Every year, we put together our hot list of up-and-coming animation artists whose careers are on fire. Whether they’re directors, storyboard artists, showrunners, production designers or writers, these brilliant men and women know a thing or two about using their immense talents to deliver amazing work that captures our imagination and elevates the art form. We hope you enjoy getting to know this fantastic group as they make their mark on the global animation scene.
Jarelle Dampier
Writer, Director, The Spider Within: A Spider-Verse Story (Sony Pictures Animation)
Age, Birthplace: 33; Mansfield, OH
I knew I wanted to have a career in animation when: I was around 12 years old, and my mom took me to the movies. She bought some tickets for a kids’ movie, but we decided to sneak into Kill Bill. The animated scene about O-Ren Ishii was playing when we sat down, and it blew my mind. The rest is history!
What I love about my current project: Right now, I’m developing my own project at SPA. It’s a dream come true and there’s plenty of work to be done. There is nothing better than working on something you completely believe in and wielding all of your passions to accomplish it.
Toughest challenge: To do this work is a privilege and honor. It can also take an enormous toll on your mental health. It’s tough but important that I remember to honor myself as a hardworking person doing my best — a person worthy of rest, free time, happiness and fun! I want everyone reading this to feel that.
Favorite animated movie or TV show growing up: I was raised on Toonami after school; that was everything for me. American animation was big, but that wave of dynamic/dramatic animation from overseas made me realize what was possible.
Best advice: People will spend your entire life trying to beat that part of you out that wants to do something true to you. There will also be supportive, helpful people around you that understand what you’re trying to do. Ponder the actions of the former but listen more to the latter. Work on your weaknesses, of course, but don’t forget to double down on your strengths. When you focus on your strengths, it tends to make you stand out.
Future plans: I plan to introduce more genre filmmaking and mature stories into the animated space. I just think there’s plenty of room for it. The success of large, animated movies can’t be ignored anymore. I love animation; I know other adults do as well. I’d like to make movies for them.
Cirocco Dunlap
Creator, Showrunner, Writer, The Second Best Hospital in the Galaxy (Prime Video)
Age, Birthplace: 38; San Francisco
School: UC Santa Cruz
First job in animation: I was a child actor in the movie James and the Giant Peach. I had one very important speaking line: “Officer, there’s a boy up there!”
What I love about my current project: I love that we try to interweave fun absurdity with heartfelt emotion. And that everything eats everything else.
Toughest challenge: Days are not long enough to get everything done, so we often have to let things go before we’re ready, which maybe is a good practice for life.
Fave animated movie or TV show growing up: Of course, I loved the classics like Aladdin and The Little Mermaid and anything by Pixar. The weirder ones that I loved were The Point and The Nightmare Before Christmas, and they haunt me to this day.
Role model: I loved Don Hertzfeldt’s short film, World of Tomorrow. Also, Julia Pott voices its main character Emily Prime, and she is my best friend and another animation role model of mine, so it’s a two for one.
Best advice: Sleep and exercise and eat more vegetables. And then tell me how to do those things!
Future plans: I would love to hide in a cabin for a while and write, if you know of any cabins.
Chrystin Garland
Art Director, Ariel (Disney Junior)
Age, Birthplace: 35; Sacramento, CA
School: Savannah College of Art and Design
I knew I wanted to have a career in animation when: I always knew that I loved drawing, but I didn’t necessarily make the connection that animation was something one could pursue as a career. I don’t think I ever really considered who was behind the cartoons I was so eager to watch after school or the amount of effort that went into making these series possible. Animation was simply a wonderful, magical thing that I enjoyed. My parents, ever invested in my education, signed me up for a series of college courses one summer that happened to include an introduction to traditional animation. That class completely changed my life.
First job in animation: Character designer on Niko and the Sword of Light.
What I love about my current project: I’ve always been a huge fan of stage plays and musicals that put their own unique spin on the source material. I am incredibly grateful that our talented crew, led by the incomparable Lynne Southerland, has an opportunity to do the same with another beloved classic. Seeing all the amazing things our creative team brings to the table week after week is truly a highlight! It feels like everyone is doing their best to make something wonderful, and that’s exciting.
Biggest challenge: Waiting for the series to premiere!
