For over 30 years, the Nickelodeon Animation Studio continues to be one of the largest producers of television animation in the world, reflecting all kids today. Based in Burbank, Calif., with offices in New York, the Studio, designed by our artists and for our artists, is home to the world's greatest creative talents. Our campus of creativity houses top-notch talent, storytellers, artists, production teams, voice actors, cartoon experts and more. At Nickelodeon, we are always looking to recruit dedicated craftspeople to help bring groundbreaking new ideas to life and that starts with you! We are leading the way in animated content for TV series, TV movies, shorts and  theatrical features. Some of our new upcoming original animated series include, Kamp Koral: SpongeBob's Under Years, Rugrats, Middlemost Post, Star Trek: Prodigy, Big Nate and Santiago of the Seas, among others.Our content development teams are creator-driven, our work culture is collaborative, our mentorship of new talent is second to none, and we are committed to hiring inclusively to reflect authenticity in the diverse stories we want to tell.Join us!  <h2>Summary</h2>Nickelodeon Animation Studio is looking for a Lighting and Compositing Artist with a strong technical background for Kamp Koral! The ideal candidate is comfortable with solving technical/creative problems and is able to communicate effectively on a timely basis.<h2>Responsibilities</h2><ul><li>Work closely with the Compositing Supervisor and CG Supervisor to identify areas of improvement on existing workflows related to Lighting, Rendering, and Compositing</li><li>Develop and maintain custom Maya/Nuke tools/scripts for the internal/overseas teams</li><li>Aid in establishing accurate pipeline workflow with detailed documentation explaining tools and techniques for the internal and overseas teams</li><li>Develop the desired look via lighting setups and compositing templates based on 2D concepts</li><li>Fix incoming composited shots when needed for final approval</li></ul><h2>Qualifications</h2><ul><li>Extensive knowledge of and experience with Maya, Nuke, and Redshift is required</li><li>Working knowledge of Photoshop and Shotgun needed</li><li>Experience and interest in improving existing tools and pipelines through R&amp;D/scripting are needed.</li><li>Experience and knowledge with scripting (Python, PyMel, Mel) specifically for Maya and Nuke</li><li>Experience developing Nuke gizmos/tools</li><li>Ability to prototype quickly and deliver solutions in pre-existing/new pipelines with minimal supervision</li><li>Understanding of lighting/compositing techniques/workflows including Physically Based Rendering, Projections &amp; Nuke 3D system, Camera Tracking, AOVs/Cryptomattes, &amp; Deep Compositing</li></ul>  Paramount is an equal opportunity employer (EOE) including disability/vet.  At Paramount, the spirit of inclusion feeds into everything that we do, on-screen and off. From the programming and movies we create to employee benefits/programs and social impact outreach initiatives, we believe that opportunity, access, resources and rewards should be available to and for the benefit of all. Paramount is proud to be an equal opportunity workplace and is an affirmative action employer. We are committed to equal employment opportunity regardless of race, color, ethnicity, ancestry, religion, creed, sex, national origin, sexual orientation, age, citizenship status, marital status, disability, gender identity, gender expression, and Veteran status. If you are a qualified individual with a disability or a disabled veteran, you may request a reasonable accommodation if you are unable or limited in your ability to use or access. https://www.paramount.com/careers as a result of your disability. You can request reasonable accommodations by calling 212.846.5500 or by sending an email to viacomaccommodations@viacom.com. Only messages left for this purpose will be returned.

Lighting and Compositing Artist (Kamp Koral)

For over 30 years, the Nickelodeon Animation Studio continues to be one of the largest producers of television animation in the world, reflecting all kids today. Based in Burbank, Calif., with offices in New York, the Studio, designed by our artists and for our artists, is home to the world's greatest creative talents. Our campus of creativity houses top-notch talent, storytellers, artists, production teams, voice actors, cartoon experts and more. At Nickelodeon, we are always looking to recruit dedicated craftspeople to help bring groundbreaking new ideas to life and that starts with you! We are leading the way in animated content for TV series, TV movies, shorts and  theatrical features. Some of our new upcoming original animated series include, Kamp Koral: SpongeBob's Under Years, Rugrats, Middlemost Post, Star Trek: Prodigy, Big Nate and Santiago of the Seas, among others.Our content development teams are creator-driven, our work culture is collaborative, our mentorship of new talent is second to none, and we are committed to hiring inclusively to reflect authenticity in the diverse stories we want to tell.Join us!  <h2>Responsibilities:</h2>Aid CG Supervisor and Show Runners to fulfill their creative vision by maintaining and improving the Nickelodeon CG show's lighting, compositing, and rendering (LRC) pipeline.For each episodic segment, gauge storyboard and animatics from an LRC stand-point during breakdown meetings to ensure timely delivery within the confines of our production model.Prior to episode ship dates, note LRC and FX requirements including unique lighting and compositing scenarios, light rigs, time of day, and key light direction for each episode in the appropriate tracking software to ensure that vendor studios have initial guidance for the final look of each scene within each episode.Instruct vendor studios by making notes, video notes, paint-overs and whatever else necessary to correct inconsistencies, mistakes and/or misdirection on “final” shots that are received from vendor studios.<h2>Additional Responsibilities:</h2><ul><li>Work closely with the CG supervisor on best practices and methods regarding lighting, compositing, rendering, and FX.</li><li>Review episodic animation during lighting &amp; compositing stage, provide feedback and direction to studios.</li><li>Call out and note all Lighting/Compositing/FX issues in the storyboard (prior to animation beginning).</li><li>Attend meetings early in the process (board pitches, animatic reviews, Lighting and FX breakdowns, etc.) to understand the episode’s direction and requirements.</li><li>Attend meetings with vendor studios to address LRC technical issues and concerns.</li><li>Reports directly to the CG Supervising Producer and can make recommendations about other aspects of the production but ultimately communicates directly with CG SP only.</li></ul><h2>Qualifications:</h2><ul><li>Knowledgeable in Nuke compositing methods involving 3d workspace, re-lighting, tracking, and utilizing AOV/Cryptomatte/Deep passes.</li><li>Well-versed in the following software: Nuke, Maya, Redshift, Photoshop, and ShotGrid.</li><li>Knowledgeable in Redshift including render time optimization and setting up AOV/Cryptomatte/Deep renders.</li></ul>  Paramount is an equal opportunity employer (EOE) including disability/vet.  At Paramount, the spirit of inclusion feeds into everything that we do, on-screen and off. From the programming and movies we create to employee benefits/programs and social impact outreach initiatives, we believe that opportunity, access, resources and rewards should be available to and for the benefit of all. Paramount is proud to be an equal opportunity workplace and is an affirmative action employer. We are committed to equal employment opportunity regardless of race, color, ethnicity, ancestry, religion, creed, sex, national origin, sexual orientation, age, citizenship status, marital status, disability, gender identity, gender expression, and Veteran status. If you are a qualified individual with a disability or a disabled veteran, you may request a reasonable accommodation if you are unable or limited in your ability to use or access. https://www.paramount.com/careers as a result of your disability. You can request reasonable accommodations by calling 212.846.5500 or by sending an email to viacomaccommodations@viacom.com. Only messages left for this purpose will be returned.

CG Compositing Director (CG Series)

For over 30 years, the Nickelodeon Animation Studio continues to be one of the largest producers of television animation in the world, reflecting all kids today. Based in Burbank, Calif., with offices in New York, the Studio, designed by our artists and for our artists, is home to the world's greatest creative talents. Our campus of creativity houses top-notch talent, storytellers, artists, production teams, voice actors, cartoon experts and more. At Nickelodeon, we are always looking to recruit dedicated craftspeople to help bring groundbreaking new ideas to life and that starts with you! We are leading the way in animated content for TV series, TV movies, shorts and  theatrical features. Some of our new upcoming original animated series include, Kamp Koral: SpongeBob's Under Years, Rugrats, Middlemost Post, Star Trek: Prodigy, Big Nate and Santiago of the Seas, among others.Our content development teams are creator-driven, our work culture is collaborative, our mentorship of new talent is second to none, and we are committed to hiring inclusively to reflect authenticity in the diverse stories we want to tell.Join us!  <h2>Summary:</h2>The Design Supervisor is responsible for supporting the Art director with the overall visual development of the show. Someone in this role will communicate with and guide all artists on completing the following tasks: BG Design, Prod Design, FX Design, and general look dev for the show.The Design Supervisor will work closely with the Line Producer and Production Manager to adhere to the production schedule, ensuring the team meets key milestones and deadlines for all visual development needs.<h2>Responsibilities:</h2><ul><li>Assist Art Director with developing the look of the film</li><li>Handout Background Design assignments to the Vis Dev team</li><li>Proactively communicate with Art Director and production team to anticipate and tackle potential problems</li><li>Guide all BG Design artists on completing their work in a timely manner adhering to the design language of the show</li><li>Translate and clarify the Art Director’s vision for the look of the film to the artistic crew</li><li>Review assignments with Art Director for final approval</li></ul>  Paramount is an equal opportunity employer (EOE) including disability/vet.  At Paramount, the spirit of inclusion feeds into everything that we do, on-screen and off. From the programming and movies we create to employee benefits/programs and social impact outreach initiatives, we believe that opportunity, access, resources and rewards should be available to and for the benefit of all. Paramount is proud to be an equal opportunity workplace and is an affirmative action employer. We are committed to equal employment opportunity regardless of race, color, ethnicity, ancestry, religion, creed, sex, national origin, sexual orientation, age, citizenship status, marital status, disability, gender identity, gender expression, and Veteran status. If you are a qualified individual with a disability or a disabled veteran, you may request a reasonable accommodation if you are unable or limited in your ability to use or access. https://www.paramount.com/careers as a result of your disability. You can request reasonable accommodations by calling 212.846.5500 or by sending an email to viacomaccommodations@viacom.com. Only messages left for this purpose will be returned.

Design Supervisor (2D Feature)

For over 30 years, the Nickelodeon Animation Studio continues to be one of the largest producers of television animation in the world, reflecting all kids today. Based in Burbank, Calif., with offices in New York, the Studio, designed by our artists and for our artists, is home to the world's greatest creative talents. Our campus of creativity houses top-notch talent, storytellers, artists, production teams, voice actors, cartoon experts and more. At Nickelodeon, we are always looking to recruit dedicated craftspeople to help bring groundbreaking new ideas to life and that starts with you! We are leading the way in animated content for TV series, TV movies, shorts and  theatrical features. Some of our new upcoming original animated series include, Kamp Koral: SpongeBob's Under Years, Rugrats, Middlemost Post, Star Trek: Prodigy, Big Nate and Santiago of the Seas, among others.Our content development teams are creator-driven, our work culture is collaborative, our mentorship of new talent is second to none, and we are committed to hiring inclusively to reflect authenticity in the diverse stories we want to tell.Join us!  <h2>Summary:</h2>Nickelodeon Animation Studio is looking for a Digital Animator to join the Big Nate team! We are looking for an artist that is a great team player, out of the box creative, and ready to grow with an animation team as well as look to expand the vocabulary of what animation can be (and bring that wacky 90s animation magic)!<h2>Responsibilities:</h2><ul><li>Candidate should have experience working with cutout animation and digital puppetry using After Effects tools. Digital compositing experience with After Effects is also a PLUS.</li><li>Work with Digital Animation Supervisor to support the show.</li><li>Create/animate and composite 2D and 3D VFX.</li><li>Model/Texture 3D toon-shaded props and vehicles and composite with 2D plates.</li><li>Animate 2D retakes in Harmony.</li></ul><h2>Qualifications:</h2><ul><li>Candidate should be familiar with Adobe Suite, especially Adobe After Effects and Photoshop. Premiere skills also a plus.</li><li>The ideal candidate should be a generalist, able to solve problems across multiple platforms and pipelines.</li><li>Knowledge of cutout style animation, particularly Terry Gilliam, and JibJab. Related uses of that style a plus.</li><li>Skills in stop-motion animation and fabrication, downshooter, and pixelation. Other types of alternate/experimental animation would be a huge plus!</li><li>Familiar with animating and compositing using Adobe After Effects.</li></ul><h2>Additional Qualifications:</h2><ul><li>2-4 years of industry experience in film, broadcast, and/or games (Not Mandatory).</li><li>BA/BS preferred, or equivalent combination of education and experience.</li><li>Please have portfolio links of relevant art (including collage, cutout, photobashing, etc) and video (animation samples).</li></ul>  Paramount is an equal opportunity employer (EOE) including disability/vet.  At Paramount, the spirit of inclusion feeds into everything that we do, on-screen and off. From the programming and movies we create to employee benefits/programs and social impact outreach initiatives, we believe that opportunity, access, resources and rewards should be available to and for the benefit of all. Paramount is proud to be an equal opportunity workplace and is an affirmative action employer. We are committed to equal employment opportunity regardless of race, color, ethnicity, ancestry, religion, creed, sex, national origin, sexual orientation, age, citizenship status, marital status, disability, gender identity, gender expression, and Veteran status. If you are a qualified individual with a disability or a disabled veteran, you may request a reasonable accommodation if you are unable or limited in your ability to use or access. https://www.paramount.com/careers as a result of your disability. You can request reasonable accommodations by calling 212.846.5500 or by sending an email to viacomaccommodations@viacom.com. Only messages left for this purpose will be returned.

Assistant Digital Animator (Big Nate)

For over 30 years, the Nickelodeon Animation Studio continues to be one of the largest producers of television animation in the world, reflecting all kids today. Based in Burbank, Calif., with offices in New York, the Studio, designed by our artists and for our artists, is home to the world's greatest creative talents. Our campus of creativity houses top-notch talent, storytellers, artists, production teams, voice actors, cartoon experts and more. At Nickelodeon, we are always looking to recruit dedicated craftspeople to help bring groundbreaking new ideas to life and that starts with you! We are leading the way in animated content for TV series, TV movies, shorts and  theatrical features. Some of our new upcoming original animated series include, Kamp Koral: SpongeBob's Under Years, Rugrats, Middlemost Post, Star Trek: Prodigy, Big Nate and Santiago of the Seas, among others.Our content development teams are creator-driven, our work culture is collaborative, our mentorship of new talent is second to none, and we are committed to hiring inclusively to reflect authenticity in the diverse stories we want to tell.Join us!  <h2>Summary:</h2>Nickelodeon Animation is looking for a Technical Director to join the studio. The Technical Director is responsible for helping show leadership and other supervisors fulfill their creative vision by developing solutions for Creative Leads/Artists, troubleshooting day to day problems, and providing workflow consultation.Under the supervision of show leadership, the Technical Director works with the production management and creative teams to develop the tools and pipeline for current projects.The TD will also assist the production and creative teams with developing new techniques and pipeline standards.This position requires balancing several tasks in a continuously changing environment.<h2>Responsibilities:</h2><ul><li>Work with the show leads and Animation Technology to automate common tasks, develop novel tools to achieve creative goals, and script pipeline solutions.</li><li>Create user interfaces for artists to run scripts and processes.</li><li>Being knowledgeable about our pipeline workflow across departments.</li><li>Creating and implementing new tools and techniques for Storyboard Pro, Flix, and ShotGrid using the Python scripting language.</li><li>Able to create new software, extend existing code, and maintain proprietary tools.</li><li>Setup and support artists and production management using in-house tools.</li></ul><h2>Qualifications:</h2><ul><li>Working knowledge of Storyboard Pro, Flix, and ShotGrid</li><li>Should have 3-5 years of industry experience in film, broadcast, and/or games</li><li>It is vital to have a familiarity with the production process</li><li>Must have experience scripting with Python for multiple creative and production teams</li><li>Experience with UI design is a plus</li><li>Must be organized and have great communication skills</li><li>The ideal candidate should be a generalist with the ability to jump from problems to solutions in short order</li><li>A great "can do" attitude and open-mindedness to non-traditional solutions</li></ul>  Paramount is an equal opportunity employer (EOE) including disability/vet.  At Paramount, the spirit of inclusion feeds into everything that we do, on-screen and off. From the programming and movies we create to employee benefits/programs and social impact outreach initiatives, we believe that opportunity, access, resources and rewards should be available to and for the benefit of all. Paramount is proud to be an equal opportunity workplace and is an affirmative action employer. We are committed to equal employment opportunity regardless of race, color, ethnicity, ancestry, religion, creed, sex, national origin, sexual orientation, age, citizenship status, marital status, disability, gender identity, gender expression, and Veteran status. If you are a qualified individual with a disability or a disabled veteran, you may request a reasonable accommodation if you are unable or limited in your ability to use or access. https://www.paramount.com/careers as a result of your disability. You can request reasonable accommodations by calling 212.846.5500 or by sending an email to viacomaccommodations@viacom.com. Only messages left for this purpose will be returned.

