seeing The Little Mermaid for the first time still sticks out in my mind as one of best memories of my young life. By the time Beauty and the Beast was released, I was fully hooked.
Best advice: Start writing! Even if it is just a few minutes a day. Also, find someone else who wants to be a writer and make them your “accountability buddy.” Give each other hard deadlines and stick to them. Before you know it, you’ll have scripts that you’re proud of and excited to share. Another piece of advice I give to young writers is to create a story that you can write as a preschool series, a 6-11 series and an adult animation series. It’s a fun writing experiment and also gives you three sample scripts that show off your range.
Future plans: I’m having a blast writing and creating stories for Marvel’s Iron Man and His Awesome Friends. I’d love to write even more Marvel characters and try my hand at writing some comic books. My big dream is to help create and write a musical animated film for Disney.

Cédric Guarneri 

Writer, Storyboard Artist & Director Billy the Cowboy Hamster, Season 2 (Dandelooo)

Age: 41
Birthplace: Lyon, France
School: École Emile Cohl, France
First time I knew I wanted to work in animation: The first time I set foot in a studio.
How I got my first job in animation: My cousin was working as a production assistant while she was studying acting in Paris. Over Christmas, she showed me the series she was working on (Kaeloo at Cube Creative). The production company was looking for storyboarders. I’d never done anything like that before (at the time I was working in a small independent photo shop in the Marais district of Paris, after having been a sculptor’s assistant). I did a storyboard test, and “voilà”!
What I love about working on my current project: Discovering even more about these fun characters I like so much.
The toughest part of the job: The days are far too short!
Favorite animated shows/movies growing up: Batman: The Animated Series, Dr. Slump, Dragon Ball, Hei! Bumbu, Back to The Future, Teenage Mutant Ninja Turtles, Sherlock Holmes, Pulp Fiction, Aardman’s Wallace & Gromit.
Best advice I can give to those who want to work in animation: Do things seriously, without taking yourself too seriously.
Future plans: Deliver Season 2 of Billy the Cowboy Hamster at just as good as the first. Then we’ll see…

Chelsea Ker

Supervising Director, Dr. Seuss’ Red Fish, Blue Fish (Atomic Cartoons, Netflix)

Age: 36
Birthplace: Vancouver, Canada
School: Emily Carr University of Art and Design
I knew I wanted to have a career in animation when: I distinctly remember being a tween in my childhood bedroom watching the Aladdin DVD bonus features. I was completely spellbound as Gilbert Gottfried chatted with Eric Goldberg and Andreas Deja while they sat in a greenroom drawing Genie and Jafar, making jokes and reminiscing about their experience on the movie. I thought to myself, “That seems so fun. I want to do that! I’m going to do that.”
What I love about my job: At the top of the list are the people I’ve been fortunate enough to work with at Netflix and at Atomic Cartoons on the series. Once it’s all said and done, I’ll have been on this show for three years, and throughout this project, from preproduction to production, the teams have shown tremendous resilience and dedication. We all share a love for these two fish, and I’m so proud of the work we have done on this show.
Toughest part of the job: It turns out that making a limited-dialogue, board-driven comedy show for younger audiences is an immensely challenging task — it’s actually hard to make something look so simple! To lead the groundwork for our episodes and help bring this show to life, we ended up creating a new department called “The Brainstorm Team,” with a small group of talented artists that skillfully led the process by pitching gags and story beats. From translating the story ideas into a script, to perfecting each gag and sequence through storyboarding and animatics all the way to production to get it across the finish line, it really was an all-in team effort, and then we’d repeat that same process for each episode.
Favorite toons: I was a ’90s kid, raised on a steady diet of Disney films and cable TV. I wasn’t picky. If it was on TV and it was animated, I’d watch it. It’s difficult to pick just one, but the aforementioned Aladdin was certainly a favorite. We also had a VHS tape that I really loved filled with old NFB [National Film Board of Canada] shorts including The Cat Came Back.
Best advice: Trust your instincts. The moments I get the most frustrated with myself are when I’ve ignored that little voice in my head telling me something was off. Trust your team. You won’t have the answer to every problem, but I guarantee there will be someone on your team who will.
Future plans: Given the current climate, truly any means I can take to stay in animation would be an immense privilege and an even greater one if I can stay in directing or storyboarding. And, of course, seeing Dr. Seuss’ Red Fish, Blue Fish come out on Netflix later this year!