Favorite animated movie or TV show growing up: I was absolutely obsessed with Sailor Moon as a child and still am a huge fan to this day. I remember having to wake up super early in the morning to catch it on TV, since this was pre-Toonami. Probably the earliest and most consistently I’ve woken up by choice.
Animation role model: I consider Everett Downing Jr. to have been my unofficial mentor throughout the course of my career. I really admire his storytelling and sense of collaboration among creatives that he brings to all his projects.
Best advice: Everyone’s path breaking into and navigating the animation industry is going to be different. If working in this field is truly your dream, continue to push forward and hone your skills whenever you can. It can also be beneficial to stay open to opportunities that don’t align perfectly with your established goal. You never know where those experiences may lead you.
Future plans: To be a showrunner on an original series that I developed. That would be a dream come true!
Ashleigh Hairston
Co-Exec Producer/Co-Story Editor, The Fairly OddParents: A New Wish (Nickelodeon)
Age, Birthplace: 30s; Seattle, WA
School: Howard University
I knew I wanted to have a career in animation when: I went to school for acting and my dream was (and still is) to create, write and star in my own live-action TV show. Soon after moving to Los Angeles, I started taking sketch writing and improv comedy classes, and I learned to write for myself and others. Then I started performing regularly at comedy theaters around town, and I was invited to participate in character showcases like the CBS Diversity Sketch Comedy Showcase. Performing characters led to voice acting, and voice acting led to writing in animation! Honestly, I pivoted to writing out of desperation for a stable income. I was auditioning and performing full time, and I was tired of being broke!
First job in animation: My first voice-over job was for Marvel’s Avengers Assemble: Black Panther’s Quest voicing the character Bask, the Queen of Wakanda. Shortly after that, I booked a recurring role on a show called Craig of the Creek voicing the zany, creek scientist, Wren. One day, I posted on Facebook that I was looking for writing jobs and the head writer of that show saw my post and, unbeknownst to me, pitched to bring me in. A few days later, I received an email from the show’s supervising producer, Kelly Crews, inviting me to sit in on a couple writers’ meetings and help break stories. My mind was blown … I started freelance writing for Craig of the Creek, and in January of 2020 I was offered my first full-time staff writing position. I still keep a screenshot of that email on my phone because it was such a pivotal moment in my career.
What I love about my current project: I loved creating the world, bringing the characters to life and immersing myself in the writing. I absolutely loved being behind the mic in the recording booth. I love that I get to voice a character (Hazel) that I had a hand in creating! I feel honored to give her voice and share her story! I got to take part in casting the show and I sat in on all the recordings, which was a dream come true seeing some of my favorite voice actors in action. I loved collaborating with our incredible writers, breaking stories, punching up scripts and doing revisions. I loved our design and postproduction meetings and so much more.
Toughest challenge: Attempting to accomplish everything I listed above in 24 hours! The work can be overwhelming, so maintaining a healthy work-life balance is crucial. It’s important to carve out time to eat, stay hydrated throughout the day and take short breaks (or a nap!) when necessary. Take care of yourself so that you can take care of others and the show.
Fave animated movie or TV show growing up: My favorite animated movie was The Lion King; I know that soundtrack by heart. For TV shows, I watched a lot of Looney Tunes, Muppet Babies, The Flintstones, The Jetsons, DuckTales, Scooby-Doo, Bobby’s World, Rugrats, The Ren & Stimpy Show and The Pink Panther Show. Oh, and Tiny Toon Adventures!
Role model: Cree Summer; she’s such a legend, and I admire her so much as an actress, a voice talent, a Black woman in animation and as a mama! I just love her free spirit and can only hope to have a career as long and full and as storied as hers.
Best advice: Keep going! Don’t worry so much about “breaking in.” Instead, concentrate on honing your craft and keep finding ways to grow personally and as a creative. Take classes, sign up for workshops, refine your unique voice and lean into you. Embrace your individuality! Embrace the joy in creating and sharing your art with the world!
Future plans: I want to be the Shonda Rhimes of animation, so I guess I’ll just keep making shows?!
Eric T. Hawkins
Lighting and Compositing Supervisor, Jurassic World: Chaos Theory (DreamWorks Animation Television)
Age, Birthplace: 45; Danville, VA
School: Full Sail University
I knew I wanted to have a career in animation when: It’s more of the first time I knew I could. I always enjoyed creating growing up, but never considered it as a career option. My brother-in-law worked in animation and thankfully encouraged me to pursue it.