Technical Director (Features)

For over 30 years, the Nickelodeon Animation Studio continues to be one of the largest producers of television animation in the world, reflecting all kids today. Based in Burbank, Calif., with offices in New York, the Studio, designed by our artists and for our artists, is home to the world's greatest creative talents. Our campus of creativity houses top-notch talent, storytellers, artists, production teams, voice actors, cartoon experts and more. At Nickelodeon, we are always looking to recruit dedicated craftspeople to help bring groundbreaking new ideas to life and that starts with you! We are leading the way in animated content for TV series, TV movies, shorts and  theatrical features. Some of our new upcoming original animated series include, Kamp Koral: SpongeBob's Under Years, Rugrats, Middlemost Post, Star Trek: Prodigy, Big Nate and Santiago of the Seas, among others.Our content development teams are creator-driven, our work culture is collaborative, our mentorship of new talent is second to none, and we are committed to hiring inclusively to reflect authenticity in the diverse stories we want to tell.Join us!  The Production Accountant (Features and Movies) will assist the Manager, Production Accounting to manage the overall financial responsibilities for a number of Feature and SVOD productions. This position will work closely with Production Management, Line Producers, Production Managers, and Finance to manage the budget, forecast and performance tracking activities of the animated productions, to ensure complete, accurate and timely cost reporting.<h2>Responsibilities:</h2><h2>Production Finance</h2><ul><li>Day-to-day management of production finances and relationships related to the assigned animated Features and SVOD productions spend, including rolling forecast updates, scenario planning, journal entry processing, expense research, account reconciliations, crew payroll, and ad-hoc reporting and analysis.</li><li>Conduct ongoing meetings with production teams to analyze the budget versus actual spend, and to identify areas for reallocating funds to remain on plan, and report on any risks and opportunities to management.</li><li>Coordinate the release of timely cost reports, production variance schedules, dashboards, production cash flows, and production post-mortems.</li><li>Continue to maximize SAP cost reporting abilities for internal and external productions; collaborate with productions on the opportunities to utilize our systems to create efficiencies and maintain financial controls.</li><li>Provide and present clear, accurate and timely production planning scenarios and analysis to Producers.</li><li>Assist with the processing of POs and vendor set-ups.</li><li>Support Manager, Production Accounting in a variety of cross-functional, studio-wide strategic projects.</li><li>Contribute to the design and build of analytical reports and tracking tools used for reporting and analysis.</li></ul><h2>Corporate Finance</h2><ul><li>Collaborate with Manager, Production Accounting to reconcile and true-up productions Estimated Final Costs (EFC) and Long-Range Plans (LRPs).</li><li>Analyze, track, and research variances regarding actuals vs. budgets/estimates, ensuring that all data is properly loaded into financial systems and information managed to relevant client groups.</li><li>Partner with Manager, Production Accounting to update cash flow pacing and update financial systems, providing cause of change versus prior forecasts.</li><li>Assist with requests regarding continuous improvement initiatives, production/studio matters, cash flow analysis, journal entries, and internal/external audit requests as necessary.</li></ul><h2>Qualifications</h2><ul><li>4 years of production accounting experience preferably within the animation production landscape.</li><li>Excellent teamwork, critical thinking, communication, and leadership skills.</li><li>Highly proficient in Excel.</li></ul><h2>Additional Qualifications</h2><ul><li>Strong working knowledge of production process and accounting for Animation properties.</li><li>Ability to forge partnerships with producers, production managers and studio executives.</li><li>Strong working knowledge of Microsoft Excel.</li><li>Experience with SAP a plus.</li><li>Familiar with Local 839 IATSE Agreement related to animation guild contracts.</li></ul>  Paramount is an equal opportunity employer (EOE) including disability/vet.  At Paramount, the spirit of inclusion feeds into everything that we do, on-screen and off. From the programming and movies we create to employee benefits/programs and social impact outreach initiatives, we believe that opportunity, access, resources and rewards should be available to and for the benefit of all. Paramount is proud to be an equal opportunity workplace and is an affirmative action employer. We are committed to equal employment opportunity regardless of race, color, ethnicity, ancestry, religion, creed, sex, national origin, sexual orientation, age, citizenship status, marital status, disability, gender identity, gender expression, and Veteran status. If you are a qualified individual with a disability or a disabled veteran, you may request a reasonable accommodation if you are unable or limited in your ability to use or access. https://www.paramount.com/careers as a result of your disability. You can request reasonable accommodations by calling 212.846.5500 or by sending an email to viacomaccommodations@viacom.com. Only messages left for this purpose will be returned.

Production Accountant

For over 30 years, the Nickelodeon Animation Studio continues to be one of the largest producers of television animation in the world, reflecting all kids today. Based in Burbank, Calif., with offices in New York, the Studio, designed by our artists and for our artists, is home to the world's greatest creative talents. Our campus of creativity houses top-notch talent, storytellers, artists, production teams, voice actors, cartoon experts and more. At Nickelodeon, we are always looking to recruit dedicated craftspeople to help bring groundbreaking new ideas to life and that starts with you! We are leading the way in animated content for TV series, TV movies, shorts and  theatrical features. Some of our new upcoming original animated series include, Kamp Koral: SpongeBob's Under Years, Rugrats, Middlemost Post, Star Trek: Prodigy, Big Nate and Santiago of the Seas, among others.Our content development teams are creator-driven, our work culture is collaborative, our mentorship of new talent is second to none, and we are committed to hiring inclusively to reflect authenticity in the diverse stories we want to tell.Join us!  <h2>Summary:</h2>The Assistant Picture Editor supports the Picture Editor in managing the editing process on the show, from initial import and assembly, to final online, and outputs. In addition to the Picture Editor, this person is the repository for all technical knowledge of the editing process on the show.<h2>Responsibilities:</h2><ul><li>Duties include receiving, importing, organizing, and offline assembling of picture materials, secondary effects, titling, online, various QuickTime encodes, and outputs to various interchange, delivery, and archive file formats. Also, performing insert edits for QC fixes to digital files using Cinedeck or similar software.</li><li>This person should be highly organized and have an encyclopedic knowledge of the editing system being used (Avid).</li><li>The Assistant Editor must be able to quickly and effectively render requests while keeping schedules, technical standards, and deadlines in mind.</li></ul><h2>Qualifications:</h2><ul><li>Extensive knowledge and experience of the Assistant Editorial process utilizing Avid, including import/export to/from all final delivery file formats is required.</li><li>Photoshop, Premiere, After Effects, DaVinci Resolve, and Storyboard Pro knowledge a plus.</li><li>Bachelor's degree in Film Production, related field, or equivalent work experience.</li></ul>  Paramount is an equal opportunity employer (EOE) including disability/vet.  At Paramount, the spirit of inclusion feeds into everything that we do, on-screen and off. From the programming and movies we create to employee benefits/programs and social impact outreach initiatives, we believe that opportunity, access, resources and rewards should be available to and for the benefit of all. Paramount is proud to be an equal opportunity workplace and is an affirmative action employer. We are committed to equal employment opportunity regardless of race, color, ethnicity, ancestry, religion, creed, sex, national origin, sexual orientation, age, citizenship status, marital status, disability, gender identity, gender expression, and Veteran status. If you are a qualified individual with a disability or a disabled veteran, you may request a reasonable accommodation if you are unable or limited in your ability to use or access. https://www.paramount.com/careers as a result of your disability. You can request reasonable accommodations by calling 212.846.5500 or by sending an email to viacomaccommodations@viacom.com. Only messages left for this purpose will be returned.

Assistant Editor - Avid

For over 30 years, the Nickelodeon Animation Studio continues to be one of the largest producers of television animation in the world, reflecting all kids today. Based in Burbank, Calif., with offices in New York, the Studio, designed by our artists and for our artists, is home to the world's greatest creative talents. Our campus of creativity houses top-notch talent, storytellers, artists, production teams, voice actors, cartoon experts and more. At Nickelodeon, we are always looking to recruit dedicated craftspeople to help bring groundbreaking new ideas to life and that starts with you! We are leading the way in animated content for TV series, TV movies, shorts and  theatrical features. Some of our new upcoming original animated series include, Kamp Koral: SpongeBob's Under Years, Rugrats, Middlemost Post, Star Trek: Prodigy, Big Nate and Santiago of the Seas, among others.Our content development teams are creator-driven, our work culture is collaborative, our mentorship of new talent is second to none, and we are committed to hiring inclusively to reflect authenticity in the diverse stories we want to tell.Join us!  This role starts in November<h2>Summary:</h2>Nickelodeon Animation Studio is looking for a Supervising Director for one of its upcoming animated shows! This person will work with key production personnel in overseeing storyboards and animatics.<h2>Responsibilities:</h2><ul><li>Manage all assignments in the Animatics department.</li><li>Thoroughly review and revise storyboards for animatics and shipping.</li><li>Implement relevant notes.</li><li>Communicate to appropriate key production personnel the status of work and any problems that may arise; suggest appropriate solutions to the problems.</li><li>Supervise organization of designs from storyboards.</li><li>Answer questions from board artists during storyboarding process, if no Storyboard Supervisor present.</li><li>Oversee animatics and review their work for accuracy; give corrections and guidance where needed.</li><li>Meet deadlines.</li><li>Oversee completion of storyboard revisions.</li><li>Ensure desired quality and style of show is met.</li><li>Assist with special projects.</li></ul><h2>Qualifications:</h2><ul><li>Ability to manage the production schedule and resources.</li><li>Thorough understanding of animation and film language and process.</li><li>Ability to prioritize.</li><li>Ability to work in a high-pressure, demanding environment.</li><li>Solid verbal and written communication skills.</li><li>Great time management skills; excellent multi-tasker.</li></ul><h2>Additional Qualifications:</h2><ul><li>BA/BS preferred.</li><li>A minimum of 3 – 5 years of storyboard directing experience and/or training; or equivalent combination of education and experience.</li></ul>  Paramount is an equal opportunity employer (EOE) including disability/vet.  At Paramount, the spirit of inclusion feeds into everything that we do, on-screen and off. From the programming and movies we create to employee benefits/programs and social impact outreach initiatives, we believe that opportunity, access, resources and rewards should be available to and for the benefit of all. Paramount is proud to be an equal opportunity workplace and is an affirmative action employer. We are committed to equal employment opportunity regardless of race, color, ethnicity, ancestry, religion, creed, sex, national origin, sexual orientation, age, citizenship status, marital status, disability, gender identity, gender expression, and Veteran status. If you are a qualified individual with a disability or a disabled veteran, you may request a reasonable accommodation if you are unable or limited in your ability to use or access. https://www.paramount.com/careers as a result of your disability. You can request reasonable accommodations by calling 212.846.5500 or by sending an email to viacomaccommodations@viacom.com. Only messages left for this purpose will be returned.

Supervising Director (Upcoming 2D Series)

For over 30 years, the Nickelodeon Animation Studio continues to be one of the largest producers of television animation in the world, reflecting all kids today. Based in Burbank, Calif., with offices in New York, the Studio, designed by our artists and for our artists, is home to the world's greatest creative talents. Our campus of creativity houses top-notch talent, storytellers, artists, production teams, voice actors, cartoon experts and more. At Nickelodeon, we are always looking to recruit dedicated craftspeople to help bring groundbreaking new ideas to life and that starts with you! We are leading the way in animated content for TV series, TV movies, shorts and  theatrical features. Some of our new upcoming original animated series include, Kamp Koral: SpongeBob's Under Years, Rugrats, Middlemost Post, Star Trek: Prodigy, Big Nate and Santiago of the Seas, among others.Our content development teams are creator-driven, our work culture is collaborative, our mentorship of new talent is second to none, and we are committed to hiring inclusively to reflect authenticity in the diverse stories we want to tell.Join us!  <h2>Responsibilities:</h2><ul><li>Responsible for all aspects of the post process. Schedules and/or attends all post-related meetings and sessions, including: assemblies, edits, locks, spots, reviews, mixes, color corrections, and QC’s.</li><li>Notate, budget, and track Animation Retakes called by key creative and technical producers.</li><li>Ensures that the scheduling and budgetary concerns of the post process are followed and alerts the show Producers and post executives of any problems that may cause the production to miss delivery/air dates or to fall outside of the post budget.</li><li>Works closely with show runners/creators, producers, network execs, production &amp; post staff, and out-of-house post vendors.</li><li>Responsible for overseeing and ensuring the generation and delivery of all post elements for delivery.</li><li>Also responsible for keeping up to date on current and emerging technologies for post production processes and delivery.</li></ul><h2>Qualifications:</h2><ul><li>Detail-oriented, able to multi-task, and handle numerous changes under pressure.</li><li>3-4 years of both 2D and CG Animation Post Production experience.</li><li>Proficiency in the MS Office Suite of apps, Filemaker Pro, and Photoshop is required.</li><li>Knowledge of common interchange formats &amp; codecs as well as professional NLE apps for Picture and Sound Editorial, Compositing, Color Correction, and Delivery is necessary.</li><li>Bachelors degree in Film Production, related field, or equivalent work experience.</li></ul>  Paramount is an equal opportunity employer (EOE) including disability/vet.  At Paramount, the spirit of inclusion feeds into everything that we do, on-screen and off. From the programming and movies we create to employee benefits/programs and social impact outreach initiatives, we believe that opportunity, access, resources and rewards should be available to and for the benefit of all. Paramount is proud to be an equal opportunity workplace and is an affirmative action employer. We are committed to equal employment opportunity regardless of race, color, ethnicity, ancestry, religion, creed, sex, national origin, sexual orientation, age, citizenship status, marital status, disability, gender identity, gender expression, and Veteran status. If you are a qualified individual with a disability or a disabled veteran, you may request a reasonable accommodation if you are unable or limited in your ability to use or access. https://www.paramount.com/careers as a result of your disability. You can request reasonable accommodations by calling 212.846.5500 or by sending an email to viacomaccommodations@viacom.com. Only messages left for this purpose will be returned.