Jang Lee

Production Designer, GOAT (Sony Pictures Animation)

Age: 55
Birthplace: Seoul, South Korea
School: Art Center College of Design
I knew I wanted to work in animation when: In 1980, only one household in my neighborhood had a color TV and a VHS player. Luckily, it was my friend’s house, and he invited me to watch Pinocchio (Disney, 1940) together. I had never watched anything on color TV before and still vividly remember how beautiful it was, and that did it for me.
First job: I was invited to the Disney Animation Bootcamp (1997) held at California State University, Monterey Bay. Tenny Chonin, Ron Husband, Ed Gombert, Lisa Keene and Michael Giaimo were among the instructors. This opportunity opened doors for me. In a full-circle moment, I worked alongside Keene as a background painter on Winnie the Pooh (2011), Disney’s last 2D animated feature.
What I love about my job: This is a rare opportunity to make a sports film on par with Rocky and Slap Shot when it comes to authenticity. It is a true love letter to all athletes, especially those underdogs. Even more amazingly, the studio’s senior leadership has supported this film by allowing the filmmakers to push the limits and strive to advance the art form of animation.
Toughest part of the job: The show must go on. We move forward and hit the milestone, rain or shine. It’s second nature to all artists in the film industry, but we still need to deliver creative assets in due time, and that’s no walk in the park.
Favorite toons: Astro-Ganga
Best advice: Life is not short! It’s long and won’t end anytime soon. Please don’t panic; find what you can do and learn to love what you do.
Future plans: I would love to work in my 90s if my health allows me to. I love to teach, so I plan to continue to do that at USC and, hopefully, at my alma mater, Art Center College of Design, someday. Professional art schools teach craft well but do not spend nearly enough time teaching the world-building technique. I would love to share what I have learned throughout my career.

Pramita Mukherjee

Senior Character Effects Development Artist, The Bad Guys 2 (DreamWorks Animation)

Age: 37
Birthplace: Kolkata, India
School: Webel Animation Academy, Kolkata/Aditya Academy
I knew I wanted to work in animation when: Right from childhood, I loved sketching and playing musical instruments. I also learned and practiced Indian classical dance for over 17 years and was drawn to careers that allowed me to express creativity. I would be glued to the TV, watching animation on Cartoon Network. From a very young age, I knew I wanted to be a part of the animation industry, blending my passion for storytelling and artistry into something truly special, and [watching] shows like The Powerpuff Girls, Jonny Quest and Looney Tunes surely played a key role in that.
First job in animation: After high school, I did a certification course on 3D animation from Webel Animation Academy and landed my first job in animation at age 19. I started as a rigging artist at Crest Animation Studios in Mumbai, which I secured through an internship. Back in those days, there were very few animation studios in India who were working on animated features for Hollywood. Initially, I did months of graveyard shifts, learning as much as I could.
What I love about my job: I am currently working on this summer’s The Bad Guys 2. I love the storytelling, art style and character designs in this movie and was fortunate to develop costumes for some of the hero characters, including defining the style of their cloth motion. The directors come from an animation background, and this just made the process extra fun and interesting to work with them directly.
Toughest part of the job: As soon as I started my career, the Indian animation industry was hit by the 2007-09 U.S. recession. I was making $5 a day in India, with hardly any savings, and was out of work for eight months. I had to borrow money from friends and parents as I was clueless how to survive. Honestly, there were so many days I wanted to leave and go back to study, but I am glad I didn’t quit … Coping with the ever-evolving nature of the animation and VFX industry is equally daunting. It can be quite unstable and volatile at times, but staying focused on positive growth is key. All these obstacles were great learning experiences that made me stronger both as an artist and individual.
Favorite toons: Finding Nemo and Ratatouille deeply inspired me while in the early stages of my career, and the first Kung Fu Panda movie became one of my all-time favorites. As for childhood classics, The Lion King and Aladdin are timeless 2D-animated movies that will always hold a special place in my heart.
Best advice: Focus on finding the right skill set and continuously upgrading it to meet industry demands. Stay open-minded and flexible, as filmmaking is a collaborative effort. Patience is key, especially early in your career — learn as much as you can. Seek out the right mentors, become part of a creative community and, most importantly, stay mentally strong, as the industry can be quite stressful at times. While it can be challenging, the rewards of perseverance and growth are undeniable.