First job in animation: My first job in animation was as a lighting artist on Robot and Monster at Nickelodeon Animation Studio.
What I love about my current project: I love that I get to work with incredibly talented and passionate people for Jurassic World: Chaos Theory. They are all making the most of this moment and care a great deal about this story and the team.
Toughest challenge: One of the biggest challenges is meeting my own expectations. Our goal is to create a show that looks cinematic and lives up to the Jurassic World franchise, and it’s always a fun challenge to stretch ourselves and make sure we deliver it on time and on budget.
Fave animated movie or TV show growing up: Some of my favorite animated TV shows and movies growing up were Hanna-Barbera and Looney Tunes cartoons, The Secret of NIMH, The Ren & Stimpy Show and He-Man and the Masters of the Universe.
Role model: I was fortunate enough to work with Joel Fajnor as my art director during my time on The Croods: Family Tree. Joel is a talented artist, gracious, kind and selfless leader. He has had a long, successful career, and is respected by all who know him. He is definitely someone I try to model myself after.
Best advice: Stay organized. Keep a notebook and write down your ideas in one place; Learn and practice empathy; Most of all, never be afraid to not know something. Ask for help. People love to teach and share ideas. It will strengthen bonds/build relationships and trust.
Future plans: I plan to continue growing in this role, and finding new and inventive ways to help people tell stories. I want to ensure I am creating environments that value respect and trust.
Uwe Heidschötter
Lead Character Designer, That Christmas (Locksmith Animation, Netflix)
Age, Birthplace: 45; Leverkusen, Germany
School: Lycée technique des Arts et Métiers, Luxembourg
I knew I wanted to have a career in animation when: I’ve been into drawing and animation since forever. In third grade, I wrote in my friendship book “trickfilmzeichner (animator)” as my future ambition. Though my goals took a few twists as I grew up, I am fortunate that they eventually circled back to animation.
First job in animation: My animation journey started as a background dancer in an Advocaat commercial. Before attending animation school, I secured a summer internship at a small studio, contributing to a quirky commercial featuring an animated little chicken against live-action footage of silhouetted party people in 1998, sipping Advocaat. While gaining my first animation experience with small in-between work on the chicken, I earned my first paycheck in the animation world — through dancing.
What I love about my current project: That Christmas is a beautiful, funny film with a lot of heart, and I couldn’t be prouder and more grateful to be a part of it. What began as a three-week commitment for early character designs evolved into a rewarding three-year journey with Locksmith Animation, where I had the privilege of shepherding my characters through every stage of the process. Collaborating with Leo Sanchez Barbosa and his team, who skillfully translated my design ideas into CG, was a fantastic experience. The most profound experience was the invaluable time spent observing director Simon Otto at work.
Toughest challenge: Disconnecting from work thoughts on the actual Christmas days.
Fave animated movie or TV show growing up: Disney’s The Rescuers and Robin Hood. When I was a kid, these films weren’t available on home video. Somehow, my godfather managed to snatch copies for me, and I practically wore out those VHS tapes with all the rewinding and replaying.
Role model: I don’t have a specific role model in animation. As Stephen Sondheim beautifully expressed in Sunday in the Park With George: “Anything you do, let it come from you. Then it will be new. Give us more to see…”
Best advice: Dedicate yourself to the craft of animation. Work hard, seek out learning opportunities, and always strive to improve your skills. In character work, be it design, storyboard or animation, go beyond the technical aspects.
Future plans: Continuing my journey as a character designer because I absolutely love this job!
T. G. Hopkins
Director, Grimsburg (FOX, Bento Box Entertainment)
Age, Birthplace: 36, born in Mission Hills, Calif, and lived in L.A. county his entire life.
School: I attended the animation program at Cal State Northridge, but left before graduating to start working as a storyboard revisionist at Film Roman.
First time I knew I wanted to have a career in animation: The first job I can remember wanting to have, was to create my own cartoon show. My aunt, Cindy Woodburn, was a producer on animated features like Who Framed Roger Rabbit and Fievel Goes West, so even at four, I knew it was possible. I decided to start my own comic book company like Stan Lee, so for the next 12 years I devoted myself to comic books, creating my own stable of heroes, and my own unique art style.
