Tell us a little about yourself and your career.
Howdy! My name is Rian Sygh, and I’m a transgender artist living in Los Angeles. I’ve been working in the animation industry for eight years as a Background Painter, Designer, and Visual Development Artist for studios like DreamWorks, Cartoon Network, Warner Bros,, Disney, and more. Before my stint in animation, I was a full-time comic book artist and author. I’ve been compelled towards storytelling for as long as I can remember, and I really enjoy the collaborative energy of being at a studio and working with a team to make cool things.
What challenges have you faced in navigating a career in animation?
It took awhile to acclimate to the social climate of animation. It’s an industry built on reputation and contacts, which I was fortunate enough to get a head start on cultivating from my time in the comics industry. As a general homebody and introvert, I didn’t think I was very good at “networking,” so I was pretty surprised when my first job offer hit my inbox. I’ve always tried to support the artist communities I’ve found myself in, but I never thought it would open doors the way it has for me. I’m so immensely grateful to every single person who traded zines with me, or helped me develop confidence in my work, from the onset of my career. I really hope to be able to give that same energy back to newer artists as they begin their own journeys.
Who are your inspirations in the field of animation?
I was the perfect age for the era of animation that got re-ignited by Adventure Time. As a teenager and young adult, my infatuation with the show really solidified my desire to work in the arts. It’s obvious that some of my biggest inspirations came from that era, but I think it really was Natasha Allegri (Bee and PuppyCat) and Rebecca Sugar (Steven Universe) who were the most influential folks I followed at that time. During my time in comics, I was hired on multiple projects spun off from popular Cartoon Network shows. It was a personal highlight to work on several Fionna and Cake and Steven Universe comic series. Remembering that feeling of working on something “official” after years of drawing fanart for it still helps me push through the slumps. I want to make things that inspire other people the way I was inspired by my now-peers.
What do you hope to accomplish as an artist in the animation industry?
You know, I used to have these big dreams of show-running an original idea and getting famous or whatever, but as I age I recognize that the satisfaction of creation isn’t something that can be given to you by a corporation. So I’m currently fairly content with playing my small part on a big team. The joy of animation is that it isn’t something individuals can really do at-scale, so right now I’m very happy to lend my voice to the choir instead of spending energy fighting for the spotlight. As far as my desire to accomplish or change anything, I really feel that the animation industry needs way more diverse voices in places of power, and I’m only really hoping that my inclusion on a project will mean there’s one more person willing to fight for marginalized representation—on the screen but especially behind it.
What does being in the Union mean to you?
It’s a privilege to be in the Union! It is the best defense we have against labor abuse. The quality-of-life our Union upholds for our members is quite literally the only reason I can even participate in this industry to begin with. I truly believe that unanimous worker solidarity is the only way to negotiate a fair contract, and I am happy to be a part of an organization whose purpose is to prioritize the well-being of its members and the longevity of our careers.
See more of Rian’s work at their website.
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