Wilfried Pain

Co-Director, Miraculous: Tales of Ladybug & Cat Noir, Season 6 (Miraculous Corp.)

Age: 45
Birthplace: Paris, France
School: Gobelins (Paris)
I knew I wanted to work in animation when: As a kid, I was already so passionate about storytelling and drawing that I worked hard to convince myself (and my parents) that I could earn a living with my skills. When I was 15, I saw Grave of the Fireflies from Isao Takahata and that blew my mind, and I knew for sure what I wanted to do! I wanted to create powerful, life-changing stories that allow people to live, feel and understand a fundamental human truth or emotion.
First job in animation: Thanks to the friendships I made in a part-time animation job, and with the help of my father, I got an internship at AB Productions. Initially, I interned in the background color department, but I slowly worked my way up until I got a job on a series called Chris Colorado. I was fortunate to be selected to attend the most prestigious school at that time, Gobelins in Paris.
What I love about my job: This is an incredible show crafted by the visionary Thomas Astruc, Nathanaël Bronn and Jeremy Zag. Its themes of bravery, self-discovery and teamwork have made it a fan favorite everywhere. The sixth season has been such an amazing experience as we have introduced cutting-edge visuals powered by Unreal Engine. These fresh visuals, paired with an all-new narrative arc and new designs, have really elevated the series to new creative heights. I also especially love that it is a character-first show, with characters that are truly alive and living their lives right in front of me. I feel like they are all, in some way, my nieces and nephews growing up!
Toughest part of the job: It’s pushing ourselves to find the best way to tell the story. And it means having the guts to admit when it can be better and working on it again and again until it’s not only the right way but the only way. And it’s doing all that with a team and a production schedule.
Favorite toons: Evangelion from Hideaki Anno. But my true first [love] is Revolutionary Girl Utena from Kunihiko Ikuhara. I also love Dersu Uzala by Akira Kurosawa and An Inn in Tokyo by Yasujirō Ozu. Those were game changers for me. I also like Starship Troopers, RoboCop by Paul Verhoeven, A River Runs Through It by Robert Redford and The NeverEnding Story by Wolfgang Petersen.
Best advice: This one is simple — stay curious and think things through before you start. From there, the rest will flow naturally.
Future plans: As an author, creator and director, my future is already mapped out. I want to share my own ideas and creations with the public. I have been working on it ever since I took my first step on this journey!

Alex Rubens

Showrunner & Executive Producer, Krapopolis (Fox Entertainment Studios)

Age: 46
Birthplace: New York, N.Y.
I knew I wanted to work in animation when: To quote Princess Leia, “Somehow, I’ve always known.”
First job in animation: In 2013, there was only one job I wanted. Dan Harmon was returning to Community, and I was desperate to work with him on it. It must have been embarrassingly clear what a true believer I was; that plus hard work, dumb luck and raw, untamed genius allowed me to roll right over from Community to Dan’s new show, Rick and Morty … and the rest was history. (Or at least IMDb filmography.)
What I love about my job: So much to choose from! But above all, it’s getting to work with the artists, directors, editors — the whole crew who actually makes this show. I look forward every day to getting into the edits with our incredible team. One day I hope to learn some of their names.
Toughest part of the job: So much to choose from! I was told when taking the job that showrunning is “literally impossible,” and the person who said it wasn’t misusing “literally” — and wasn’t wrong. But all the challenges are opportunities. Or so I tell myself.
Favorite toons: The Simpsons will probably always be a high-water mark for me in animated comedy. Two of my all-time favorites were live-action/animated hybrids — the original Pete’s Dragon and, of course, Who Framed Roger Rabbit. In terms of pure animation, all I can say is I grew up riding the U.S.A. Cartoon Express, and there was a time when shows like Inspector Gadget, He-Man and The Transformers seemed like peak HBO prestige television to me.
Best advice: Whether you’re trying to break in or are already deep in it, or anywhere in between, I’ve found that the more you’re able to define success in creative terms and find happiness in simply engaging with things you care about, the happier and more successful you’ll be.
Future plans: I’m kind of taking it day by day. But I plan to keep working on things I like with people I like as long as I possibly can. (Also, I just bought Star Wars from Disney, so I’m starting to think about what I might want to do with that!)