Post Production Supervisor

For over 30 years, the Nickelodeon Animation Studio continues to be one of the largest producers of television animation in the world, reflecting all kids today. Based in Burbank, Calif., with offices in New York, the Studio, designed by our artists and for our artists, is home to the world's greatest creative talents. Our campus of creativity houses top-notch talent, storytellers, artists, production teams, voice actors, cartoon experts and more. At Nickelodeon, we are always looking to recruit dedicated craftspeople to help bring groundbreaking new ideas to life and that starts with you! We are leading the way in animated content for TV series, TV movies, shorts and  theatrical features. Some of our new upcoming original animated series include, Kamp Koral: SpongeBob's Under Years, Rugrats, Middlemost Post, Star Trek: Prodigy, Big Nate and Santiago of the Seas, among others.Our content development teams are creator-driven, our work culture is collaborative, our mentorship of new talent is second to none, and we are committed to hiring inclusively to reflect authenticity in the diverse stories we want to tell.Join us!  <h2>Summary:</h2>The Surfacing Look Dev Lead will be responsible for leading the surfacing team in creating the materials, textures, shader development, and grooming needed to achieve the desired look of the characters, environments, and props for production. The role will rely on strong aesthetic judgment and superior technical skills to create high quality imagery matching the style of the show. The Surfacing Look Dev Lead will work closely with show leadership to maintain production quotas while ensuring the assets delivered are of the highest caliber. The ideal candidate must have a critical eye with their own work and the work of others, be able to follow reference material and concept art, stay organized, solve problems, and work well with a team.<h2>Responsibilities:</h2><ul><li>Work with other artists to achieve a specified look, based on 2D concepts, and maintain a consistent level of quality across all assets.</li><li>Provide timely constructive feedback and concise directions on textured assets as needed to vendor studio and in-house production artists.</li><li>Supervising in-house artists and freelancers on creative feedback as well as maintaining asset schedule.</li><li>Review files and troubleshoot issues to ensure the pipeline continues running smoothly.</li><li>Must be capable of creating painterly, stylized, procedural, and photorealistic textures.</li><li>Texture 3D characters, props, and sets within Substance Painter and Photoshop.</li><li>Set up Maya shaders and use them to achieve desired looks.</li><li>Modify UVs for texturing when needed.</li><li>Develop and document the department’s pipeline in collaboration with the Co-EP and other department leads.</li><li>Working with the production’s TD, develop and improve procedures and tools to facilitate production.</li><li>Anticipate, analyze, and find solutions to potential and actual technical problems.</li><li>Prepare guidelines and instructions to be followed by the surfacing team.</li><li>Continually check the consistency of the work done by the surfacing artists.</li></ul><h2>Qualifications:</h2><ul><li>Must have a portfolio and demo reel that demonstrates look development skills.</li><li>Minimum 2 years of experience in the television, gaming, or feature film industries.</li><li>Excellent artistic, painting, and texturing skills.</li><li>Knowledge and experience in Maya, Substance Painter, XGen grooming (of both hair and fur), and GPU rendering.</li><li>Mastery of Maya shading networks and capabilities.</li><li>Understanding of UV layout and principles.</li><li>Ability to create high quality texture maps, including all supporting shader attributes (specularity, refraction, bump/displacement, etc.).</li><li>In-depth understanding of color theory and application.</li><li>Excellent understanding of light, textures, detail, and composition.</li><li>Strong understanding of how other CG disciplines operate (modeling, rigging, lighting).</li><li>Excellent verbal and written communication skills.</li><li>Ability to multitask, prioritize competing demands, and follow through on tasks.</li><li>Must be flexible enough to switch between artistic and technical roles given the needs of the show.</li><li>Ability to work as part of a team as well as be resourceful and self-driven.</li></ul><h2>Additional Qualifications:</h2><ul><li>Experience with Python and MEL is a plus.</li><li>Knowledge of multiple XGen grooming methods (guide-based, groomable splines, tube groom) is preferred.</li><li>Understanding of front and back-end processes using tools like ShotGrid/Shotgun and Deadline.</li></ul>  Paramount is an equal opportunity employer (EOE) including disability/vet.  At Paramount, the spirit of inclusion feeds into everything that we do, on-screen and off. From the programming and movies we create to employee benefits/programs and social impact outreach initiatives, we believe that opportunity, access, resources and rewards should be available to and for the benefit of all. Paramount is proud to be an equal opportunity workplace and is an affirmative action employer. We are committed to equal employment opportunity regardless of race, color, ethnicity, ancestry, religion, creed, sex, national origin, sexual orientation, age, citizenship status, marital status, disability, gender identity, gender expression, and Veteran status. If you are a qualified individual with a disability or a disabled veteran, you may request a reasonable accommodation if you are unable or limited in your ability to use or access. https://www.paramount.com/careers as a result of your disability. You can request reasonable accommodations by calling 212.846.5500 or by sending an email to viacomaccommodations@viacom.com. Only messages left for this purpose will be returned.

Surfacing Look Dev Lead (Star Trek: Prodigy)

For over 30 years, the Nickelodeon Animation Studio continues to be one of the largest producers of television animation in the world, reflecting all kids today. Based in Burbank, Calif., with offices in New York, the Studio, designed by our artists and for our artists, is home to the world's greatest creative talents. Our campus of creativity houses top-notch talent, storytellers, artists, production teams, voice actors, cartoon experts and more. At Nickelodeon, we are always looking to recruit dedicated craftspeople to help bring groundbreaking new ideas to life and that starts with you! We are leading the way in animated content for TV series, TV movies, shorts and  theatrical features. Some of our new upcoming original animated series include, Kamp Koral: SpongeBob's Under Years, Rugrats, Middlemost Post, Star Trek: Prodigy, Big Nate and Santiago of the Seas, among others.Our content development teams are creator-driven, our work culture is collaborative, our mentorship of new talent is second to none, and we are committed to hiring inclusively to reflect authenticity in the diverse stories we want to tell.Join us!  <h2>Summary:</h2>Nickelodeon Animation Studio is looking for a Production Manager to oversee the daily activities of the production.<h2>Responsibilities:</h2><ul><li>Communicate with the Line Producer daily regarding the status of the department.</li><li>Coordinate the workflow for all supervisors and artists in the CG Department.</li><li>Keep accurate daily output information of all departments, and enforce deadlines.</li><li>Alert LP of potential problems and suggest appropriate solutions.</li><li>Update key production personnel on the status of all areas of production.</li><li>Maintain and distribute weekly production schedule with accurate information to upper management and production staff.</li><li>Run weekly department meetings.</li><li>Supervise Production Coordinator(s) and Production Assistants; assist Line Producer in hiring, performance reviews and terminations for these positions.</li><li>Oversee preparation production materials for shipping.</li><li>Manage schedule to ensure production meets strict deadlines. Some of these duties include:</li><li>Troubleshoot problem.</li><li>Coordinate and supervise vendor studios.</li><li>Coordinate and supervise freelance production staff.</li><li>Assist in the scheduling of key production personnel.</li><li>Schedule production meetings as necessary.</li></ul><h2>Additional Responsibilities:</h2><ul><li>Assist with ancillary projects; assist LP with special projects.</li><li>Act as primary liaison with vendor studio(s).</li><li>Facilitate communication in a timely manner between production unit and outside studio regarding production issues, questions, and materials.</li><li>Assist Post Supervisor in monitoring and facilitating retake process; ensure that lists and notes are communicated in a timely manner; monitor retake budget.</li><li>Draft and coordinate all new hire paperwork for freelancers.</li><li>Update Human Resources monthly on all freelance activity.</li><li>Review and approve weekly timesheets.</li><li>Gather and submit new hire information to Human Resources.</li><li>Coordinate Facilities and IS&amp;T requests.</li><li>Coordinate materials for festivals, awards, etc.</li></ul><h2>Qualifications:</h2><ul><li>Possess complete knowledge of Animation production process.</li><li>Knowledge of Maya, Word, Excel, Outlook, familiarity with internet and email.</li><li>Knowledge of EP Budgeting, Shotgun, Filemaker Pro, Photoshop, and Illustrator a plus.</li><li>BA/BS preferred, or 2 – 3 years of animation production experience and/or training; or equivalent combination of education and experience.</li><li>Strong verbal and written communication skills.</li><li>Ability to work well under pressure.</li><li>Ability to multitask in a fast-paced environment.</li></ul>  Paramount is an equal opportunity employer (EOE) including disability/vet.  At Paramount, the spirit of inclusion feeds into everything that we do, on-screen and off. From the programming and movies we create to employee benefits/programs and social impact outreach initiatives, we believe that opportunity, access, resources and rewards should be available to and for the benefit of all. Paramount is proud to be an equal opportunity workplace and is an affirmative action employer. We are committed to equal employment opportunity regardless of race, color, ethnicity, ancestry, religion, creed, sex, national origin, sexual orientation, age, citizenship status, marital status, disability, gender identity, gender expression, and Veteran status. If you are a qualified individual with a disability or a disabled veteran, you may request a reasonable accommodation if you are unable or limited in your ability to use or access. https://www.paramount.com/careers as a result of your disability. You can request reasonable accommodations by calling 212.846.5500 or by sending an email to viacomaccommodations@viacom.com. Only messages left for this purpose will be returned.

PRODUCTION MANAGER (Burbank)

For over 30 years, the Nickelodeon Animation Studio continues to be one of the largest producers of television animation in the world, reflecting all kids today. Based in Burbank, Calif., with offices in New York, the Studio, designed by our artists and for our artists, is home to the world's greatest creative talents. Our campus of creativity houses top-notch talent, storytellers, artists, production teams, voice actors, cartoon experts and more. At Nickelodeon, we are always looking to recruit dedicated craftspeople to help bring groundbreaking new ideas to life and that starts with you! We are leading the way in animated content for TV series, TV movies, shorts and  theatrical features. Some of our new upcoming original animated series include, Kamp Koral: SpongeBob's Under Years, Rugrats, Middlemost Post, Star Trek: Prodigy, Big Nate and Santiago of the Seas, among others.Our content development teams are creator-driven, our work culture is collaborative, our mentorship of new talent is second to none, and we are committed to hiring inclusively to reflect authenticity in the diverse stories we want to tell.Join us!  <h2>Summary:</h2>The Casting Administrative Coordinator is responsible for collecting, maintaining, and processing all talent payroll documents and contracts for the Casting Department. This position requires one to work under tight deadlines with many departments in a fast-paced work environment while maintaining confidential information and material.<h2>Responsibilities:</h2><ul><li>Processing talent payroll for multiple productions.</li><li>Preparing, tracking, and routing talent contracts between the Casting Department and Business and Legal Affairs.</li><li>Collecting and maintaining talent authorization paperwork from agencies.</li><li>Review and approve all incoming talent invoices from Cast &amp; Crew.</li><li>Act as a point of contact for all talent related payment questions.</li><li>Ensure talent paperwork is received, complete, and accurate for processing.</li><li>Distribute, file, scan, and archive talent documents.</li><li>Collect and route minor paperwork between the Casting Department and Business and Legal Affairs.</li><li>Track documents to ensure everything is processed in a timely manner.</li><li>Maintain a database with confidential project, talent, and agent information.</li><li>Distribute final cast information to Residuals Department.</li></ul><h2>Qualifications:</h2><ul><li>2 years of administrative experience</li><li>Understanding of finance and business administration</li><li>Knowledge of ARIBA/ SAP finance systems</li><li>Knowledge of Windows and Microsoft Office (Word, Excel, Outlook, etc)</li><li>Strong attention to detail</li><li>Ability to track and organize large volumes of material and data across multiple productions</li><li>Superb written and verbal skills</li><li>Excellent people skills</li><li>Strong typing</li></ul><h2>Additional Qualifications:</h2><ul><li>Working knowledge of agencies a plus</li></ul>  Paramount is an equal opportunity employer (EOE) including disability/vet.  At Paramount, the spirit of inclusion feeds into everything that we do, on-screen and off. From the programming and movies we create to employee benefits/programs and social impact outreach initiatives, we believe that opportunity, access, resources and rewards should be available to and for the benefit of all. Paramount is proud to be an equal opportunity workplace and is an affirmative action employer. We are committed to equal employment opportunity regardless of race, color, ethnicity, ancestry, religion, creed, sex, national origin, sexual orientation, age, citizenship status, marital status, disability, gender identity, gender expression, and Veteran status. If you are a qualified individual with a disability or a disabled veteran, you may request a reasonable accommodation if you are unable or limited in your ability to use or access. https://www.paramount.com/careers as a result of your disability. You can request reasonable accommodations by calling 212.846.5500 or by sending an email to viacomaccommodations@viacom.com. Only messages left for this purpose will be returned.

Payroll and Administrative Coordinator - Casting

For over 30 years, the Nickelodeon Animation Studio continues to be one of the largest producers of television animation in the world, reflecting all kids today. Based in Burbank, Calif., with offices in New York, the Studio, designed by our artists and for our artists, is home to the world's greatest creative talents. Our campus of creativity houses top-notch talent, storytellers, artists, production teams, voice actors, cartoon experts and more. At Nickelodeon, we are always looking to recruit dedicated craftspeople to help bring groundbreaking new ideas to life and that starts with you! We are leading the way in animated content for TV series, TV movies, shorts and  theatrical features. Some of our new upcoming original animated series include, Kamp Koral: SpongeBob's Under Years, Rugrats, Middlemost Post, Star Trek: Prodigy, Big Nate and Santiago of the Seas, among others.Our content development teams are creator-driven, our work culture is collaborative, our mentorship of new talent is second to none, and we are committed to hiring inclusively to reflect authenticity in the diverse stories we want to tell.Join us!  <h2>Responsibilities:</h2><ul><li>Coordinating the preparation of pre-production materials for shipping; organizing, labeling, and obtaining approvals.</li><li>Coordinating the processing of material starting with the creation of the EMR through final checking.</li><li>Organizing and maintaining systems for monitoring production flow of assigned shows.</li><li>Setting up files, keeping a log of start/completion dates of production progress, labeling materials clearly and neatly with all necessary information.</li><li>Confirming shipments to overseas animation studios.</li><li>Tracking the progress of assigned shows and flagging potential problems and delays for the Production Manager and the Line Producer.</li><li>Reading and responding to internal and overseas production e-mails in a timely manner.</li><li>Completing script and storyboard breakdowns for models, props, and background designs.</li><li>Monitoring distribution of Network materials including rough storyboard, EMR, and black and white shipped materials.</li><li>Tracking all pickup lines from the story department and ensuring they are implemented into the final shipping animation.</li><li>Assisting on special projects for festivals, awards, and network promotions.</li></ul><h2>Qualifications:</h2><ul><li>Knowledge of Word, Excel, Outlook, familiarity with internet and email.</li><li>Knowledge of Shotgun, FileMaker Pro, Photoshop, Illustrator a plus.</li><li>Excellent written and verbal communication skills.</li><li>Ability to work in a high-pressure, fast-paced production environment.</li><li>Good time management skills; being a great multi-tasker and attention to detail is key.</li></ul>  Paramount is an equal opportunity employer (EOE) including disability/vet.  At Paramount, the spirit of inclusion feeds into everything that we do, on-screen and off. From the programming and movies we create to employee benefits/programs and social impact outreach initiatives, we believe that opportunity, access, resources and rewards should be available to and for the benefit of all. Paramount is proud to be an equal opportunity workplace and is an affirmative action employer. We are committed to equal employment opportunity regardless of race, color, ethnicity, ancestry, religion, creed, sex, national origin, sexual orientation, age, citizenship status, marital status, disability, gender identity, gender expression, and Veteran status. If you are a qualified individual with a disability or a disabled veteran, you may request a reasonable accommodation if you are unable or limited in your ability to use or access. https://www.paramount.com/careers as a result of your disability. You can request reasonable accommodations by calling 212.846.5500 or by sending an email to viacomaccommodations@viacom.com. Only messages left for this purpose will be returned.

PRODUCTION COORDINATOR (ANIMATION)

For over 30 years, the Nickelodeon Animation Studio continues to be one of the largest producers of television animation in the world, reflecting all kids today. Based in Burbank, Calif., with offices in New York, the Studio, designed by our artists and for our artists, is home to the world's greatest creative talents. Our campus of creativity houses top-notch talent, storytellers, artists, production teams, voice actors, cartoon experts and more. At Nickelodeon, we are always looking to recruit dedicated craftspeople to help bring groundbreaking new ideas to life and that starts with you! We are leading the way in animated content for TV series, TV movies, shorts and  theatrical features. Some of our new upcoming original animated series include, Kamp Koral: SpongeBob's Under Years, Rugrats, Middlemost Post, Star Trek: Prodigy, Big Nate and Santiago of the Seas, among others.Our content development teams are creator-driven, our work culture is collaborative, our mentorship of new talent is second to none, and we are committed to hiring inclusively to reflect authenticity in the diverse stories we want to tell.Join us!  <h2>Responsibilities:</h2><ul><li>Meet with creative supervisors to discuss objectives of storyboard; what is desired or to be achieved.</li><li>Create storyboards by implementing storytelling objectives.</li><li>Follow instructions of creative supervisors.</li><li>Address any problems with creative supervisors; ask necessary questions.</li><li>Communicate progress of work to creative supervisors and to appropriate production staff.</li><li>Ensure quality and style of show is consistently achieved in storyboard work.</li><li>Follow proper document management requirements (i.e., file naming and storage) according to the production’s guidelines.</li><li>Meet all deadlines as determined by Line Producer or Production Manager.</li><li>Attend and contribute to relevant meetings and pitches as needed.</li><li>Maybe be required to pitch storyboards.</li><li>Ensure all storyboard notes are added.</li></ul><h2>Qualifications:</h2><ul><li>Must demonstrate proficiency in style of show.</li><li>Strong staging and composition skills.</li><li>Understanding of subtext in character performance. Portfolio samples must demonstrate that all characters in a sequence do not behave the same. They are unique. Think about which character in a scene is dominant, which is submissive. What are the undercurrents? Whose scene is it?</li><li>Strong drawing and mechanical skills.</li><li>Knowledge of or willingness to learn applicable design software (Photoshop, Storyboard Pro) and hardware (Wacom Cintiq monitor and/or tablet).</li><li>Strong time-management skills.</li><li>Work well under pressure.</li><li>Ability to multitask a plus.</li></ul><h2>Additional Qualifications:</h2><ul><li>Relevant drawing experience necessary.</li><li>BA/BS preferred.</li><li>Minimum of 1 year storyboard experience and/or training on a similar show; or equivalent combination of education and experience.</li></ul>  Paramount is an equal opportunity employer (EOE) including disability/vet.  At Paramount, the spirit of inclusion feeds into everything that we do, on-screen and off. From the programming and movies we create to employee benefits/programs and social impact outreach initiatives, we believe that opportunity, access, resources and rewards should be available to and for the benefit of all. Paramount is proud to be an equal opportunity workplace and is an affirmative action employer. We are committed to equal employment opportunity regardless of race, color, ethnicity, ancestry, religion, creed, sex, national origin, sexual orientation, age, citizenship status, marital status, disability, gender identity, gender expression, and Veteran status. If you are a qualified individual with a disability or a disabled veteran, you may request a reasonable accommodation if you are unable or limited in your ability to use or access. https://www.paramount.com/careers as a result of your disability. You can request reasonable accommodations by calling 212.846.5500 or by sending an email to viacomaccommodations@viacom.com. Only messages left for this purpose will be returned.