First job in animation: I was in the intern program at Film Roman for a show called Dan Vs. which aired on the now defunct network The Hub.
What I love about my current job: The genre I love more than any other is Film Noir. My pantheon is filled with names like David Lynch, Billy Wilder, the Coen brothers, and of course, Quentin Tarantino. Now I find myself on Grimsburg, a show that not only talks the talk, but walks the walk with its hard-boiled detective aspirations. The producers and particularly our showrunner Chadd Gindin encourage us to reference detective cinema as often as we reference animated sitcoms. It’s a wonderful balancing act.
Biggest challenge: Finding ways to accomplish our artistic aspirations with the unique constraints of animation. How many backgrounds we can afford directly affects the style of the show. It’s more beneficial to choreograph characters weaving in and out of single shots with longer takes to cut down on design budget. Older movies are the ones to look at. Billy Wilder is a master of composing long takes without sacrificing chills or laughs and is a personal touchstone when contending with the challenges of directing film noir for animation.
Fave animated TV show or movie growing up: Making this choice took me some time to consider. After a good long think, I realized that Batman: The Animated Series was OUR show, but Batman Beyond was MY show. At 12 I was impressed by the guts it took to create all new villains for the show instead of parading out a clown car’s worth of legacy villain pretenders. There are few creators in American animation out there who can deliver earnest emotion and visceral thrills like Bruce Timm.
Role model: Speaking of Batman Beyond, I was very tempted to put Bruce Timm on this pedestal. However, there is only one name that can rightfully sit there…. or should I say two: Doc Hammer and Jackson Publick. The creators, writers, and directors of the best show of all time The Venture Bros “Brought to you by, SMOKING!”.
Best advice: The best advice I can give is to make a comic book. Do everything yourself, write it, pencil, ink, and color it. If you aspire to create your own show, then create the characters too. It’s a cheap and simple way to tell a whole story yourself with visuals. It will make you think about what shots to use to tell your story and force you to draw characters repeatedly from multiple angles while acting. Making my own comics was the thing that prepared me best for being a storyboard artist and eventually a director.
Future plans: I’ve got big plans for my future, but my immediate plans are all Grimsburg! This is a great show with characters I love. More than any show I’ve ever worked on, I could see myself living in this world for a long time. I hope you will come along on the ride with me.
Sunmin Inn
Art Director, Ultraman: Rising (Netflix Animation)
Age, Birthplace: 33; Seoul, South Korea
School: Art Center College of Design and USC
I knew I wanted to have a career in animation when: My 5-year-old mind finally made the connection and exploded by the fact that actual human beings created, wrote, designed, animated and published the animated show I was watching on TV, which was one of the best and [most] influential animated shows ever created: The Ren & Stimpy Show.
First job in animation: Visual development artist on a small-budget film called Rock Dog produced by Mandoo Pictures.
What I love about my current project: Beyond the art, I had the privilege of observing and learning from situations and people whom I would never have had the chance to come across. My past years on this project have matured me tremendously and delivered me out of my limited perspective about myself, people, collaboration and animation as a whole. I most likely learned what would have taken me decades to learn in the span of three [years], all thanks to the generosity and patience of the team.
Biggest challenge: Everything outside of the art. After hearing about this phrase, which many of my bosses and mentors for years have said was their biggest challenge, I only knew what it was after I got to see it myself.
Fave animated movie or TV show growing up: The Ren & Stimpy Show
Role model: Winsor McCay
Best advice: What worked for me: Ultimately, whatever we do in life from beginning to end involves people. Instead of the work constantly leading you, it should be the foundation that legitimizes you and your personality as a collaborator. Try to make opportunities to show who you are as a person to a professional, and surprise them with your solid portfolio afterward. After you’ve landed your first job, have a creative project that you own the rights to on the side. It will become the unlimited well that you’ll not only drink water out of, but it will also be plenty enough to cook, clean, share
Future plans: I’m always looking for new things to try, learn, explore and contribute to, as I am not committed to just animation and visual development. Ideally, I’d like to create new content with new tech at a passionate startup or a small experimental project at an established studio.
Dashawn Mahone
Storyboard Artist, Batfamily (Warner Bros. Animation)
Age, Birthplace: 33; Paterson, NJ
I knew I wanted to have a career in animation when: Circa 2014, when my friend helped me realize I could actually do this.
