Tell us a little about yourself and your career.
Hey! I’m Cal Ramsey, Director and Storyboard Artist, and I’ve been working in animation since 2011. I began my career in Boston as an Animator for Scholastic’s animation studio Soup2Nuts working on the PBS show WordGirl. I made the jump to storyboards a couple of years later. After the studio closed, I freelanced on various projects for a few years, during which time I got experience working in almost every aspect of the animation pipeline (pre-vis, storyboards, design, layout, animation, retakes, and more.)
In 2017 I packed up my car, my rabbit, and my life and moved to L.A. A lot of people I knew had already made this move, so I was lucky to have connections when I got here. I landed my first Union gig storyboarding at Cartoon Network in 2019, and was promoted to Director in 2020 while at Warner Bros. Directing was not something I specifically sought out to do, but it turns out I love it.
What challenges have you faced in navigating a career in animation?
I graduated from art school in 2009, right as the last recession was in full-swing. It took a while to find a job in animation and even longer to find one in the Guild. Even though I had been working in the industry for six years already, by the time I arrived in L.A., the imposter syndrome was strong.
I feel particularly lucky to have dipped my toes in so many aspects of animation, from different job titles to different genres. Having a diverse skill set has been especially useful.
I love animation with my whole heart, but it has been difficult watching the industry struggle with issues like outsourcing, job creep, AI, and a rejection of original IP. Having one of the things I love most in the world be swallowed up by corporate greed is rough, but I refuse to let what makes the art of animation so special be lost.
Who are your inspirations in the field of animation?
I am inspired both professionally and in my personal art by the work of folks like Genndy Tartakovsky, Chuck Jones, Mamoru Hosoda, Bruce Timm, James Baxter, Ami Thompson, Felix Colgrave, Ian Worthington, Ian Jones-Quartey, and Charles Huettner. When it comes to cartooning and illustration, I am drawn to the work of Charles M. Schulz, Ryoko Kui, Lauren Henderson, Eli Spencer, and Jaden Kristoffersson. And of course many, many more—too many to list!
What do you hope to accomplish as an artist in the animation industry?
I really just want to continue being a part of the animation process for as long as I can. I especially want to work on adult animation that pushes the boundaries of what is currently considered part of the genre, and to be involved in more animated works that engage with people of any age. I dream of working on productions that prioritize artistic vision, new voices, and a genuine love for the craft over cost-cutting measures and untenable schedules. I want to be a part of making animated work that suplexes you (emotionally). Most of all, I want to make the version of me that as a child always dreamed of working in cartoons proud!
What does being in the Union mean to you?
Animation is by its nature collaborative, and the Union is an extension of that. It is about community, solidarity, and protections. Before I was in the Union I felt much more at risk, working for low pay and no benefits with no real upwards mobility. Continued unionization is what will keep our industry sustainable in the future, and it is imperative especially now that we use our collective power to fight for our rights as workers.
Learn more about Cal at their website.
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