Christina Sotta

Supervising Director, Batman: Caped Crusader (Warner Bros. Animation, Max)

Age: 34
Birthplace: Albuquerque, N.M. (grew up in Portland, Ore.)
I knew I wanted to work in animation when: It took a high school trip with the school’s orchestra to Disneyland for me to really decide on making a career in animation. We were waiting outside Toontown and the Small World ride before the park opened, and after listening to “It’s a Small World” play on loop for at least 20 minutes, I started thinking how much I really wanted to work on something that got made into a ride. Until then, I had been considering a completely different career path in physical therapy or athletic training, so my parents certainly were surprised when I got back home!
First job in animation: I was taking a storyboarding class during my junior year in college, and it just so happened the professor was looking for someone to help out with some storyboard cleanup on the first season of Young Justice. After messing up my first assignment, I asked him to give me a critique of the paper storyboards I had done (instead of a complete animatic). If I hadn’t done that, he wouldn’t have asked me if I’d be interested in doing storyboard work, which meant he wouldn’t have called me the next day to ask if I could come up to WB for a week the next Monday.
What I love about my job: A lot of what I love is the crew I get to work with and how collectively we get each other hyped up when someone turns in a storyboard or a design. How we get to pull in whatever neat fact we discovered on a deep dive into a very specific topic from the 1930s and 1940s or introduce our co-workers to a great collection of footage from a movie within that period. Working on the show is a regular experience of a bunch of amazingly talented individuals all spouting very niche historical facts they knew, or just discovered, and [deciding] how to then relate it to Batman.
Toughest part of the job: Finding the balance between your creative ambition for an assignment and what your physical bandwidth is. I always want to make the coolest episode of Batman I can possibly make, but sometimes I need to remember that I’m not going to have a thousand years to do it. The trick I’m still trying to get a little more consistently is being able to fit in those cool ideas, fit in the rest of the crew’s ideas, and for all of us to not overdo it.
Favorite toons: Anything on Toonami in the late ’90s through the early 2000s. Sailor Moon, Samurai Jack, Dragon Ball Z and reruns of Batman: The Animated Series. I got really into Avatar: The Last Airbender when it started airing too. As for movies, I remember being obsessed with Fantasia, especially The Nutcracker Suite and Night on Bald Mountain.
Best advice: There’s a whole slew of ways to improve your drawing and various animation skills out there, but I think it’s often overlooked how important it is to develop your collaboration skills. Animation is a team sport. No one person makes a show on their own. It’s a group effort, so on top of improving your ability to draw, animate, model, etc., for a show, you must be able to build with other contributors. Remember you’re in it together.
Future plans: Outside of everything wrapped up in NDAs [non-disclosure agreements] (which is most of my plans at the moment), I’m planning to find my balance between work and running far too many Dungeons & Dragons games. We all need our creative outlets, right?

Josh Wessling

Art Director, Max & the Midknights (Nickelodeon)