Action Storyboard Artist (CG)

For over 30 years, the Nickelodeon Animation Studio continues to be one of the largest producers of television animation in the world, reflecting all kids today. Based in Burbank, Calif., with offices in New York, the Studio, designed by our artists and for our artists, is home to the world's greatest creative talents. Our campus of creativity houses top-notch talent, storytellers, artists, production teams, voice actors, cartoon experts and more. At Nickelodeon, we are always looking to recruit dedicated craftspeople to help bring groundbreaking new ideas to life and that starts with you! We are leading the way in animated content for TV series, TV movies, shorts and  theatrical features. Some of our new upcoming original animated series include, Kamp Koral: SpongeBob's Under Years, Rugrats, Middlemost Post, Star Trek: Prodigy, Big Nate and Santiago of the Seas, among others.Our content development teams are creator-driven, our work culture is collaborative, our mentorship of new talent is second to none, and we are committed to hiring inclusively to reflect authenticity in the diverse stories we want to tell.Join us!  <h2>Summary:</h2>Nickelodeon Animation is looking for a Technical Director to join the studio. The Technical Director is responsible for helping show Leadership and other Supervisors fulfill their creative vision by developing solutions for Creative Leads/Artists, troubleshooting day-to-day problems, errors, and workflow consultation.Under the supervision of Leadership, the Technical Director will collaborate with the CG Team to develop the tools and pipeline for current CG projects.The TD will also assist Leadership with developing new techniques, visual development, and pipeline standards for new projects.This position requires balancing several tasks in a continuously changing environment.<h2>Responsibilities:</h2><ul><li>Work with the show Leads, R&amp;D, and Animation teams to automate common tasks, develop novel tools to achieve creative goals and script pipeline solutions.</li><li>Create user interfaces for artists to run scripts.</li><li>Monitor and maintain Character, Set and Prop pipeline development and standards.</li><li>Being knowledgeable about our pipeline proper workflow across departments.</li><li>Creating and implementing new tools and techniques using Mel and Python scripting.</li><li>In-depth knowledge of Maya and Python scripting required.</li><li>Able to extend existing code and maintain proprietary tools.</li><li>Perform research for software options, version upgrades, and benchmark tests.</li><li>Setup and support artists using in-house tools.</li></ul><h2>Qualifications:</h2><ul><li>The Technical Director should have a working knowledge of Maya.</li><li>3-5 years of industry experience in film, broadcast, and/or games.</li><li>Must have a familiarity with the production process.</li><li>Must have experience scripting with Python for multiple creative teams.</li><li>Must be organized and have excellent communication skills.</li><li>The ideal candidate should be a generalist, able to jump from problems to solutions in short order.</li><li>A great "can do" attitude and open-mindedness to non-traditional solutions are essential.</li></ul><h2>Additional Qualifications:</h2><ul><li>Experience in MEL and Python</li><li>Experience with UI design is a plus</li><li>Experience with Houdini, Substance, Nuke, Unreal is a plus</li></ul>  Paramount is an equal opportunity employer (EOE) including disability/vet.  At Paramount, the spirit of inclusion feeds into everything that we do, on-screen and off. From the programming and movies we create to employee benefits/programs and social impact outreach initiatives, we believe that opportunity, access, resources and rewards should be available to and for the benefit of all. Paramount is proud to be an equal opportunity workplace and is an affirmative action employer. We are committed to equal employment opportunity regardless of race, color, ethnicity, ancestry, religion, creed, sex, national origin, sexual orientation, age, citizenship status, marital status, disability, gender identity, gender expression, and Veteran status. If you are a qualified individual with a disability or a disabled veteran, you may request a reasonable accommodation if you are unable or limited in your ability to use or access. https://www.paramount.com/careers as a result of your disability. You can request reasonable accommodations by calling 212.846.5500 or by sending an email to viacomaccommodations@viacom.com. Only messages left for this purpose will be returned.

Technical Director (Star Trek: Prodigy)

For over 30 years, the Nickelodeon Animation Studio continues to be one of the largest producers of television animation in the world, reflecting all kids today. Based in Burbank, Calif., with offices in New York, the Studio, designed by our artists and for our artists, is home to the world's greatest creative talents. Our campus of creativity houses top-notch talent, storytellers, artists, production teams, voice actors, cartoon experts and more. At Nickelodeon, we are always looking to recruit dedicated craftspeople to help bring groundbreaking new ideas to life and that starts with you! We are leading the way in animated content for TV series, TV movies, shorts and  theatrical features. Some of our new upcoming original animated series include, Kamp Koral: SpongeBob's Under Years, Rugrats, Middlemost Post, Star Trek: Prodigy, Big Nate and Santiago of the Seas, among others.Our content development teams are creator-driven, our work culture is collaborative, our mentorship of new talent is second to none, and we are committed to hiring inclusively to reflect authenticity in the diverse stories we want to tell.Join us! <h2>Responsibilities:</h2><ul><li>Meet with creative supervisors to discuss objectives of storyboard; what is desired or to be achieved.</li><li>Build storyboards by implementing storytelling objectives.</li><li>Follow instructions of creative supervisors.</li><li>Address any problems with creative supervisors; ask necessary questions.</li><li>Communicate progress of work to creative supervisors and to appropriate production staff.</li><li>Ensure quality and style of movie is consistently achieved in storyboard work.</li><li>Follow proper document management requirements (i.e., file naming and storage) according to the production’s guidelines.</li><li>Meet all deadlines as determined by Line Producer or Production Manager.</li><li>Attend and contribute to relevant meetings and pitches as needed.</li><li>When Director is unavailable, guide fellow artists in addressing their notes. Includes potentially giving notes on their work.</li><li>Director’s second in command over Story team.</li><li>Will be required to pitch Storyboards.</li><li>Ensure all storyboard notes are added.</li></ul><h2>Basic qualifications:</h2><ul><li>Must demonstrate proficiency in style of show.</li><li>Strong staging and composition skills.</li><li>Understanding of subtext in character performance. Portfolio samples must demonstrate that all characters in a sequence do not behave the same. They are unique. Think about which character in a scene is dominant, which is submissive. What are the undercurrents? Whose scene is it?</li><li>Strong drawing and mechanical skills.</li><li>Knowledge of applicable design software (Photoshop, Storyboard Pro) and hardware (Wacom Cintiq monitor and/or tablet).</li><li>Strong time-management skills.</li><li>Work well under pressure.</li><li>Ability to multitask a plus.</li></ul><h2>Desired qualifications:</h2><ul><li>BA/BS preferred.</li><li>Minimum of 5 years storyboard experience and/or training on a similar show; or equivalent combination of education and experience.</li></ul> ViacomCBS is an equal opportunity employer (EOE) including disability/vet.  At ViacomCBS, the spirit of inclusion feeds into everything that we do, on-screen and off. From the programming and movies we create to employee benefits/programs and social impact outreach initiatives, we believe that opportunity, access, resources and rewards should be available to and for the benefit of all. ViacomCBS is proud to be an equal opportunity workplace and is an affirmative action employer. We are committed to equal employment opportunity regardless of race, color, ethnicity, ancestry, religion, creed, sex, national origin, sexual orientation, age, citizenship status, marital status, disability, gender identity, gender expression, and Veteran status.  If you are a qualified individual with a disability or a disabled veteran, you may request a reasonable accommodation if you are unable or limited in your ability to use or access. https://www.viacomcbs.com/careers as a result of your disability. You can request reasonable accommodations by calling 212.846.5500 or by sending an email to viacomaccommodations@viacom.com. Only messages left for this purpose will be returned.

Head of Story, Feature

For over 30 years, the Nickelodeon Animation Studio continues to be one of the largest producers of television animation in the world, reflecting all kids today. Based in Burbank, Calif., with offices in New York, the Studio, designed by our artists and for our artists, is home to the world's greatest creative talents. Our campus of creativity houses top-notch talent, storytellers, artists, production teams, voice actors, cartoon experts and more. At Nickelodeon, we are always looking to recruit dedicated craftspeople to help bring groundbreaking new ideas to life and that starts with you! We are leading the way in animated content for TV series, TV movies, shorts and  theatrical features. Some of our new upcoming original animated series include, Kamp Koral: SpongeBob's Under Years, Rugrats, Middlemost Post, Star Trek: Prodigy, Big Nate and Santiago of the Seas, among others.Our content development teams are creator-driven, our work culture is collaborative, our mentorship of new talent is second to none, and we are committed to hiring inclusively to reflect authenticity in the diverse stories we want to tell.Join us!  The Manager of Recruiting for Nickelodeon Animation will be responsible for managing the talent resources necessary to develop a growing slate of animated series and feature production(s). This role will require a unique vision and experience, contributing a strong sense of innovation in finding fresh talent, partner in improving the recruiting process and building a world-class studio. The role requires strong management and people skills, excellent communication, planning, organization, problem solving and ability to drive results. Responsibilities: ● Responsible for the placement of top-tier talent, with full range of Above the Line and Below the Line ● Manage sourcing, interviewing, reference checking, negotiation of offers for staffing of all animated productions for Nickelodeon Series and Features ● Implement the studio’s recruitment strategy in collaboration with Human Resources and Studio Executives ● Maintain a talent tracking system. Provide a variety of detailed tracking reports Studio Executives and Show leadership and translate how trends are impacting the studio with next steps ● Build and maintain a network of talent, domestic and international ● Represent Nickelodeon at major conferences and industry events. Ability to attract and bring in new and upcoming talent ● Work with the production teams to understand the skills currently within Nick and where additional skill sets might be needed at the studio ● Build and maintain supportive/collaborative relationships with hiring managers and LPs ● Collaborate with Line Producers and hiring managers to develop robust recruitment strategies and action plans ● Maintain Competitive landscape and advise on interview techniques, candidate selection, compensation packages and industry trends ● Regularly communicate and develop strong relationships with hiring managers and other stakeholders on search and candidate status ● Engage and build relationships with recruiting partners in industry organizations and universities ● Maintain awareness of professional trends and news ● Integrate diversity and inclusion and hiring initiative ● Manage the recruitment team and processes around people and culture (i.e. talent acquisition, talent management, learning and strategies, practices and processes development) to attract and retain diverse talent Qualifications: ● 5 - 7 years of Animation industry experience ● Experience managing a recruiting department for TV/Feature Animation, VFX and/or Games is a must ● Proven ability to evaluate candidate artwork and/or technical qualifications ● Proven ability to effectively manage a team and recruiting process as well asrelationships with hiring managers ● Strong knowledge of traditional animation, CG animation and/or Visual Effects production ● Strong organizational expertise and experience with databases and/or applicant tracking systems ● Ability to travel as needed for industry events and recruiting opportunities ● Strong consultative and partnering skills. Ability to establish priorities independently, multi-task efficiently, and work with diverse personalities and all levels of management in a high-pressure environment ● Excellent communication skills, both written and verbal, as well as solid follow-through on multiple projects and giving constructive feedback ● Positive attitude and ability to be flexible in a non-static environment ● Ability to re-define and execute new processes and workflows in an ever-changing environment; demonstrate strategic and out of the box thinking  Required Education ● Bachelor’s degree and equivalent work experience Paramount is an equal opportunity employer (EOE) including disability/vet.  At Paramount, the spirit of inclusion feeds into everything that we do, on-screen and off. From the programming and movies we create to employee benefits/programs and social impact outreach initiatives, we believe that opportunity, access, resources and rewards should be available to and for the benefit of all. Paramount is proud to be an equal opportunity workplace and is an affirmative action employer. We are committed to equal employment opportunity regardless of race, color, ethnicity, ancestry, religion, creed, sex, national origin, sexual orientation, age, citizenship status, marital status, disability, gender identity, gender expression, and Veteran status.  If you are a qualified individual with a disability or a disabled veteran, you may request a reasonable accommodation if you are unable or limited in your ability to use or access. https://www.paramount.com/careers as a result of your disability. You can request reasonable accommodations by calling 212.846.5500 or by sending an email to viacomaccommodations@viacom.com. Only messages left for this purpose will be returned.

Recruitment Manager

For over 30 years, the Nickelodeon Animation Studio continues to be one of the largest producers of television animation in the world, reflecting all kids today. Based in Burbank, Calif., with offices in New York, the Studio, designed by our artists and for our artists, is home to the world's greatest creative talents. Our campus of creativity houses top-notch talent, storytellers, artists, production teams, voice actors, cartoon experts and more. At Nickelodeon, we are always looking to recruit dedicated craftspeople to help bring groundbreaking new ideas to life and that starts with you! We are leading the way in animated content for TV series, TV movies, shorts and  theatrical features. Some of our new upcoming original animated series include, Kamp Koral: SpongeBob's Under Years, Rugrats, Middlemost Post, Star Trek: Prodigy, Big Nate and Santiago of the Seas, among others.Our content development teams are creator-driven, our work culture is collaborative, our mentorship of new talent is second to none, and we are committed to hiring inclusively to reflect authenticity in the diverse stories we want to tell.Join us! Nickelodeon Animation Studio is looking for A Storyboard Artist! Responsibilities<ul><li>Meet with creative supervisors to discuss objectives of storyboard; what is desired or to be achieved.</li><li>Create storyboards by implementing storytelling objectives.</li><li>Follow instructions of creative supervisors.</li><li>Address any problems with creative supervisors; ask necessary questions.</li><li>Communicate progress of work to creative supervisors and to appropriate production staff.</li><li>Ensure quality and style of show is consistently achieved in storyboard work.</li><li>Follow accurate document management requirements (i.e., file naming and storage) according to the production’s guidelines.</li><li>Meet all deadlines as determined by Line Producer or Production Manager.</li><li>Attend and contribute to meetings and pitches as needed.</li><li>Maybe be required to pitch Storyboards.</li></ul> Qualifications <ul><li>Minimum of 1 year storyboard experience and/or training on a similar show; or equivalent combination of education and experience.</li><li>Ensure all storyboard notes are added.</li><li>Must demonstrate proficiency in style of show.</li><li>Strong staging and composition skills.</li><li>Understanding of subtext in character performance.</li><li>Portfolio samples must demonstrate that all characters in a sequence do not behave the same. They are unique. Think about which character in a scene is dominant, which is submissive. What are the undercurrents? Whose scene is it?</li><li>Strong drawing and mechanical skills.</li><li>Knowledge of or willingness to learn applicable design software (Photoshop, Storyboard Pro) and hardware (Wacom Cintiq monitor and/or tablet).</li><li>Strong time-management skills.</li><li>Work well under pressure.</li><li>Related drawing experience necessary.</li></ul> Additional Qualifications <ul><li>BA/BS preferred.</li><li>Ability to multitask a plus. </li></ul>  ViacomCBS is an equal opportunity employer (EOE) including disability/vet.  At ViacomCBS, the spirit of inclusion feeds into everything that we do, on-screen and off. From the programming and movies we create to employee benefits/programs and social impact outreach initiatives, we believe that opportunity, access, resources and rewards should be available to and for the benefit of all. ViacomCBS is proud to be an equal opportunity workplace and is an affirmative action employer. We are committed to equal employment opportunity regardless of race, color, ethnicity, ancestry, religion, creed, sex, national origin, sexual orientation, age, citizenship status, marital status, disability, gender identity, gender expression, and Veteran status.  If you are a qualified individual with a disability or a disabled veteran, you may request a reasonable accommodation if you are unable or limited in your ability to use or access. https://www.viacomcbs.com/careers as a result of your disability. You can request reasonable accommodations by calling 212.846.5500 or by sending an email to viacomaccommodations@viacom.com. Only messages left for this purpose will be returned.

