Today we’d like to introduce you to Mel Mccann
Hi Mel, so excited to have you with us today. What can you tell us about your story?
Sure! I’ve always been a massive fan of animation. Since I was a kid, it was something I clung to. The first time I saw Ariel singing “Part of Your World,” I was instantly entranced. The way she reached toward the screen sincerely reached into my being. To this day, Glen Keane is one of my favorite animators. I was always picking up a pencil and drawing on any scrap of paper I could find. My mom had to send in many bills with scribbles on the envelopes. Even with this passion for art, I didn’t expect to go into the field of animation.
It wasn’t until I was sitting in a Sociology course in community college at 18, doodling when I should have been paying attention to the exam review, that it clicked: this isn’t where I belong. I didn’t know where I should be, but I knew it wasn’t there. That’s when I started to look at a four-year art school as the next step. I also knew I had to convince my family and friends that making that shift was worth the investment. Although I don’t think you must attend college to be a successful artist, it just made the most sense for me.
Growing up in a single-parent household, I knew it was risky because of the “starving artist” stigma. And being so far removed from the industry, I had no idea how I would break in. Regardless, I knew I needed the space and time to fully understand the practice and where I specifically could fit in this field. That’s how I found the College for Creative Studies in Detroit. I didn’t know it yet, but it was my best decision—though one of the most financially risky. The uncertainty of employment weighed heavily upon me as graduation approached. But I had a BFA and a portfolio; what could get in my way?
Entering the industry two years into the 2008 recession was a huge bump that altered my expectations. I had dreamed of landing in Los Angeles, but it wasn’t easy. Although I was storyboard testing for studios like Cartoon Network and getting some interest from other properties, securing that first gig was tough. So many talented people with much more experience were available. It reminds me of what we’re seeing in the industry today. Even so, I had to prove that everything leading me to this point would pay off. I continued developing my portfolio and became more open to different creative roles, such as graphic design and creative direction while doing freelance character animation on the side.
Working in design gave me insight into branding and a fast-paced environment. It also allowed me to see another way to use animation in the commercial industry. Early on, doing ‘cel’ animation (frame-by-frame) freelance for studios such as Gunner and Yeah Haus also deepened my love for this aspect of the advertising industry. The excitement of jumping from project to project, encapsulating characters in a limited time, and figuring out how to complement editorial illustrations with hand-drawn motion was life-changing. These experiences allowed me to grow significantly from the range of projects I got to touch.
As my animation work began to build, I was invited to teach a production course for animation at my alma mater. Teaching has been an incredible experience, especially related to your craft. It brought me back to the basics, articulating workflow processes, diving deeper into technical aspects, and revisiting the youthful ambition of exploring my creative freedom. It completely altered my understanding of what I do.
Growing into a role as an assistant professor and later the director of animation also taught me many things and fulfilled me in ways I never anticipated. Watching students develop over four years—not just in their skill set but also in their creative voice and as young adults—is incredible. Seeing them go off to do brilliant work or sometimes even become a partner or colleague is fantastic. It also taught me what it means to be a strong leader—not only as a mentor but also as a teacher. I learned how to articulate a process, develop a healthy production schedule, and continue exploring what I want to say as an artist.
These experiences have been instrumental in developing my practice, Eat Rice Studio, and advancing my animation career. Working with various studios and people worldwide has been an incredible journey. I’ve had opportunities to meet professionals, learn from their ways, develop lasting partnerships, and create beautiful work. Additionally, this journey has allowed me to provide my students with their first studio experience and to contract work with talented alumni, which is immensely rewarding.
Reflecting on my story, I’ve realized that following what feeds your passion, taking risks, giving back, and continuously learning truly pays off. However, being patient with yourself and your progress is equally important. Success doesn’t have to happen here and now and precisely how you imagined it. Taking your time and being open to exploring the offbeat path is okay.
Alright, so let’s dig a little deeper into the story – has it been an easy path overall and if not, what were the challenges you’ve had to overcome?
Imposter syndrome was my biggest struggle early in my career. You never completely get over it, but learn to manage it as you develop your craft. The worst thing about imposter syndrome is not valuing yourself enough, which can later lead to issues with lower rates and overworking. It can also affect your perspective of yourself, and people can sense that from you and, in turn, treat you the same way. I learned to counteract this by reminding myself, “These studios hired you for a reason.” As I gained more experience, I realized that many people, even the most skilled in the highest roles, battle this feeling. We’re all just big kids trying to figure things out. Eventually, you get to a point where you can talk yourself out of the behavior or take a moment to acknowledge that it’s bubbling up and move on. If you’re sitting there beating yourself up, that shot isn’t getting done or, at the very least, not allowing you to tap into your full potential.
