Alright – so today we’ve got the honor of introducing you to Mel McCann. We think you’ll enjoy our conversation, we’ve shared it below.

Mel, thanks for joining us, excited to have you contributing your stories and insights. Are you happier as a creative? Do you sometimes think about what it would be like to just have a regular job? Can you talk to us about how you think through these emotions?

I often wonder what having a typical 9-to-5 gig would be like. It’s a bit of a struggle to wrap your head around the fact that your passion has turned into your job. Juggling the demands of professional creativity and finding time for personal projects is no joke, especially after spending the day making and solving problems. Many creatives, including myself, started creating for the joy of it at a young age, and I sometimes miss that escape into another world.

The dynamic changes once you transition into being a professional artist in the commercial realm. Your work becomes more about fitting into someone else’s vision, and the personal projects take a backseat. Sure, you can still connect with the projects and infuse your essence into them, but it’s usually within the framework of someone else’s ideas. Don’t get me wrong; navigating different teams, visions, and executions is thrilling and enjoyable. But there are moments when you feel the weight of consistently creating for someone else.

In those moments, you start wondering if the grass is truly greener on the other side. Should art have remained a hobby? Yet, simultaneously, it’s hard to envision doing anything else.

Awesome – so before we get into the rest of our questions, can you briefly introduce yourself to our readers.

I’ve worn quite a few hats in my field. Primarily, I’m a traditional or frame-by-frame character animator, but my career has seen me take on roles as an educator, art director, mentor, and studio lead. My journey into this line of work started with the sheer wonder of loving animation as a kid, constantly sketching on any scarp piece of paper I could find.

Initially, in college, I veered towards a different field due to the lingering taboo around pursuing art as a profession, with the whole “starving artist” stigma still hanging in the air. While studying Sociology, I found myself doodling in classes, struggling to muster the same excitement I felt for my art. It was then that I decided to go against everyone’s advice and transferred to the College for Creative Studies with an emphasis in Animation.

Graduating during the recession was tough. I wanted to prove that my four-year investment wasn’t in vain, but finding work in entertainment, especially in Detroit, posed a significant challenge. Despite the pressure to move to LA, I stayed in Michigan, becoming an Art Director at smaller companies, not engaging as much in animation. Surprisingly, my illustration and design sensability opened unexpected doors in Graphic Design, and I learned a multitude of unique skills while connecting with exceptionally talented creatives.

Despite my day job, I kept practicing my craft, animating traditionally, and picking up gigs on the side. As my reel improved, I noticed increased interest in my animation work. So, as my portfolio and confidence grew, I took the plunge into freelancing under the studio name Eat Rice. Simultaneously, I took on an adjunct position back at my alma mater, eventually evolving into an Assistant Professor and then Director of Animation.

Being an educator transformed my life. I gained insights from my students, learned more about my craft, and witnessed the exciting journeys of students beyond CCS. In addition to sharing my knowledge and mentoring, I was also able to provide opportunities through my connections as a freelancer and studio owner was immensely rewarding.

As mentioned, I’ve got to work in various roles– character animator, art director, lead animator, and recruiter. My educator role allows me to approach projects with a thorough understanding of the process, providing advice to studios venturing into hand-drawn animation, a frequent occurrence in the ad world. It’s also allowed me to use my studio to build teams on demand and execute entire projects, alongside the access of just hiring myself as a freelancer. It’s pretty exciting to jump around onto other teams, experience different studio cultures, and touch a lot of different styles.

Working in advertising and motion design as a frame-by-frame animator adds a unique edge that’s not always captured with 2D animation. Referred to as “cel animators,” we emphasize empathy with characters and highlight the importance of storytelling. Folks like myself have backgrounds in entertainment bring a spark and life to the animation, adding a human element to the work, which can offer an unexpected edge to the ad industry. And yes, I’ve also dabbled in entertainment projects along the way. But have enjoyed the flexibility of existing on those two spectrums.

How can we best help foster a strong, supportive environment for artists and creatives?

Art is remarkably woven into our daily lives, yet its significance is often overlooked. A striking example of this occurred during the peak of COVID-19, when entertainment consumption skyrocketed, leading to a substantial growth in animation due to the limitations on live-action filming. Despite the industry’s boom during that period, the present landscape reveals studio buyouts, strikes, and a decline in animation and the artists’ well-being. Witnessing this disregard for a medium that once brought solace during challenging times can feel disheartening.

As highlighted in my background, a stigma remains surrounding the pursuit of art as a profession. Despite its integral role in our daily existence, it’s often undervalued and considered more of a “hobby” or “trivial” than other pursuits. However, my experience in the field has taught me that a career in the arts is emotionally and mentally demanding, surpassing the challenges of past conventional jobs. It delves into personal and vulnerable realms, which, in turn, is how we connect to our audiences.

What could truly make a difference and foster our collective well-being is the acknowledgment that art and creativity are just as vital as science and mathematics. Art has documented our history, served as a unifying force for humanity, and contributed to our need to stimulate our senses and minds. Recognizing its importance is vital to nurturing a thriving and balanced society.

What’s the most rewarding aspect of being a creative in your experience?

The most rewarding thing about being an artist is maintaining a relationship with my imagination. It’s not always an easy place to access, not as robust and boundless as it was in my childhood, but I’m grateful it’s still there.

I think the most challenging part about growing up is you’re always chasing that same feeling. Always nostalgic for those memories of your summers in elementary school- how slow time seemed to pass. The world felt vast, and the future held endless possibilities. This is not to say that these moments still can’t exist as you grow, but they change.

We don’t play as much as we used to; we don’t have the time, the resources, and the mind space, and without exploration, the imagination can dull. Having a profession that permits me to revisit that imagination is a unique and amazing privilege.

Contact Info:

• Website: http://www.eatrice.studio
• Instagram: https://www.instagram.com/eat_rice/
• Linkedin: https://www.linkedin.com/in/melmccann/

Image Credits
Image 01 – Koalas: Still frame of my character animation contribution of the animal titled “My Party” organized by Dillan Murillo and Senna Church. Image 02 – Getcha Morty: Still frame of my character animation for Yeah Haus’ Adult Swim Bumper “Getcha Morty”. Was also responsible for storyboards and animatic. Image 03 – Climber: Still frame of my character animation for Yeah Haus’ spot for Culturelle. I assisted with art direction and was the animation lead for the campaign. Image 04 – Buddha of Kamakura: Still from a small personal project inspired by my trip to Japan. My husband and I had visited the Great Buddha of Kamakura and later enjoyed in some yummy Ramen. Image 05 – Chinese New Year: Still frame of my character animation for Kingdom of Something’s spot with Panda Express. It included two short films teaching kids about the Chinese New Year. Image 06 – Comnunity: Final style frame for Ford SDI’s commission of a short animation narrating the program’s mission. I was the co-art director and storyboard artist for the concept.