First job in animation: Storyboard revisionist on Star Darlings at OddBot.
What I love about my current project: The crew is awesome. I’m working with a few friends from previous productions and a lot of new folks whose work I’ve admired for a while. It’s pretty dope.
Toughest challenge: The art style is tough to get a hang of. I’m out of my comfort zone, but I’m learning a lot.
Fave animated movie or TV show growing up: Maybe an unorthodox answer, but the opening to the Sonic CD game is amazing. And I’ve probably rewatched that opening enough times to fill a movie’s runtime. My current favorite TV shows are still Futurama and Samurai Champloo.
Role model: Not entirely sure I have one, but I admire a lot of my peers. Shout out to my homies Jeff Trammell, Wynton Redmond, Evan Monteiro, Najja Porter, Tiffany Ford, Ben Levin and Matt Burnett!
Best advice: Watch the things you like and truly understand why you like them. Don’t watch videos telling you why things are good and bad; that’s for you to decide. When you learn that, you’ll learn your voice. That’s an important thing in this industry, I think. We’re all unique and bring something to the table. Make sure you know what you’re bringing.
Future plans: I’ve boarded and even animated for a lot of folks out here. I’m beginning to entertain the idea of doing personal shorts. Don’t hold me to it, though; I prefer lounging around.
Aviv Mano
Character Development and Animation, Inside Out 2 (Pixar)
Age, Birthplace: 34; Israel
School: Ringling College of Art and Design
I knew I wanted to work in animation when: After a few years of working at a tech company, I wanted to try something new and pursue a more fulfilling career. I went through an extensive career counseling process, where I was told I would thrive in a creative environment, especially in a visual medium. I vividly remember reading about a few Israeli animators that studied animation in Florida and were all working on different projects in some of the top animation studios. I was so inspired by their ambition and journeys that I decided to go for it and apply to Ringling. I got an answer within a couple months and moved halfway across the world to start my new life.
First job in animation: I was lucky enough to join Pixar as an intern after my junior year at Ringling, and eventually come back after graduating and starting full time.
What I love about my current project: Throughout the entire production process, the leadership teams and crew as a whole have been so committed to keeping a balanced, healthy work environment, and making sure we don’t burn out or forget to prioritize our well-being. This thoughtful approach made the whole experience so much more meaningful, especially while working on a movie that highlights the importance of talking about anxiety and dealing with complex emotions.
Toughest challenge: The biggest learning curve, for me personally, was learning to trust the process and make mistakes. Being surrounded by world-class artists, I came in with the false expectation that everyone must get it right on the first try every single time. It’s been so inspiring and humbling to see the level of trust and collaboration that goes into finding the best filmmaking choices through discussion and iteration.
Fave animated movie or TV show growing up: Toy Story, Aladdin, The Lion King, Teenage Mutant Ninja Turtles, Dexter’s Laboratory, Rocko’s Modern Life, SpongeBob SquarePants, Batman: The Animated Series, Animaniacs, 3000 Leagues in Search of Mother
Role model: One of my biggest sources of inspiration is Hayao Miyazaki. I’ve only really learned to appreciate traditional anime in my adult years, and it’s been such a pillar in how I think of filmmaking and performance. Miyazaki’s mastery of draftsmanship, cinematography and character catches me off guard every time I watch one of his films, and with each viewing I find new things I’ve never noticed before.
Best advice: One of the best pieces of advice I got in animation school was to focus on my own path. While it can be tempting to start comparing ourselves to our peers as young artists, it can also be devastating to live with the sense that we are in constant competition with each other. Instead, try to build relationships and help each other grow, and focus your goals on the industry masters whom you look up to and wish to someday work alongside.
Future plans: With the huge shift we’re seeing in the industry, I hope we can find new ways to tell meaningful stories in more creative ways and leverage the amazing tools that are becoming available. Personally, I’d love to keep furthering my animation and acting skills, and hopefully try my hand at more areas of the storytelling process, like leading animation teams, writing and directing.
Peter Maynez
Art Director, Kung Fu Panda 4 (DreamWorks Animation)
Birthplace: Burbank, CA
School: Private apprenticeship, studied layout, traditional 2D
I knew I wanted to have a career in animation when: Around the time of Hercules and Mulan.