STORYBOARD ARTIST

For over 30 years, the Nickelodeon Animation Studio continues to be one of the largest producers of television animation in the world, reflecting all kids today. Based in Burbank, Calif., with offices in New York, the Studio, designed by our artists and for our artists, is home to the world's greatest creative talents. Our campus of creativity houses top-notch talent, storytellers, artists, production teams, voice actors, cartoon experts and more. At Nickelodeon, we are always looking to recruit dedicated craftspeople to help bring groundbreaking new ideas to life and that starts with you! We are leading the way in animated content for TV series, TV movies, shorts and  theatrical features. Some of our new upcoming original animated series include, Kamp Koral: SpongeBob's Under Years, Rugrats, Middlemost Post, Star Trek: Prodigy, Big Nate and Santiago of the Seas, among others.Our content development teams are creator-driven, our work culture is collaborative, our mentorship of new talent is second to none, and we are committed to hiring inclusively to reflect authenticity in the diverse stories we want to tell.Join us! Oversee in-house and freelance storyboard artists to ensure the quality and the style of the show is maintained. Responsibilities<ul><li>Regularly meet with Storyboard Artists and Storyboard Revisionists to thoroughly review and revise storyboards.</li><li>Ensure desired quality and style of show is met. </li><li>Oversee implementation of Executive Producer and Standards’ notes into storyboards.</li><li>Communicate with Executive producer and line producer as to the status of work progress and any problems that may arise.</li><li>Answer questions from Storyboard Artists and Revisionists during storyboarding and revision process.</li><li>Answer questions from Animation Directors regarding storyboards. </li><li>Answer questions from production Staff regarding organization of designs from storyboards.</li><li>When time allows, sit in on script meetings to offer feedback from a storyboarding perspective.</li></ul> Qualifications<ul><li>Must be able to work digitally with a Cintiq.</li><li>Ability to manage the production schedule and resources.</li><li>Must Demonstrate proficiency in style of show.</li><li>Strong staging and composition skills.</li><li>Strong drawing and mechanical skills.</li><li>Knowledge of or willingness to learn applicable design software and hardware.</li><li>Good verbal and written communication skills.</li><li>Strong time-management skills.</li></ul> Additional Qualifications<ul><li>BA/BS in Fine Arts or equivalent experience strongly desired.</li><li>3 – 5 years as storyboard and or director preferred.</li></ul> ViacomCBS is an equal opportunity employer (EOE) including disability/vet.  At ViacomCBS, the spirit of inclusion feeds into everything that we do, on-screen and off. From the programming and movies we create to employee benefits/programs and social impact outreach initiatives, we believe that opportunity, access, resources and rewards should be available to and for the benefit of all. ViacomCBS is proud to be an equal opportunity workplace and is an affirmative action employer. We are committed to equal employment opportunity regardless of race, color, ethnicity, ancestry, religion, creed, sex, national origin, sexual orientation, age, citizenship status, marital status, disability, gender identity, gender expression, and Veteran status.  If you are a qualified individual with a disability or a disabled veteran, you may request a reasonable accommodation if you are unable or limited in your ability to use or access. https://www.viacomcbs.com/careers as a result of your disability. You can request reasonable accommodations by calling 212.846.5500 or by sending an email to viacomaccommodations@viacom.com. Only messages left for this purpose will be returned.

STORYBOARD DIRECTOR

For over 30 years, the Nickelodeon Animation Studio continues to be one of the largest producers of television animation in the world, reflecting all kids today. Based in Burbank, Calif., with offices in New York, the Studio, designed by our artists and for our artists, is home to the world's greatest creative talents. Our campus of creativity houses top-notch talent, storytellers, artists, production teams, voice actors, cartoon experts and more. At Nickelodeon, we are always looking to recruit dedicated craftspeople to help bring groundbreaking new ideas to life and that starts with you! We are leading the way in animated content for TV series, TV movies, shorts and  theatrical features. Some of our new upcoming original animated series include, Kamp Koral: SpongeBob's Under Years, Rugrats, Middlemost Post, Star Trek: Prodigy, Big Nate and Santiago of the Seas, among others.Our content development teams are creator-driven, our work culture is collaborative, our mentorship of new talent is second to none, and we are committed to hiring inclusively to reflect authenticity in the diverse stories we want to tell.Join us! Responsibilities<ul><li>Receive &amp; understand Character design assignment from Art Director/design Supervisor.</li><li>Ask appropriate questions to understand &amp; complete the task.</li><li>Review Storyboard to ensure continuity of Character designs.</li><li>Complete all Character designs.</li><li>Make any changes or revisions and re-submit to Art Director/design Supervisor for approval. </li><li>Communicate with design Supervisor &amp; production Manager regarding status of work and any problems that arise.</li><li>Ensure quality &amp; style of show is achieved.</li><li>Complete work on schedule.</li></ul> Qualifications<ul><li>Knowledge of Adobe Animate 2019.</li><li>Must demonstrate proficixency in style of show.</li><li>Relevant drawing experience necessary.</li><li>Strong character design and construction/mechanical skills.</li><li>Knowledge of or willingness to learn applicable design software and hardware.</li><li>Strong time-management skills.</li><li>Work well under pressure.</li></ul> Additional Qualifications <ul><li>BA in Fine Arts or equivalent work experience highly desired.</li><li>Knowledge and experience with Photoshop, using a cintiq a plus.</li><li>Ability to multitask a plus.</li></ul>  ViacomCBS is an equal opportunity employer (EOE) including disability/vet.  At ViacomCBS, the spirit of inclusion feeds into everything that we do, on-screen and off. From the programming and movies we create to employee benefits/programs and social impact outreach initiatives, we believe that opportunity, access, resources and rewards should be available to and for the benefit of all. ViacomCBS is proud to be an equal opportunity workplace and is an affirmative action employer. We are committed to equal employment opportunity regardless of race, color, ethnicity, ancestry, religion, creed, sex, national origin, sexual orientation, age, citizenship status, marital status, disability, gender identity, gender expression, and Veteran status.  If you are a qualified individual with a disability or a disabled veteran, you may request a reasonable accommodation if you are unable or limited in your ability to use or access. https://www.viacomcbs.com/careers as a result of your disability. You can request reasonable accommodations by calling 212.846.5500 or by sending an email to viacomaccommodations@viacom.com. Only messages left for this purpose will be returned.

CHARACTER DESIGNER

Rocko’s Modern Way of Easily Applying for Cool Animation Jobs.

Doug is an imaginative, thoughtful kid just trying to find his way in his hometown of Bluffington. Between enduring bad haircuts, avoiding bully Roger Klotz and desperately hoping to impress his crush, Patty Mayonnaise, Doug’s got plenty to be anxious about. No matter how it turns out, Doug can turn to his best friend Skeeter, dog Porkchop, and of course, his fantasy life and journal.

Doug

When anything is erased from a chalkboard, it’s not really gone – it just enters a realm called the Chalkzone. And fifth grader Rudy Tabootie found a way to go there! With a piece of “White Lightning” chalk, he can enter the Chalkzone any time he likes. In the Chalkzone, Rudy befriends Snap, a bold superhero Rudy drew years ago. But Rudy soon discovers not every doodle is friendly…

Chalkzone

The Fresh Beat Band of Spies features the same band members from Nick’s live action show, The Fresh Beat Band, but adds three key ingredients to the jam: animation, spying, and Bo Monkey! Because really, how are they supposed to get any spying done without a monkey? Not gonna happen.

Fresh Beat Band of Spies

Behind the Curtain at Nick Animation

Join the Nick Animation Social Community

collage of Nick Animation employees and offices

We can&#8217;t create the most awesome kids’ content in the world without the most awesome artists in the world.
The Nickelodeon Artist Program is a 6-month, paid talent development program for aspiring animation artists.  We seek out talented designers, painters, story artists, and CG artists with diverse voices from underrepresented communities, with the goal of mentoring, developing, and staffing the next generation of inclusive storytellers and content creators.
The Artist Program features three training paths: General Design, Storyboard, and CG Generalist. Each path offers professional development in addition to an apprenticeship on an animated show with exclusive access to directors, supervisors, and lead artists on our productions. 
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<h1>Submission Period is Open July 1 – August 1</h1>
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Please note: notification dates are subject to change.

Two Artist Program participants site in front of screen

Far away from the Los Angeles landscape, in a small South Jersey town resided an offbeat child named Dominique, plagued with an overactive imagination and gifted with little adult supervision. Rather than obsessing over paints, pencils, and paper, she obsessed over two bright, electric boxes: the computer and the television.
From playing as superpowered heroes in video games to watching cartoons about the lives of non-human protagonists, the more speculative the fiction, the more she was enraptured. As she grew older, Dominique subliminally absorbed not only a taste for science fiction and fantasy, but an understanding of the status quo present in even the most innocuous content. After investing so many years on the internet, she found a platform that bolstered her creative writing hobby further: fanfiction. Writing for pre-existing worlds progressed into writing and drawing her own characters and by high school years, she had a realization. This burgeoning urge to draft her own works merging with a dissatisfaction with the limited scope of stories reflecting people like her encouraged Dominique to diversify media through her own writing and illustrations.
By the conclusion of high school, her commitment to a career in visual storytelling earned her acceptance into a handful of art schools and she set off to Moore College of Art &amp; Design as an illustration major. Majoring in illustration introduced Dominique to the field of visual development, yet she could feel the distance from her goals in both her physical location and the non-specific curriculum structure. In hopes she would narrow the focus of her college experience, she added a concept art class to her schedule, invested a merit-based grant into an internship at Moondog Animation Studios, and tailored her senior thesis around development art. Despite all these efforts, upon graduation, she still found herself a bit, well, career-challenged, and for the next several months Dominique chased after sporadic illustration opportunities with the anxiety of impending loan payments looming over her.
With financial hardships exacerbating an already stressful living situation, Dominique applied to the Americorps program City Year at the recommendation of a friend, and her service year in Philadelphia was the first of many turning points. After a year of balancing high school classroom support during the day and freelance comic artist at night, she still found herself without an entry-way into animation. She made a decision to return to City Year, with one major change &#8211; she would transfer to the Los Angeles site. Living within the backyard of premiere animation studios had never been so within reach, so she took all those saved City Year stipends and migrated to the opposite side of the country.
As she transitioned from New Jersey to Los Angeles, Dominique conceptualized a plan: she would submit an application to the Nick Artist Program as a trial run, receive a rejection, and in the aftermath build a solid portfolio that would guarantee acceptance in the following year. In hindsight, this plan makes her laugh, incredulously at that. During the process of her application, that initial plan would constantly be tested and challenged, and ultimately it failed. One application submitted while sitting on a barely furnished apartment room floor lead to several phone and virtual calls, various bouts of crying, an existential crisis, and lastly a triumphant acceptance to join the upcoming the Nick Artist Program Design track. As far away from the Los Angeles landscape as she was, Dominique persisted with this ambition to break into animation, to illustrate for a living, and to simply, wholeheartedly create &#8211; not just for herself, but for the many kids escaping into the stories broadcasted on their computers and televisions, just as she did.

General Design Track &#8211; 2021

Dominique Evans

During Anh’s 4th year of elementary school, her family finally got a TV, so she was exposed to all kinds of fun channels. Anh started watching cartoons like Tom &amp; Jerry, SpongeBob, Phineas &amp; Ferb, Even though she couldn’t understand most of the content because there were no subtitles, she found them to be very fascinating.
As an introverted and shy kid, when Anh saw her sister and cousin drawing, she realized it was a form of communication for her to express herself, so she started drawing and making her own comic books. Her parents weren’t supportive at that time, mostly because they were worried about her academic future. Anh’s sister and cousin obediently stopped drawing when their parents told them to focus on school instead. However, Anh secretly stuck with art as her primary interest because she was never good at traditional school.
Back then, Anh wanted to become a comic book artist because it was all she knew, but then after watching Big Hero 6 in 2014, it completely blew her mind as she realized it was a comic book coming to life! She admired how much effort, hard work, time, and dedication that thousands of people had put into a film. She imagined herself being a part of that animation scene, a part of something bigger than herself. She understands she’s more passionate about the process than the end results.
At that time, the animation industry wasn’t a thing in Vietnam, so Anh decided to go study abroad in the US when she was 15 with the hope of becoming a better artist, and sharing her vision with other like-minded people. In search of a career path, she researched the career of a storyboard artist that she admired, she even emailed them to find out where they went to school and, surprisingly, got a reply back! Anh wanted to follow that artist’s career path so she made that happen by getting the highest scholarship offer for an international student from Columbus College of Art and Design. After the first year, she had an unexpected opportunity to move to LA, to be closer to the animation community. Anh decided to take a risk and she packed all her stuff in one small suitcase and left college along with her friend.
Once in LA, Anh illustrated a children’s book that was published in early November 2020, in addition to commissions work here and there. She continued her online training on Schoolism, and spent her free time exploring LA, meeting cool people, and falling in love with motorcycles after she met a group of bikers at a local bookstore. By the end of the year, good news came: She got accepted into the Nick Artist Program. Anh knows her journey has just begun, but she knows she’s not alone on this road and can’t wait to see what the future holds!

Anh Bui was born and raised in Haiphong, a small city by the ocean in Vietnam. She grew up spending her days outside playing soccer, catching dragonflies at the paddy field, exploring abandoned houses, building forts out of mattresses with her sister and cousins, and other neighborhood kids. Growing up poor, there wasn&#8217;t much-imported entertainment provided, so she entertained herself with activities that sparked her interests and curiosity in her everyday surroundings.

Anh Bui

Evon&#8217;s first words, at least from what her parents tell her, were &#8220;junk food&#8221;, her favorite thing to do was not listening to instructions, and she was really good at taking things apart, and not being able to put them back together. Thankfully she at least learned to speak a few more words since then.
As a child her mom would often take her back to Taiwan with her, if you&#8217;ve never been, it&#8217;s really hot and humid there in the summer and no one wants to go outside. So to occupy her time she bought some how-to-draw books from the corner bookstore and started doodling. This was the beginning; it was all thanks to boredom. So thank you boredom!
In high school, she took as many art classes that she could fit into her schedule, pottery, photography, art, and computer graphics. Graduating during the dotcom boom made her decide to go to college for Graphic Design, however, she soon realized that she much preferred the art side of the job. After landing a job at Electronic Arts for character design, she decided to go back to school so that she could continue her career in art and design.
She then applied for the graduate program at the Academy of Art and got into the visual development program at the school. The program was one of the most enriching places she had been and her advisor Sherrie made sure that she got the most out of it.
After the spring show at the school and attending CTN, she applied for the fellowship program at Nickelodeon and after a day of crazy interviewing and yummy sandwiches she was moving down to Burbank.

Evon was brought up in a multiracial family, with a Taiwanese mom and Caucasian dad. They were raising her to be a scientist or doctor or one of those jobs that make a lot of money and parents always want you to be.

Evon Freeman

He spent most of those days going to school then coming home to draw for the rest of the day.
In high school, his attention began to shift from traditional drawing into digital. Taking up Photoshop, he felt as if a new world had opened up and for the first time he was introduced to digital artists via the Internet. It was also during this time he became increasingly shallow and vowed that all other forms of art aside from video game art were rubbish.
After high school Chase enrolled into Illinois Central College where he became more open to others styles and regained his previous love of the old animation shows and movies he used to watch when he was younger. Looking closely at the designs of the characters and backgrounds inspired him to take up the whimsical designs that animation offered.
After spending a year and a half of community college he decided it was time to go to art school. After looking at the rates of the schools he soon realized it was extremely unrealistic to be able to attend. So he began to look for alternatives, luckily he was able to find The Concept Design Academy in Pasadena California, where after 2 semesters he found out about the Nickelodeon Artist Fellowship.
When he applied to the Nickelodeon Artist Fellowship, his semester at school had ended and he was not sure if the fellowship would fall through so he bought a plane ticket home, which fortunately turned out to be a bad idea. Chase now plans on taking this opportunity to show his dedication to art and hopes on being able to take advantage of the fantastic opportunity nickelodeon has to offered.