Age: 35
Birthplace: Grew up in San Diego, Calif.
I knew I wanted to work in animation when: I learned how to draw as a kid by copying cartoons and comic books, but I didn’t quite make the connection that it was a job people had until I was a bit older. I wandered through studying art in community college, pretty much taking every art class offered. One semester, I ended up taking an illustration class, which helped me decide that was what I really loved. But the real “aha!” moment happened while researching schools to transfer to. I discovered there were animation/illustration programs and something called visual development. All the pieces just clicked, and animation felt like the obvious path.
First job in animation: I applied for internships and jobs immediately after graduating in 2019. I always came close with final rounds but never quite sticking the landing. Eventually, I was contacted by Puppy Dog Pals at Wild Canary based on a recommendation by a fellow alum. I did a freelance test for visual development. Didn’t get the job. Then two weeks later they changed their mind, and before I knew it, I was a full-time artist there!
What I love about my job: The craftsmanship on Max & the Midknights is so high level and cinematic. It still blows my mind what we’ve been able to do. Every piece of the world is so handmade and tactile. We also have the most open and collaborative crew I’ve ever worked with. Almost every review is open to all departments, and everyone across the board will pitch ideas and give feedback. This team is so hardworking and excited about what we’re doing
Toughest part of the job: I think for any TV production the toughest part is time. We set a high bar for ourselves in terms of the lifelike construction of our world. Since we design from scripts and not boards, we’re never sure where the camera will be or what parts of the set will be in focus … We also often must pivot designs quickly to meet changes in story. Fortunately for us, we’ve developed a pipeline around Unreal Engine where we can make so many changes on the fly and get the closest to our vision as early as possible.
Favorite toons: I was a fan of anything weird or dark, and anything stop motion. A few that stand out are, of course, The Nightmare Before Christmas, James and the Giant Peach, The Wrong Trousers, Coraline. But also, I think stuff like Batman: The Animated Series, Princess Mononoke and Samurai Jack were really formative for me as a kid.
Best advice: Don’t let the fear of failure deter you from taking chances. Whether that’s in your personal artwork or your career path. Avoiding failure is only going to cause you to miss opportunities to grow. Make mistakes, ask stupid questions, take on projects you might not know exactly how to do, work outside what’s comfortable and don’t give up when you inevitably stumble.
Future plans: I hope to keep learning new things. Keep pushing myself out of my comfort zone. Hopefully I’m lucky enough to keep working on cool projects with cool people.

Margaret Wuller

Art Director, Smurfs (Paramount Animation)

Age: 45
Birthplace: Los Angeles, Calif.
I knew I wanted to work in animation when: I have always loved experimental animation born from music videos during the early MTV era. “Take on Me” by A-ha, all things directed by Michel Gondry and Björk. At one point, I saw some early concept art done by Max Boas and Tang Heng for Kung Fu Panda. I was instantly impressed with their ability to express so much in just one image. From that point on, it was my goal to work in feature animation.
First job in animation: After art school, I started at Curious Pictures in New York as an illustrator, working on commercials and children’s television shows. Once I gained an interest in feature animation, I joined DreamWorks Animation as a production assistant. As a PA, I learned the whole animation pipeline and got to see all the concept art up close. I redid my portfolio and made the switch to a visual development artist soon after.
What I love about my job: I love working on a property that is so adored internationally — something that I grew up watching. Meeting Véronique Culliford, daughter of Peyo (The Smurfs creator) was a highlight. Our producer, Ryan Harris, gathered an amazingly talented, collaborative and kindhearted crew. We truly have fun working together, and it shows in the end product.
Toughest part of the job: The toughest part of the design process was translating the original 2D character designs from the comic into 3D. Smurfs are traditionally drawn in only a few select angles, but when seen in 360 degrees, some of the elegance of the original design breaks down. To address this, the team incorporated the ability to slide and morph parts of the character to always appeal to the camera. Great care was taken with Smurfette’s hair, for example, so that it was always perfectly composed and kept its iconic shape regardless of the angle.
Favorite toons: I obviously loved The Smurfs growing up, as well as Robotech and everything from Studio Ghibli.
Best advice: There are so many wonderful Art Of books that are packed full with amazing concept art. These offer a great reference point for curating your own portfolio. Refine your art while maintaining the balance of knowing that animation is a team sport. The more you learn about the process of animation, the better you will be at anticipating the needs of the team. It is a small industry, so always be helpful and be kind.
Future plans: I’d like to do some personal art in between projects to reset myself. It’s a time to go back to my core and practice abstract and experimental art. It is a moment when I can make something that doesn’t have to look like anything at all. That is when my brain is free!