First Job in Animation: I was a layout artist on Disney’s Treasure Planet
What I love about my current project: The Kung Fu Panda movies are beautiful; they are some of my favorites. I was working on other projects for DreamWorks while the Panda movies were made, so the opportunity to be art director on Kung Fu Panda 4 and design new environments for Po’s next adventure was incredible. Collaborating with all the teams of artists to tell our story visually, finding problems and solving them creatively, everyone bringing their best to the table and ultimately seeing it all come together is magic.
Big Challenges: Set dressing Juniper city was a fun challenge. It’s a massive set built on a hill with uneven ground planes, tons of stairs, storefronts to look lived in, food carts in the streets and boats moving in the harbor. As all the details kept being added, file sizes got so big, it was near impossible to navigate in it. Final Layout did great with all of this, prepping everything for Animation and Crowds. It’s cool to see each department’s work come to life in Lighting. I feel that the most difficult shots to build, ended up as some of the most beautiful ones.
Fave animated movie or TV show growing up: Robotech: The Macross Saga, Batman: The Animated Series, The Wind Rises
Role model: Hayao Miyazaki, Marc Davis and my colleagues
Best advice: Keep working on the fundamental skills — the need for them is always there, and they never go out of style. Explore [and] learn as much as you can about all the things you love; inspiration is everywhere. Be organized. Keep an open mind!
Ruth Ramirez
Director, Millie Magnificent (Nelvana)
Age, Birthplace: 43; The Philippines
School: MTM College of Animation, Art and Design, Toronto, Canada
I knew I wanted to have a career in animation when: Although I drew on everything from the moment I could hold a crayon, it was being around my brother, who studied fine arts and started working in animation. I was around 10 when he used to bring his work home, and I’d sit and watch him animate scenes.
First job in animation: Storyboard cleanup
What I love about my current project: Everything! The stories, artwork, crew, music! And how I get to sneak in little things that I love into Millie’s world.
Biggest challenge: Juggling the time between directing and mom duties. If I’m not in a meeting or calling retakes, I’m making dinner or driving my girls to skating or helping with their homework.
Fave animated movie or TV show growing up: Just one?!? I’d have to go with Looney Tunes. I learned to appreciate both animation and music by watching Bugs Bunny.
Role model: Just one again??? Brad Bird. The first time I watched The Incredibles, it blew my mind.
Best advice: Do what you love so it won’t feel like work; it’s a whole lot of fun instead.
Future plans: Continue directing or storyboarding for as long as I can hold a pencil.
Shannan Taylor
Art Director, Tabby McTat (Magic Light Pictures)
Birthplace: Cape Town, South Africa
School: Durban University of Technology
I knew I wanted to have a career in animation when: Since Day 1, I have absolutely loved anything and everything creative! My childhood was about drawing, painting, making things, creating worlds, designing puppets from found objects and immersing myself in cartoons and Disney films! Although I didn’t quite intentionally aim for the animation industry, my path led me here and I absolutely love it!
First job in animation: Kellogg’s Coco Pops commercial
What I love about my current project: I love watching how the stories, characters and environments are interpreted and translated from the much-loved children’s books into something living, breathing and magical. Magic Light Pictures pools together an incredible range of talent, which is ultimately the fuel that forms a “dream job.” Working with talented people keeps you motivated and inspired.
Biggest challenge: Knowing when to stop, when to end the day and not continue into the night assuming whatever you are working on will only get better and better! The trick is to learn a life-career balance and commit to your time limitations.
Fave animated movie or TV show growing up: Disney’s Alice in Wonderland (1951)
Role model: Again, I have many — but currently and most definitely, Joanna Quinn.
Best advice: Not every young adult gets their dream job straight out of college or even gets the opportunity to go to college, but these days the internet gives everyone a platform to learn, grow and show off their talents to the industry. In my opinion, skills, a solid work ethic, enthusiasm and a dash of humility will bring the “dream job” to you!
Future plans: This year I am art directing for the next Magic Light Christmas special (shhhh!) and will then be excited to see what comes next. There are always new projects, new technologies and different roles to consider, and one never stops learning, adjusting and growing. On the side, my mother and I are also currently completing development on a personal short film and very excited to see where that goes.