Chase grew up in Pekin Illinois with a full head of creativity and hair. During his childhood, he found a love for art through drawing football players and Spiderman while at home and drawing the war scenes from the movie &#8216;Ants&#8217; on the back of homework sheets while at school.

Chase Standley

Despite having been born in New Jersey, Samantha (for reasons obvious to anyone who has ever lived in New Jersey) considers herself an Angelino at heart. Being of Swiss and Russian heritage, she inherited the Swiss’ love of cheese, chocolate, hiking, and timeliness, and the Russian people’s particular talent for enduring long winters. Also, she looks bizarrely good in funny fur trapper hats.
It was no surprise to anyone when she announced her intentions to go into the &#8220;family business&#8221;, though she did sense their slight disappointment when her family all asked at one point or another, &#8220;Wouldn’t you rather do something where you can actually make a living?&#8221; Despite their somewhat hypocritical misgivings, nothing could deter Samantha from her chosen path.
Jumping head first into her quest to become a professional artist, Samantha, at the tender age of thirteen and much to her parent&#8217;s chagrin, enrolled herself in nude life-drawing classes at the local art college. After getting over the initial shock that the models were, indeed, naked – like, really, naked – Samantha decided that this was the school that would help her achieve her animation dreams. (&#8230;Not because of all the naked people, but because of the awesome art teachers.) That local art college happened to be Art Center College of Design in Pasadena, California. It would be the place where Samantha would spend the next eight years of her artistic life, from Saturday High classes to eventually enrolling as an undergraduate student in the Illustration major. Art Center taught Samantha the important skills she would need to be professional in the animation industry: how to function on two hours of sleep a night, how to safely wash oil paint out of your cat&#8217;s fur, how to survive on a diet comprised entirely of microwavable ramen&#8230; oh, and how to draw funny, insightful, charming and heartfelt pictures.
Since graduating with honors in the Spring of 2010, Samantha has been a part of a number of exciting projects in the entertainment industry, including an award winning documentary, a children&#8217;s book for the iPad, and a feature animated film. In all of her professional experiences, Samantha strives to learn new skills, make new friends, seek out the next great adventure&#8230; and boldly go where no artist has gone before!
So, when Samantha heard about the Nick Artist Program, it sounded like the perfect next great adventure. Samantha sent off her portfolio, crossed her fingers, held her breath, realized holding her breath for three weeks was unrealistic, learned to paint with crossed fingers, and eventually giggled uncontrollably and embarrassingly when she was accepted into the program. Samantha plans to make her mark on Nickelodeon, hopefully not by accidentally drawing on the walls, but by offering her own unique contributions to the Nick team!
Let the adventure begin!

Samantha grew up in a family of artists surrounded by art; and, perhaps because of a prolonged exposure to paint fumes, has always known she was destined for a career in animation.

Samantha Kallis

Keiko&#8217;s father hated that his daughter was being such a nerd. Her mom, on the other hand, didn&#8217;t care. After graduating high school, she didn&#8217;t know what she wanted to do so her mom said, &#8220;why don’t you go study in America?&#8221; She took the advice and moved to Texas to attend University. She majored in Art, but she was still searching for what exactly she wanted to do. Then one day, she was watching TV mindlessly, and on came this show, Samurai Jack. It was love at a first sight (one way love perhaps.) The show was so graphic, cinematic, with beautiful BG and shape-oriented characters. She never seen anything like that back home; it was the biggest and the best culture shock ever. The next day, she was at the computer lab looking up the art school in California, the center of all the entertainment.
She studied at Art Center College of Design. Studying there gave her even more respect for the skills and imagination it takes to make great cartoons like Ren &amp; Stimpy, El Tigre, and my favorite, Mighty B! After graduating she worked as a graphic designer, a vis dev artist for motion graphics, and a colorist in 
publishing. But during all these jobs, she still worked hard to get into my dream career in animation, and she have applied to Nickelodeon many, many times over the past few years.
This year, her friend from school told me about the Nick Fellowship program, and of course she had to try. To be honest, she was very very surprised to be picked as a finalist. When Karen called her, she was so happy and shocked, repeating, &#8220;Omg, really??&#8221; Then came the most nerve racking and exciting part – panel reviews. This process was quite official, but all the review boards were nice, and Karen and Amber were there to help all finalists do a good job. She was so nervous during the process, and she couldn’t quite remember what she said in there! All she did was to be honest about where she came from and express her passion for art. She must have been a super awkward goofball in their eyes&#8230; but hey, she got chosen as a trainee! Now, she is determined to work hard and learn hard, for herself and for everyone who chose her to be the part of this awesome program.

Keiko grew up in Japan, watching anime, reading manga, and drawing characters. In junior high and high school, she started going to conventions and being a member of a comic drawing club.

Keiko Murayama

During his final year in high school he attended the California State Summer School of The Arts (CSSSA), an artist summer camp for high school students. At CSSSA, he realized art is much like sports. To become great at art, or sports, you have to consistently practice, dedicate yourself to learning the proper techniques, and love the process. Also while at CSSSA, he learned that he really loved animation more than sports.
After studying Character Animation at CalArts, then explore Experimental Animation at École Nationale Supérieure des Arts Décoratifs (ENSAD) in Paris, France for a semester, and working as a gourmet coffee barista, Darrell eventually landed a job as a character layout designer on the science show “Cosmos: A Space Time Odyssey”. He enjoyed the job but it wasn’t what he dreamed of becoming; he wanted to be a storyboard artist. Being selected for the Nickelodeon Artist Program has provided an opportunity for him to fulfill a personal dream.
Darrell is easily inspired by music, life, and movies. Some of his biggest influences are Motown Records, his family, Akira, “The Last Dragon”, “The Little Mermaid”, and Sailor Moon. He believes stories help us to connect, empathize, appreciate, and enjoy someone else’s world. Much like Jim Henson, he hopes to create stories that allow people to see the world’s differences as a positive thing.

Darrell was born and raised in Sacramento, California. He dreamed of playing professional sports until his Uncle Leroy and high school football coach, Shawn Sullivan, suggested that he should not neglect his love of the ability to draw cartoons.

Darrell T. Watson JR.

Growing up in the arctic tundra of Colorado, Lisa allowed her imagination to run free. You kind of have to when snow is all there is to look at. She wrote stories about creatures such as ‘Pigelechicken’ (pig/elephant/chicken) and Foxrabbicow (fox/rabbit/cow).
Lisa overcame her shyness about explaining and sharing her ideas after being sent to therapy because of them. There, she learned how to articulate her ideas more clearly, being forced to repeat a story in different ways. During this time, Lisa saw her first episode of “SpongeBob Squarepants” and became obsessed with it. Lisa made sure to watch episodes every day and decided then and there that she would one day work where SpongeBob was made.
Middle school and high school were spent practicing and drawing cartoons while she waited to become old enough to go off to an art college. She spent those days creating webcomics about soap opera stars and tax collectors.
Lisa went to the Rocky Mountain College of Art + Design, where she studied 2D Animation. She met classmate, Rebecca Schauer, who shared the same kind of twisted humor. Together the two began creating animations no one else cared about.
The morning after graduation Lisa immediately packed up her car and moved out, dragging her friend Becca along. They moved to California to pursue their dreams of animation and storytelling. After a year of being in California, continuing to work on webcomics and an animated web series, Lisa tried to branch out into indie video games. However, she decided to finally apply to her dream job after feeling confident enough about her work.
Still not convinced that she is here out of some kind of “mistake”, Lisa will try her very best to become a contributing artist at Nickelodeon and assist in creating shows that will inspire kids to follow their passions the way SpongeBob did for her.

Lisa grew up with her parents and three little sisters, all of which were blessed with the elusive math brain. Being the oldest child, and therefore also the ‘test child’. Lisa was given the freedom to pursue her artistic dream without any expectations of greatness.

Lisa Vandenberg

A general interest in all things continued through middle school and high school along with his love of cartoons and drawing; which went so far as to earn him an award for Best Illustrated Comic in a High School Paper. As graduation approached, however, the career Lane imagined was not one of art but of marine biology. He visited Scripps Institution of Oceanography in preparation for his future as a champion of the sea… and then promptly accepted an academic scholarship to the University of Arizona where he enrolled as a mechanical engineering student.
College continued to be a place of adventure and exploration as Lane found himself constricted by the engineering regimen and switched first to Philosophy and then to East Asian Studies. While pursuing this new degree, Lane studied abroad in Tokyo, Japan where he apprenticed as a ceramicist. He also joined his school&#8217;s art club where a true interest in 2D art took hold.
When he returned to the States he enrolled in more traditional art and 2D classes where he met his art mentor, David Christiana, who invited him to join a summer art program in Italy. Here, seduced by the beauty of the Italian countryside, he took visual storytelling and illustration courses that solidified his love for art.
After graduating, Lane had every intention of entering a Master&#8217;s Program for art when he ended up winning the Imaginations contest held by Walt Disney Imagineering. He found himself will-o-the-wisped away to Los Angeles where for the first time he was fully exposed to the world of animation. He never realized that it was possible to live creating the shows he had loved as a child and at that moment knew there was nothing he would rather do.
Having never been trained in animation Lane quested for books, references, and reached out to local artists in order to learn the trade while he worked at Walt Disney Imagineering. And then he drew. And drew. And drew. Exploring as many techniques and styles as he could.
When his friend suggested that he apply for the Nickelodeon Artist Program he jumped at the opportunity to put all of his hard work to the test. Nickelodeon was not only the home of many of his favorite childhood cartoons, it was also a diverse studio where the creative spirit was alive and well. When he didn&#8217;t hear back after a few months he didn&#8217;t let it faze him and worked with his friend, Rafi, on creating a comic called &#8220;Thoughtstronauts&#8221; to push himself. When Nick contacted him he was completely blown away and the following process was one of the most intense he had ever experienced. He was a bit worried about his new mohawk hairdo but it was welcomed along with him into the Nickelodeon fold. He is bursting with excitement at the opportunity to work alongside so many amazing artists in such a nurturing environment and can&#8217;t wait to learn and be a part of such an incredible Program!

When Lane was young he had no idea that he wanted to work in animation or even as an artist. He knew he loved watching shows like Samurai Jack, Rugrats, X-Men, and anime and that he enjoyed emulating all of the wacky things within them. He also knew that he enjoyed doodling, but at the time it was just another fun thing he could do along with sports, school, music, and adventuring.

Lane Garrison

Having played piano for so long, Elaine thought she would be a music major in college, but after watching “Spirited Away” for the first time, she felt more inspired by animation than by the piano. She was blown away by the film’s story, visuals, and music and she realized that in animation anything is possible. When she told her parents that she wanted to study animation in college, they panicked (a lot), but luckily they were very supportive. In the fall of 2009, Elaine entered Ringling College of Art and Design as a Computer Animation major, and it was life changing! She had to work really hard to catch up to her wonderfully inspiring and talented classmates, but she loved every sleep-deprived moment.
At Ringling, the Computer Animation majors are taken through a generalist program, where they learn all aspects of the pipeline and it was difficult for Elaine to decide what she wanted to focus on. Since the curriculum was filled with only 3D courses, she found time to squeeze in painting late at night. She scrounged up a visual development portfolio during junior year and was incredibly fortunate to get an internship at Blue Sky Studios. From that point on, she knew that designing and painting was what she wanted to do!
When senior year came, Elaine had to devote 100% of her time towards making a 3D animated short film and unfortunately, there was no time for designing or painting. Despite this, she was very excited to make a film called “Chicken or the Egg” with her roommate / best friend and partner in crime. After graduation, she realized that she hadn’t painted or designed in a year and was stuck in a funk. During this time she got to work as a 3D artist and illustrator at Brand New School and JibJab Media Inc. and also took classes at Concept Design Academy, which gave her the push she needed to start creating art she enjoyed.
Elaine’s mentor from Blue Sky Studios gave her lots of great advice, and she worked hard to improve her portfolio and applied only to places she really wanted to work at – one of which was Nickelodeon. She first heard about the Nick Artist Program through a friend and thought it was an incredible opportunity. The application and interview process was intimidating and nerve-wracking, but after a whirlwind of events, she is thrilled to be working alongside so many friendly and wonderful artists! She is excited to see how much she will improve during the Program and is so thankful for this opportunity!!

As a child, Elaine always expressed an interest in the arts; whether it was braiding bracelets, or making paper dolls (she must have made a hundred of them, each with their own stories and families). When she was 4, she started to learn to play the piano, and her teacher would always ask her to think of what the music made her imagine, whether it was an image or a story, and try to channel that through her playing. These experiences made her gravitate towards story and character-driven content, like the cartoons on Nickelodeon!

Elaine Wu

Ever since she could hold things in her grubby little hands, Angelica was drawing comics, stories, and using every trip to the doctor’s office as a chance to steal their note pads and make a new flip-book. Although many things changed in her life, the one constant thing was cartoons. If she wasn’t watching them, she was drawing and making her own. She was always filling up sketchbook after sketchbook, notebook after notebook, creating stories and comics to sometimes share, but not always… most of the time not.
Eventually, Angelica decided to “go green”, and made use of her parents’ computers (not that she knew what that slogan meant, as a kid in the early 2000’s.) She loved to work digitally, even though all she had at her disposal was a mouse and a touchpad. This was alright at first, but since she drew so much, it was troublesome for her parents who actually needed to use their computers. When high school rolled around, her parents helped her buy a laptop and tablet, on which she promptly installed Photoshop and Flash. Angelica took every art class that interested her, and with the support of her family, friends, and teachers, her dreams of working in animation grew. She also played soccer and played the flute in marching band. She was a very busy little bee.
When the time came to go to college, she applied to fancy art schools to study 2D animation. However, the cost to attend these schools was too expensive, so instead she tried a small Chicago school that was more affordable and closer to home. It only offered 3D animation, and Angelica hoped that since it was just another form of the medium, it would still feel the same. Turns out, that wasn’t the case. After a year of misery, she took some time off, and then applied to the Rocky Mountain College of Art and Design, and she was accepted. She then said goodbye to family and friends, and hello to Denver and its rocky Colorado mountains.
At RMCAD, Angelica made some of her most cherished friends, including Artist Program Alumni, Lisa Vandenberg. Since she had to work to pay for school, Angelica had very little free time; so it’s really a miracle that she made any friends at all. After graduation, she set her eyes further west… on sunny California to work toward landing her dream job.
However, before the move, she and her boyfriend took a month-long excursion to travel through Europe. It was just what was needed to cure post college burn out. It recharged Angelica for the new adventures that laid ahead on the west coast, and highly recommends it to anyone who might be on the fence about taking such a trip. After moving to California, months were spent taking classes and grinding away on a new portfolio. Angelica did some freelance illustration and made more terrific lifelong friends in LA! These new friends, and old ones alike, all told Angelica one thing: “The Nickelodeon Artist Program! APPLY! DO IT! GO GO GO JELLY!”
The rest was history, as some might say. Amidst the chaos of life, the stars aligned and she fandangled her way into an amazing dream job at Nickelodeon!! There are countless people that span across states and times, from childhood to the present, that all played a part in making Angelica the artist she is today. She hopes they know who they are, because to name them all, as well as how they helped her along, would be another page and a half of long-winded banter and this bio is really long already!

As a wee young Jelly, Angelica started out with aspirations to be a vet, a doctor, and a fire-fighter. She was six, and clearly just wanted to be everything she saw in her picture books. She then realized that while they were respectable careers, she didn’t want to put down animals, put down people, or put down fires.