Alex Woo

Writer/Director, In Your Dreams (Netflix)

Age: 43
Birthplace: St. Paul, Minn.
I knew I wanted to work in animation when: I’ve always loved drawing since I was a little kid, and I kept watching cartoons well after most of my peers had outgrown them, but it never occurred to me that animation could be a job. It wasn’t until I was 17 and an art teacher suggested I pursue a profession in the arts that I realized people got paid to make the shows and movies I loved so much. Fortunately, this was right around the time I was applying for colleges, so I ended up choosing the university that had the best film program, and I’ve never looked back.
First job in animation: I was fortunate enough to win a Student Academy Award with one of my student films, which really helped put me on the map. A producer at Lucasfilm Animation saw the short and offered me a chance to develop my own feature, so of course I took it!
Toughest part of the job: The duration of animated productions is probably the toughest part of the job. I’ve been working on In Your Dreams for over seven years, and it takes a lot of stamina to maintain the energy and focus needed to bring a movie across the finish line. Animation can be a super-marathon.
Favorite toons: I have too many. The earliest animated show I remember loving was He-Man and the Masters of the Universe. Teenage Mutant Ninja Turtles was a big part of my childhood. The entire Disney Afternoon slate was a staple for me (DuckTales, Rescue Rangers, TaleSpin, and Darkwing Duck). X-Men: The Animated Series and Batman: The Animated Series made me realize animation could be mature and cinematic. And whenever I would visit my grandparents in Hong Kong, I’d binge Dragon Ball Z and whatever Ghibli movies I could get my hands on. I was also obsessed with the Disney musicals starting from Beauty and the Beast all the way through Tarzan. And of course, early Pixar (Toy Story all the way through Toy Story 3). That 15-year run was the best in Hollywood history.
Best advice: Approach your art like you’re a professional athlete. Study the greats. Master the fundamentals. Then make it your own.
Why everyone should see my new movie: Because it’s really good! It’s funny, has great characters, amazing visuals, and a lot of heart. It’s also original, which is such a rarity these days.
Future plans: I am working on another original feature that I’m very excited about!

HeeKyoung Yum

Art Director, BE@RBRICK (DreamWorks Animation TV, Apple TV+)

Age: 49
Birthplace: Frankfurt, Germany
I knew I wanted to work in animation when: When I watched Hayao Miyazaki’s Spirited Away, I thought, “If I could tell stories through animation, I’d have no greater wish.” I’ve loved drawing since I was a child. But I also loved storytelling. And animation lets you do both at the same time— it’s the perfect combination.
First job in animation: At Nickelodeon Games, I was working as a Korean content coordinator, helping to bring content to Korean audiences. One day, the company gave all employees a chance to showcase their artwork. During the day, I worked as usual, and at night, I stayed up drawing with a mouse — since I didn’t even have a Cintiq back then. Then came the exhibition day at Nickelodeon Animation. The place was packed with people. And there it was —my artwork, displayed right at the very front. Not long after, the company called me in for a meeting. And soon after that … I became an artist.
What I love about my job: I love the story. One of the best parts of working on BE@RBRICK was getting to read the funniest script for the first time and imagining how everything would come to life. Meghan McCarthy, the executive producer and writer, is an absolute genius. It’s a kids’ story, but it’s quirky, smart and brilliantly written. She makes you laugh out loud, and then, when you least expect it, she hits you with these deep philosophical questions. And the music is absolutely incredible. We had to create a world that truly fit the story, which meant a lot of work. But honestly? It was one of the best experiences of my life.
Toughest part of the job: Creating animation is a long and demanding process. It requires countless hours of work. I think the hardest part is finding a balance between life and work.
Favorite toons: Future Boy Conan, directed by Miyazaki.
Best advice: No one is perfect from the start, so I encourage you to begin with what you love and what you’re good at. As an animation art director, you need to cover many areas — from character and background design to color design and lighting. If you want to work on a 3D animation project, having a basic understanding of 3D software is also essential. As you gain experience, you’ll start to see areas where you need improvement. When that happens, take the opportunity to explore and learn more about those fields. This way, you can gradually expand your skills and knowledge. I also highly recommend creating short-form animations, even small projects, as they can be a great way to develop and refine your craft.
Future plans: I’m currently working on a story. DreamWorks gives us opportunities to pitch ideas, so I’m preparing for that. I hope that one day I’ll get the chance to share my own story with the world