The hustle mindset was another struggle along the way. Being eager and willing to pull all-nighters and overextend myself on multiple projects was a terrible approach. Not only does your health suffer, but the animation does, too. Continuing this pattern makes it easier to experience burnout, which can be crippling and take months to recover from. Unfortunately, “hustle culture” is a byproduct of many creative industries, especially entertainment and advertising. Don’t get me wrong—sometimes you still have to bring the hustle, but that project you’re working on isn’t worth killing yourself over. It’s just a tiny blip compared to the most essential things that make up your life. I’m not saying anyone should miss a deadline or not meet their goals, but finding a healthy balance, better understanding your habits, setting boundaries, and feeding your brain by experiencing life are all significant factors in continuing to practice in a creative field.
The last challenge for me was not being taken seriously, not just as a symptom of being a woman but also as a kind and open person. Some people may take advantage of that or see it as a weakness. Now that I have a much more established reputation, I don’t see it as much, but it was incredibly frustrating early on. There were folks I worked with who had zero experience in cel animation, who dismissed my expertise, and who didn’t understand the complexity of the process. It was incredibly frustrating, and many of us are still burned by it. We’re here to bring magic—to put essence into a 2-dimensional character. It’s the charm of the narrative, the thing that audiences connect to. It’s something that can’t be approached the same way each time. It’s just a feeling encapsulated in drawings, rhythm, and repetition. With that, it can be a push-and-pull battle when the person(s) you’re working for doesn’t trust the artist to bring it to life. It always makes me think of a cheeky comment my mentor Steve Stanchfield shared when working with the brilliant female animator Luisa Moreno. She would always say to her directors in her low, raspy voice, “Don’t worry, darlin’. You’re going to love it.”
Thanks – so what else should our readers know about Eat Rice Studio?
Eat Rice Studio is my baby—a place where characters are brought to life and narratives are told with heart and precision. Whether you’re an individual client or a bustling studio, collaboration lies at the core of everything we do. At Eat Rice, we specialize in cel animation, offering a unique blend of creative expertise and comprehensive production support. From character animation to storyboarding and concept, we handle every aspect of development, ensuring that each project is tailored to meet its specific needs.
What sets Eat Rice Studio apart is our deep commitment to storytelling and performance. We infuse each project with characters that have personality, emotion, and a narrative that truly resonates with audiences. Our versatility and collective spirit allow us to craft personalized solutions that bring narratives to life in visually stunning and emotionally engaging ways. With a strong background in 2D animation and an expansive network of talented alumni and colleagues, we curate specialized teams ideally suited for each project. This focus on quality and the magic of storytelling is what makes us stand out.
At Eat Rice Studio, we don’t just produce animations; we create experiences that connect with audiences on a deeper level. Our work has helped clients across diverse industries bring their unique visions to life, from advertising agencies to independent filmmakers. If you’re looking for a partner who values creativity, champions creative voices, and quality work as much as you do, Eat Rice Studio is here to help you tell your story.
What’s next?
Lately, the studio has been diving into original content, like bite-size shorts, allowing us to create work we genuinely believe in. Whether crafting character-driven moments or experimenting with new animation techniques, these projects are about putting out the work that excites us and reflects our passion. For me, what makes this journey even more special is being able to do it alongside friends and talented peers. There’s nothing better than collaborating with people I trust and respect, bringing these ideas to life together, and sharing them with the world.
Outside of that, I have also personally been exploring other creative avenues, like designing apparel and creating gallery pieces, to keep things fresh and expand my artistic horizons. Since animation has become the job, finding those other avenues and discovering different ways to express yourself is essential. I’m excited to see where the creativity—and these collaborations—take me and the studio next.
Contact Info:
- Website: http://www.eatrice.studio
- Instagram: https://www.instagram.com/eat_rice
- Facebook: https://www.facebook.com/EatRiceStudio
- Twitter: @melimator
Image Credits
“Getcha Morty” character animator and storyboard artist | Directed by Yeah Haus | Client: Adult Swim
“Care for Each Other” illustrator and art director | Directed by Zara Creative | Client: Ford SDI
“Psych-Out” character animator | Directed by First Fight
“Koala Boys” animator and art director | “My Party Animation Jam” coordinated by Dillan Murillo and Senna Church
“Climber” animator, art director, and storyboard artist | Directed by Yeah Haus | Client Culturelle
“Buddha of Kamakura” animator and art director | Personal Project
“Buddha of Kamakura” shown at Re/View Alumni Exhibition 2024
“Let’s Go Girls” shown at Dirty Show 2024
“Roadkill” over shoulder shot od traditional animation.