Angelica Russell

They all soon became characters of their own within the cartoons and even though not everyone would be pleased with making an “appearance” in the stories, he still managed to accidentally develop an audience. This was when he began to consciously discover the magic of storytelling. When he realized that his simple cartoons could provoke some sort of emotional response from others, it was all over. For better or worse, it became the only thing he could ever see himself doing with his life… even though he’d always wanted to be a professional wrestler.
When the time came to choose something to study, he found animation to be the perfect storm, combining everything he ever loved within one medium. He studied at the California College of the Arts in Oakland; where he was mentored by an amazing group of professionals. Their wisdom and generosity were very impactful. While in school, he realized that what he loved most about animation was the same thing he loved about drawing: the medium’s potential to tell stories! Having had a tremendous passion for film his whole life, it would be no surprise that the most fun he’d ever have would be found in making films like ‘Amigo’ alongside his friends.
A few days after graduating, Celestino somehow found himself animating on ‘The Dam Keeper’, an independent animated short, with an amazing group of artists and professionals. In this project, he discovered how truly awesome collaboration could be. He was completely surrounded by fully devoted and passionate individuals who always delivered on the highest level possible, making the production an incredible experience.
Almost a year later, he’s now a part of the Nickelodeon Artist Program. Having grown up on great Nick shows like ‘Hey Arnold’, ‘Rocko’s Modern Life’, and later discovering ‘Avatar: The Last Airbender’, he is truly excited to be a part of the stories that are being told on television as well as working with and learning from the amazing folks at Nickelodeon. There is so much that can be done, so many stories that haven’t been told, and so many people to entertain in this world. He truly loves how stories can, in a way, document one’s life and introduce people to completely new things that they’ve somehow always known, all the while still broadening their perspective.

Celestino was born in Mexico City and raised in Laredo, Texas. Even though he had drawn his whole life and loved it, Celestino discovered his love of storytelling when he was going through middle school and high school. Inspired and fascinated by the people around him, he began to draw cartoons about his friends, teachers, and family.

Celestino Marina

By the ripe age of twelve, equipped with braces and rainbow toe socks (they were cool, I swear), Laura received her first drawing tablet. She only used it for the crucial things: embarrassing fanart, and character designs for her Neopets. She wished that she could design cartoons professionally someday but didn’t know jobs like that existed!
Ten years later, Laura is still just a big kid at heart who watches cartoons like nobody’s business. She attended the University of Virginia and graduated with a degree in fine arts and French. Since Illustration and Animation weren’t offered at her school, Laura spent most of her time on side projects, teaching herself digital painting. She was discouraged from drawing cartoons or painting in Photoshop by her professors, but she didn’t let that get her down! By her third year of college, she realized what she needed to do was work in the animation industry. So, she practiced and practiced, and challenged herself to reach the quality of art she saw in professional portfolios online.
Since graduation, Laura was selected for an artist residency in Illustration at the School of Visual Arts, as well as an assistantship in France. She taught English at a high school and traveled around Europe for a year; her adventures were a great inspiration for her art. While abroad, Laura was chosen for a one-on-one Motivarti mentorship with visual development artist Craig Elliott. Craig taught her all about the animation industry and helped her improve a ton. Laura is so excited to have been invited to participate in the Nick Artist Program, during which she will be trained for a specific role on a show. It’s an amazing learning experience and a fantastic way to begin her adventures in the animation industry, and she is so thankful for this awesome opportunity!

Ever since Laura was a wee lass in the boonies of southwest Virginia, she’s always wanted to be an artist. Growing up, Nickelodeon cartoons had a huge influence on her life. She remembers long family dinners during which she strained to see the television in the next room in anticipation of the newest “Spongebob Squarepants” episode.

Laura Price

April became notorious for covering every sticky note, scrap of paper, and homework assignment with drawings. Her parents recognized her passion and supported her interest in digital art. As an architect, her father had left over drafting equipment, and gifted April with two of the biggest tools of the trade: A copy of Photoshop 6.0 and a Summasketch II drawing tablet. While the tablet had a corded stylus, no pressure sensitivity, and was larger than half her body, April was excited and eager to translate her drawing skills into the computer. Starting from the 6th grade, April drew like never before, and began to explore the blossoming online art communities of Neopets forums, DeviantArt profiles and online tutorials.
April took every art class offered in high school, ranging from ceramics to AP Studio Art. She came to the ultimate decision to pursue art professionally by applying to art colleges. Through a flurry of application materials, rushed portfolio packages, and lots of email correspondence, her hard work paid off and she was accepted into Otis College of Art and Design. April was beyond excited to begin her studies in Digital Media and moved from San Diego to Los Angeles.
It was in her first elective course, Visual Storytelling for Entertainment, that she learned about storyboarding. At last! She found there was an actual name and profession for what she loved to do the most – bringing stories to life! She discovered that many of her original comics and illustration projects over the years easily translated into this medium.
At this point she firmly decided to focus on storyboarding. Although there was a lack of story-specific courses, she reached out to professors, professionals, and alumni to round out her education. As April continued to develop her artistic skills, she also gained self-confidence and independence through various campus leadership positions.
After graduating from Otis with a BFA, she took a much-needed break to spend time with her family and pampered dogs. She delved back into all the popular TV shows, movies, video games, comics, and anime 
As the saying goes, good things come in small packages. This not only applies to mail, but also to April – a tiny girl with fluffy curly hair and a huge imagination. Some say April was born with a pencil in one hand and a cookie in the other. Regardless of this myth’s merit and her insatiable sweet tooth, it can be said that she had an amazing ability to draw, draw, draw, and draw some more. April became notorious for covering every sticky note, scrap of paper, and homework assignment with drawings.
Her parents recognized her passion and supported her interest in digital art. As an architect, her father had left over drafting equipment, and gifted April with two of the biggest tools of the trade: A copy of Photoshop 6.0 and a Summasketch II drawing tablet. While the tablet had a corded stylus, no pressure sensitivity, and was larger than half her body, April was excited and eager to translate her drawing skills into the computer. Starting from the 6th grade, April drew like never before, and began to explore the blossoming online art communities of Neopets forums, DeviantArt profiles and online tutorials.
April took every art class offered in high school, ranging from ceramics to AP Studio Art. She came to the ultimate decision to pursue art professionally by applying to art colleges. Through a flurry of application materials, rushed portfolio packages, and lots of email correspondence, her hard work paid off and she was accepted into Otis College of Art and Design. April was beyond excited to begin her studies in Digital Media and moved from San Diego to Los Angeles.
It was in her first elective course, Visual Storytelling for Entertainment, that she learned about storyboarding. At last! She found there was an actual name and profession for what she loved to do the most – bringing stories to life! She discovered that many of her original comics and illustration projects over the years easily translated into this medium.
At this point she firmly decided to focus on storyboarding. Although there was a lack of story-specific courses, she reached out to professors, professionals, and alumni to round out her education. As April continued to develop her artistic skills, she also gained self-confidence and independence through various campus leadership positions.
After graduating from Otis with a BFA, she took a much-needed break to spend time with her family and pampered dogs. She delved back into all the popular TV shows, movies, video games, comics, and anime she had so dearly missed during her stressful finals. She began to apply to jobs in the animation industry, including Nickelodeon’s Artist Program. When she heard back from the program, she was surprised and blown away! Incredible! She had been selected as a semi-finalist! Weeks passed, and then another surprise phone call! WHAT?? Now she was a finalist! After intense evaluations and multiple interviews, she was honored to accept a position in NAP’s Storyboard Track. April continues to be amazed and starstruck as she swipes into the Nickelodeon building without being kicked out for trespassing. And so, begins her journey into the industry she has always dreamed of, one step at a time.

As the saying goes, good things come in small packages. This not only applies to mail, but also to April – a tiny girl with fluffy curly hair and a huge imagination. Some say April was born with a pencil in one hand and a cookie in the other. Regardless of this myth’s merit and her insatiable sweet tooth, it can be said that she had an amazing ability to draw, draw, draw, and draw some more.

April Amézquita

They knew they wanted to be an artist, but where to begin? They ran to their mom’s bookshelf and began the most intense research a seven-year-old could muster: they looked up “animation” in the dictionary. Next to the definition, there were twelve drawings of Bugs Bunny on a strip of film that added up to just one second of animation. Cai knew that they could barely finish one picture in a day, let alone twelve! They immediately started drawing anything and everything. The pause button on the family VCR wore off from how many times they’d stop VHS tapes to draw their favorite characters. Their dad, who is a painter, helped them explore all sorts of mediums, and set up the occasional still life that they would paint together.
In third grade, they created a comic about a half-horse, half-rabbit superhero, which grabbed their classmates’ attention. Many portrait requests were made, but the demand was too high to keep up with! Cai had to demand compensation for their efforts, and soon they were sitting on a throne of nickels and extra ice creams. (They &#8220;sold out&#8221; early.)
Throughout their high school years, they always took any available art classes and entered their work in many galleries and competitions. This garnered notice from several art colleges who offered them bountiful scholarships. However, Cai was unsure about the artist life due to one too many “you’ll be starving” speeches by a few discouraging adults. So, they ended up going to an engineering school to study architecture. After a year or so, they were miserable (and had accidentally glued one too many model trees to their hand) so they accepted Savannah College of Art and Design’s scholarship offer and transferred there.
It wasn’t long before they got an internship at Nickelodeon on “SpongeBob SquarePants”! The talented people creating the show were so hard-working and passionate, Cai couldn’t help but be inspired to create something of their own. They developed their first animated film, “East and West,” a story about two creation gods who battle to see who is supreme! After their internship ended, they traveled to Hong Kong to do location research with their crew. Many of their adventures traversing the hidden alleyways and magnificent monasteries influenced the final vision of the film.
Upon completing their film and graduating, they moved out to L.A., buckled down, and took a storyboarding class with Tron Mai at Concept Design Academy to improve their portfolio. They applied to Oddbot Inc. and storyboarded a few pilots there, but still had an itch to work in TV animation.
They moved into an amazing house filled with wonderful artist friends who encouraged them to apply to the Nick Artist Program to continue to pursue their passion! And now that they&#8217;re at Nickelodeon, they hope to continue to work with amazing people in the animation industry!

Cai always loved watching TV growing up and would exclusively watch animation. (Honestly, they were a little bit of a brat about it.) Luckily for their parents, Nickelodeon offered tons of animated content to quench their unending thirst. It was during that gilded era of “Ren and Stimpy” and “Rugrats” that Cai’s ambition to work in animation was solidified.

Cai Willis

It took five years of drawings and thoughts to finish her first comic, and by that time Jerry knew she had to do this for the rest of her life. Two years later, she broke her piggy bank to print her comics to sell to the public. When she saw people giggling while reading her comic, she experienced overwhelmingly positive feelings, which people casually call “happiness”. Jerry was convinced that she wanted to live an artist’s life.
Scared to be a “starving artist” at first, Jerry attended Cornell University to study architecture. She found it difficult to devote endless hours to her architecture assignments. Then, she realized that it was actually more difficult to ignore her true passion, animation. So, she transferred to Savannah College of Art and Design (SCAD) where she studied 3D animation with wonderful friends and professors.
After countless sleep-deprived nights, Jerry was accepted into Pixar to intern in the Technical Department. She was fascinated to see how every single pixel was devoted to storytelling. Although she learned so many valuable skills from amazing mentors, she found herself wanting to adapt these techniques to her passion for design. It was intimidating to change her focus from 3D to 2D in the last year of college, but she stuck with her belief that if she continued to stay true to herself, there would be always a way.
There were many up’s and down’s but Jerry is more than happy she found her way to Nickelodeon. She still vividly remembers the day when she was 14, she sat down in front of the TV watching “SpongeBob SquarePants” wondering what it would be like to be an artist for the incredibly creative animation. If only she could time travel and tell her younger self that someday she would be working for the studio that inspired her so much… She is excited to join the Program and learn how to infuse story into her designs from the amazing artists at Nickelodeon.
Jerry truly believes it’s a blessing to be passionate about something and pursue it. She is thankful to have made it so far and to have discovered who she really is as an artist. She is looking forward to cherishing every moment along her ongoing journey.

Back in the good ol’ 90s, Jerry’s mom, who had a great sense of humor, gave her daughter an English nickname from the cartoon “Tom and Jerry.” Jerry has always identified with “Jerry” ever since and knew she was bound to work in cartoons. When Jerry was in second grade, she knew she was serious about cartoons. But of course, how serious can an eight-year-old kid be? But she and two of her cousins started a project to make a comic of their own. Her cousins finished it in about a month and moved on with their lives, but Jerry just couldn’t let go.

Jerry Suh

Ever since then, Marcos never stopped watching cartoons, and his fixation for animation grew and grew. He drew every day at every moment, even during math class, so it didn&#8217;t take long for his teachers to find out about it, but instead of reprimanding him for that, they decided to keep him busy doing various creative projects around school. Marcos&#8217;s friends and teachers always encouraged him to pursue a career in the arts, but the most viable way to make a living as an artist in Venezuela was through a career in graphic design, so that was the path he took.
After working in graphic design for a few years, Marcos had the opportunity to move to the United States to finally pursue his dream of working in animation. After learning a new language and working at non-artistic jobs to save money, he decided to prepare himself to attend CalArts, which turned out to be a great school choice for him. He made good friends, found great mentors, and was able to score internships at awesome companies such as Disney Animation Studios, Jib Jab, and Pixar. Marcos constantly pushes himself to improve his skills, so he has complemented his studies by taking additional art classes at Concept Design Academy and Schoolism.com.
Now Marcos is part of this year&#8217;s Nickelodeon Artist Program, and he is enjoying every single moment of it. “Rugrats”, “Ren and Stimpy”, and “Avatar: The last Airbender” are among his most beloved Nick shows. Marcos thinks that hard work and dedication are the keys for achieving your goals and that everything is possible as long as you put forth effort and discipline into what you do and, more importantly, believe in yourself. Marcos is very excited about being here at Nick, and he&#8217;s very enthusiastic about the experiences that this Program will bring.

Marcos was born in Venezuela, and ever since he was young, he always showed an interest in the arts. Painting, drawing, and clay modeling were among his most favorite daily activities. He really developed an enthusiasm for color and painting by watching his Mom, an avid artist who focused on oil painting. But it wasn&#8217;t until his first visit to the movie theater, at the age of four, to see Disney&#8217;s “Cinderella” that he discovered animation and its connection to art.

Marcos Cohen

She always knew that she wanted to be an artist of some kind, but it wasn’t until elementary school when she watched “Hey Arnold”, that she knew she wanted to work in animation. Mallory thought it was so cool that Arnold was in fourth grade, and so was she! She really related to everything he went through: fifth graders really were huge and intimidating! It was then that she decided she wanted to help tell stories like that someday.
In high school, her classmates knew Mallory as that “dorky girl who draws stuff,” and she was a hot commodity for group projects. Mallory drew on anything within her reach and had even started dabbling in using the computer to draw. At first, she used a mouse, and she’s still not sure how she was able to do that.
When it came time for college, it was no surprise that Mallory wanted to major in animation. She looked into Cal State Fullerton’s Entertainment Arts program, and it sounded fantastic! Illustration, life drawing, and animal drawing, oh my! She packed up her stuff and headed down to Orange County to start her journey. From the very first art class, she was hooked! She jumped on her Wacom stylus and rode off into the night, leaving pixels in her wake.
College was amazing, but it couldn’t last forever. After graduating, Mallory continued to improve her skill sets, by taking online classes. She learned new skills, received helpful feedback and critiques, and made great artist friends along the way!
It turned out that getting her magical dream job at an animation studio wasn’t so easy. She ended up freelancing and teaching a Photoshop class to pay the bills, but she couldn’t ignore her dreams of working in an animation studio. So, while freelancing, teaching, and taking online classes, Mallory also worked feverishly on a new portfolio.
She knew that she wanted to apply for the Nickelodeon Artist Program, and she watched the submission period draw closer. Was her portfolio ready?! Over the last year, her art had improved, but she still saw things that she wanted to work on. Determined, she decided that she would probably always feel the need to get better as an artist, so she might as well go for it!
Somehow, despite Mallory being sure they had made a mistake, she was selected as a finalist! During the interviews, getting to see the Nickelodeon Studio was a dream come true, and she may have danced around a little. It was an intense process, but she made it through! The day the call came in, Mallory tried to stay calm…wait, what? She got a spot?!?! She couldn’t believe it at that moment, and she has spent every minute since trying to convince herself that this isn’t just an elaborate dream.

Mallory’s first memory is being a chubby three-year-old and drawing all over her brother’s bedroom door with a crayon…and then she ate the crayon. While that crayon is long gone, her love of drawing remains. One of her favorite activities was going to the public library in Ventura County, where she grew up. She always headed straight for the “How to Draw” books. “How to Draw Puppies” was definitely her favorite.

