Tell us a little about yourself and your career.
Hi! I’m Megan. I’m a Character Designer and Story Artist, and I love to paint and make comics, as well. I worked as an artist on mobile games for a little while before moving to L.A. to pursue a career in animation. I started working on small non-union projects and freelance jobs, and I got my first big TV break as an Assistant Art Director on Disney Junior’s Muppet Babies. Currently, I am a Character Designer at A24.
I can’t help but do a little bit of everything artistically, and personal projects help keep me grounded and focused. I’m a workaholic, and new ideas are popping into my head constantly—I have to draw to keep the chaos at bay!
What challenges have you faced in navigating a career in animation?
I’ve hopped between a lot of wildly different projects, and sometimes I feel like I’ve struggled to really make a name or “style” for myself after adapting to 3D work, 2D work, kids stuff, grown-up stuff, weird shorts, and commercials … I’m sure many of you can relate to feeling self-conscious about your art style!
Who are your inspirations in the field of animation?
Oh, that’s a hard one. There are so many people I look up to, as well as people who have had a huge impact on my creative journey. A huge thanks to Chris Hamilton for taking a chance on me when I was an inexperienced artist. And the amazing Owen Dennis for trusting my creative voice as a designer on Infinity Train, and really taking the effort to lead a positive, creativity-driven team.
Ever since I was young, I’ve always looked up to Brenda Chapman as a director and storyteller. I really admire Minkyu Lee’s artwork, as well. I’m a big fan. There are so many artists who have had a huge influence on me growing up (including CLAMP and a lot of shoujo manga authors), but I feel like my style aspirations change a lot as I grow. I like to find inspiration in everything, and lately I try to avoid being overwhelmed by social media and just draw from the heart.
What do you hope to accomplish as an artist in the animation industry?
Right now I’m focusing on improving my story work, as I really feel called to tell stories that can change people’s perceptions of the world they inhabit. I grew up in a pretty conservative, sheltered environment, and very often media was my first look into lived experiences that weren’t the same as those that I saw around me. I think that film has a unique power to forge empathy in an audience, and I feel strongly in our medium’s ability to reach young viewers who are blocked from learning opportunities by the structures of power in their lives. Art, in my mind, can be beautiful, meaningful, powerful, or just fun—and it can also be a tool. I don’t mind making a bit of agitprop.
What does being in the Union mean to you?
The Union literally, demonstrably changed my life—before joining I had to choose between health insurance or making rent. I couldn’t afford both. It allowed my spouse and I access to life-saving medical care and gave me the means to support us during family hardship. Coming from working brief stints in other art fields before animation, I really notice the power of the Union in the camaraderie and spirit of shared struggle between our members. It’s an intangible feeling that’s hard to describe, but there’s a quiet sense of solidarity in the day-to-day—despite some differences and squabbles, there’s a real sense that we’re all playing for the same team.
See more of Megan’s art at her website.
Follow her on Instagram and Twitter.
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