Mallory Carlson

When it came time to choose a career path, universities in Mexico offered very limited opportunities to study animation. Daniella reluctantly followed her family’s advice to pursue a degree that offered “more opportunities” and she began her studies in Industrial Design. She couldn’t ignore her passion for art, so she continued drawing and painting every chance she had.
As luck would have it, through her university, she was presented with an amazing opportunity to participate in a unique program for Animation and Character Design. Her participation in this program revived her desire to pursue her childhood dream. She began to teach herself Visual Development by watching tutorials, reading books, and analyzing artbooks. This arena of filmmaking became her love and passion. The idea of working on designing environments, characters, and worlds to support a story excited her like nothing else before.
She went on to graduate and put her education to work as a designer at an advertising agency. While this wasn’t fulfilling her creative desires, she eventually discovered that this experience would be a great asset in visual development. She had become accustomed to a “problem-solving” approach and gained an understanding of addressing character and story needs. Daniella dealt with concepts of function, movement, structure and drawing fundamentals. On top of all this, she spent all of her spare time honing her artistic skills as a freelance illustrator.
With the support of her family, she decided to dedicate herself for one year to working on her portfolio full-time. She quit her job and created brand new content, specifically to apply for the Nick Artist Program, and despite her own disbelief, she made it to the end. She still has to pinch herself every morning before coming to Nick; working here was her biggest dream! She is doing her best to make the most of this opportunity and hopefully will inspire other artists to follow their heart, even with no formal training.

Daniella is a self-taught artist from Mexico City. She was always the weird kid that preferred to play with art supplies instead of dolls. As an only child, cartoons were her constant companions and were a positive influence on her life. It was no surprise that when she found out her beloved characters were drawings (that by some kind of magic were able to move) she decided she had to be a part of their world.

Daniella Rosu-Oritz

Throughout her childhood, her family moved from city to city and she often found herself friendless and even homeless a few times. Sometimes drawing was the only thing she could do to stay sane. In every school she was enrolled, she quickly became “the girl who draws”. It was this need to express herself that gave her the drive to pursue art as a profession in order to give the next generation of fans something to dream about.
After high school, she set course for the University of South Florida, where she studied graphic design, the closest major offered in fulfilling her dream of learning animation. She held on to her hopes of entering the animation industry and figured she’d work on it in her spare time. Quickly she discovered that the constricted and rigorous graphic design coursework offered her no time to work on her passion projects and was not something she could tolerate for four years. With the support of her peers and professors, she decided to face her fears, follow her heart, and apply for art school. She transferred to the Art Institute of Tampa where she graduated with her BFA in Media Arts and Animation.
Najja got her first industry job working alongside some of her fellow alumni at Echo Bridge Pictures, a small animation studio in St. Petersburg, Florida. Working at a small studio, she found herself doing many different tasks such as designing characters, backgrounds, layouts, and animating on shows like Major Lazer and Axe Cop. Her biggest thrill was seeing her name in the credits on TV! When production wrapped, she kept busy with commission work and found herself “California dreaming” and yearning for a place, somewhere over the rainbow, where her work would be seen and her time valued.
Najja soon discovered that Nickelodeon, her initial source of artistic inspiration, had an Artist Program. The thought of working at her dream factory was almost inconceivable! There was certainly nothing to lose and everything to gain in applying. Upon waiting to hear back from Nickelodeon, she decided to take a chance and follow her dreams of being where the magic happens. She packed up all of her belongings into her little wagon and set forth across the country to the promised land of California (ironic how not much has changed since 1848). Just as she was getting settled in L.A., she received the congratulatory phone call from Nickelodeon, the studio that was now changing her life for a second time.

Najja has always found a way to escape through animation, even before she knew what to call it. Once her family discovered cable television, Nickelodeon became her main source of entertainment. She memorized how to draw all of her favorite characters, launching her passion for illustration. That passion found its way onto many empty patches of dirt, chalked up streets, clothes, and even her bedroom furniture, which did not please her parents.

Najja Porter

Jake was born in South Korea, and at age 14, he moved to Dallas, Texas with his family. Starting out, they didn’t have much furniture, but they did have a television in the living room. Every Sunday, Jake woke up early in the morning to watch cartoons on the kids’ WB channel to learn English. As Jake watched his cartoons, he drew his favorite characters in his sketchbook. He eventually thought it would be fun to make a comic book featuring his own story and characters. Just a few months later, he showed his comic book to his friends, and to his delight, everyone loved it! He imagined it would be so wonderful if he could grow up to work in the animation industry and create stories that would entertain people.
In 2011, Jake moved to L.A. and attended Otis College of Art &amp; Design. He knew that his end goal was to get a job at an animation studio, but he wasn’t sure how to get there. In his sophomore year, Jake met a fellow student who showed him a storyboard he had been working on. At that moment, Jake knew that this is what he wanted to learn and do for rest of his life.
Jake wanted to change his major to storyboarding, but there weren’t any classes available during his junior year. That’s when he realized that he had to take matters into his own hands (literally). He watched Youtube videos to learn the basics. He studied story portfolios of students from different schools and asked questions to any and all storyboard artists he could find. He also went to CTN Expo to meet working artists and get portfolio reviews. Jake realized that practicing and getting feedback was the best way to develop his skills and he believed that if he kept at it, he could fulfill his dream of becoming a storyboard artist.
After graduating, Jake took a day job in a sushi restaurant. Even though he was working a full-time job, he never stopped developing his portfolio. He used his two-hour break each day, to work on his storyboards. He took additional classes from Concept Design Academy and continued applying for storyboard jobs and trainee/mentorship programs. In 2017, after applying to the Nickelodeon Artist Program for his 4th time, his prayers were finally answered, and he joined the Artist Program as a storyboard artist.

Jake has loved drawing and watching cartoons for as long as he can remember. When Jake was 5 years old, he saw his brother drawing in a sketchbook and tried to copy what he was doing and was hooked. Even after his sibling moved on to other interests, Jake’s love of drawing persisted. When he started elementary school, Jake continued to draw non-stop, and lucky for him, his teachers encouraged this habit.

Jake Kim

She didn’t know about all the kinds of career options in the field of animation, but she did know one thing for certain – nothing made her happier than drawing, and she began telling adults that she wanted to be a “cartoonist” when she grew up. Her teachers seemed to agree – Abigail was not exactly the most focused of students (she much preferred to get lost in her imagination than pay attention) but there was one area where she excelled in, and that was in art. Her parents soon realized that nothing would ever change their daughter’s mind – becoming an artist is what she truly felt she was meant to do.
And so, Abigail dedicated her life to the pursuit of this goal, and got sidetracked only briefly in her pre-teen years, during which she fantasized about pursuing music and becoming a rock star instead. Once back on track though, she spent high school studying art books and watching animation documentaries when she should’ve been doing her schoolwork, but she managed to graduate anyway and went on to Academy of Art University in San Francisco. There, she majored in Visual Development doing what she discovered she loved the most – designing characters and the worlds that they live in – and graduated with a Bachelor of Fine Arts degree in 2015.
Abigail’s first art job was working as an independent contractor alongside Facebook’s art and animation team in Menlo Park. There, she spent seven months strengthening her character design and illustration skills while providing artwork for a variety of projects, including Facebook Stickers. After her time there was done, she went on to teach a pre-college course at the Academy of Art University.
Abigail applied to the Nickelodeon Artist Program in the summer of 2017 and couldn’t believe it when she received a call letting her know that she was a semi-finalist. After the next few months of interviews, she received the news in December that she was the chosen artist! A lifelong dream had led her to this moment – and now, she will continue to learn and grow while doing what she loves the most. She is still obsessed with rock music (though she’s long accepted that rock stardom isn’t for her) and has discovered her other passion &#8211; traveling by herself to far-off places, while taking only the essentials: her backpack, and her always-present sketchbook.

Abigail couldn’t have been much older than six when she began to explore the world of animation. It all started on one fateful afternoon when she was pressing buttons on the remote control while watching a cartoon on VHS tape. One button caused the film to play slowly, frame-by-frame, drawing-by-drawing. Fascinated by this discovery, Abigail started trying this with all of her movies, and she began drawing her own characters in motion. It was only a matter of time before she’d try making her own animations – using her mom’s sticky notepads to make flipbooks.

Abigail Muñoz

Year after year in school conferences, her teachers would tell her parents the same thing: she could be an excellent student if she stopped staring out the window and stopped drawing in class. However, it was never going to happen. By her teen years, between sneaking over to her friend’s house to watch old Simpsons re-runs (a show banned in her household) and pouring over art books that were stolen from the library (due to late-fee related crimes), Anna became enamored with animation.
As high school drew to a close, her dad, having come from an artistic background himself, encouraged her to pursue art as a career. Motivated by an itch to experience life outside of New York, Anna decided to attend the Savannah College of Art and Design in Georgia, where she majored in 2D animation. There, she discovered what excited her the most about animation: storyboarding. In 2016 she received her BFA and set out to follow her dream of breaking into the animation industry in Los Angeles, California.
But dreams don’t ever come easy. Anna spent what felt like eons stuck in an endless cycle of applications and rejections, including in 2017 when she was “thank-you-no-thank you’d” as a semi-finalist for the Nick Artist Program. She worked a dead-end service industry job. She moved four times. It felt like career purgatory. As time wore on, her dream of breaking into the industry only seemed to become more and more unrealistic.
Finally, her persistence paid off when she landed a job storyboarding 2D shorts for an educational company. There, Anna was able to spend time strengthening her boarding skills and learning everything she could about working on a production team. But she had a gut feeling that she wasn’t done with Nickelodeon.
In the summer of 2018, she applied to the Artist Program for the second time. Several months of interviews and one congratulatory phone call later, Anna now walks into the Nickelodeon building every morning thankful to everyone who encouraged and helped her along the way! She is so excited to work alongside the incredible artists at the studio who share her insatiable passion for storytelling.

Contrary to popular belief, Anna is an artist who was born right here on earth. Her family, originally from Chicago, bounced around the country before settling in greater New York in the 90’s. There, she grew up burdened with a heavy case of middle child syndrome and a chronic need to make cartoons in whatever form she could&#8211; illustrations, comics, and the staple for any animation-based origin story: tiny post-it flip-books.

Anna Hill

Despite all this, Sarah never really considered that art was something she could do professionally. Weren’t artists supposed to be starving? For most of her childhood, Sarah’s intense love for literature and writing had her heart set on the high stakes, high-earning position of an English teacher. But art continued to make a grab at her attention. If she wasn’t hunched over her desk reading and writing, she was hunched over her desk drawing and painting.
When it came time to seriously think about what to do after high school, Sarah &#8211; casually &#8211; looked up careers in animation. A whole new world of possibilities opened up and she practically applied for art school right then and there. The last years leading up to her graduation were ones filled with art, sweat, and a determination to get into art school.
Sarah decided to study 2D design for video games and traditional animation at Laguna College of Art and Design. Being able to experience the world of both games and cartoons gave her the opportunity to explore quite a few different paths—working on the stop motion short &#8220;Un Garcon et sa Bête,&#8221; interning at Gallery Nucleus, and collaborating with USC students to make video games.
During her undergrad studies, Sarah took a class dedicated to layout, where she quickly learned that animated TV production was where she wanted to be. After a &#8211; very dramatic &#8211; period of reflecting on her childhood (which included consuming an alarmingly large amount of Nick cartoons), she knew that Nickelodeon was precisely where she needed to be. She stumbled upon the Nick Artist Program during her research, and it seemed almost too good to be true.
For her senior project, Sarah knew that she wanted to combine her love of world-building and animation to create a portfolio worthy of Nick. Many long, caffeine-filled nights later, Sarah graduated May of 2018, with her short The Nights of LA as well as a design portfolio. She applied to the Artist Program, with crossed fingers and a lot of nerves. After a summer of teaching art and months of full-time barista-ing, she got the call. She was in! Sarah is determined to work hard, sweat that creative sweat, and do her very best, as she revels in the fact that she finally has the chance to make her mark in a place she only dreamed of as a child.

Sarah was a very curious child growing up. As the spawn of a musician and artist-turned-accountant, she was always encouraged to explore and nurture her creativity. Her younger days were bursting with music, art, tall tales, and an alarming amount of fish sticks. While visiting her uncle in San Francisco, she begged her parents to take her to the Cartoon Art Museum. Even though she was already an avid fan of cartoons, seeing the exhibits break down the steps of making an animated film, made her realize that cartoons combined everything she loved to do most; drawing, storytelling, and music. Sarah left San Francisco with a newfound passion and zoetrope in hand.

Sarah Jaques

Drawing was an obsession for India from the moment she could hold a crayon. Her parents still have her first illustration, titled “Varying scribbles resembling a Stegosaurus.” Her interest in art continued into middle school where she would draw things for her friends in exchange for snacks and would collaborate on handmade comics during recess with students from different classes.
As a child, cartoons were India’s favorite thing to watch. Saturday mornings were coveted. When her parents revealed to her that making animations and cartoons was a job, she knew that she didn’t want to do anything else. Drawing became her only focus, and nothing would deter her from pursuing it. Fast forward to high school, India’s commitment to art had not dwindled in the slightest. While all her close friends were getting ready for college, they wanted to be pharmacists, engineers, and doctors. India never felt the need to go to a typical academic university and knew that art school was where she wanted to be. She attended Ringling College of Art + Design and majored in Illustration. While at school she discovered there are many different avenues within animation under the umbrella of visual development. Through artbooks and new animated content that was becoming more readily available, her love for environments and backgrounds grew. By the end of sophomore year, she wanted to curb her focus on environment design and background painting for animation.
After graduation, India did freelance work for a multitude of different companies (mostly ad agencies). She was grateful for the experiences with these companies but knew that this wasn’t the type of art she wanted to do. She knew she was still in love with animation and wanted to tell stories and create worlds. A few months later she got a post-grad internship as a Character Design Assistant in Orlando for 6 months with Disney Creative Group. With that under her belt, she was determined to continue on this track and break into animation. She decided to take the leap and moved to LA.
Once she arrived in LA, India attended conventions, talks, and explored the city. It was amazing being surrounded by art and creatives and was eye-opening exploring what was available to her in the city. India applied to the Nick Artist Program, and while waiting she worked freelance gigs. By the end of the year, she heard the good news: she had made it! She now is doing what she always dreamed of, and is excited to continue to work around such talented people.

India was a typical Florida kid. She spent her childhood outside exploring nature and galivanting with the neighbor kids. If she wasn’t out catching lizards or digging for worms, she could be found inside drawing.

India Boeckh

Born in Oklahoma City, she grew up as a military brat. Her family was always traveling and moving around making it difficult for Kizzy to make lasting friendships. At 9 years old she was diagnosed with type 1 diabetes, which made it hard to be social and confident when it came to making friends at school. Once she got home though, she would turn on the TV to her favorite cartoons and instantly feel better. The animated characters always felt like friends to her, so she grabbed her pencil and paper and began to make her own. She created “friends” that reminded her of herself and had the personalities that she was fond of. She would often lock herself in her room for days drawing, only to be “grounded” and sent outside to play by her parents.
When she was 19, she wanted to go to art school to learn more about animation but wasn&#8217;t able to afford it. So instead she turned to resources like YouTube and “art of” books, which allowed her to explore a wide variety of styles and techniques from the masters like Hayao Miyazaki, Anna Cattish, and Yoh Yoshinari.
In lieu of art school, Kizzy took classes at local community colleges toward an English degree thinking she’d find stable income working as a teacher. After several years of bouncing around to different schools due to her family’s military lifestyle, Kizzy discovered that none of her credits were transferring or building toward her certificate. She decided that her time was better spent pursuing her dreams of working in animation and took a full-time job as a school nurse to save up money to move to Los Angeles. However, after two years, she was nowhere close to her financial goal. She didn’t think she’d ever be ready to leave home, but her father told her, &#8220;If you wait &#8217;till you&#8217;re ready, then you&#8217;ll never be,&#8221; and it’s the best advice she has ever received.
Kizzy landed in LA and immediately got to work, building a new portfolio and making friends and connections with people that shared her interests in the animation industry. Being immersed in this new community motivated her to continue learning what takes to become a successful artist. Now her dreams are becoming a reality as she takes her first steps into the Nickelodeon Artist Program, making her 9-year-old self proud.

Kizzy is a Zimbabwean American artist that loves stories about flawed characters and amazing adventures. She is a big fan of comedy and loves to make people laugh, whether it be from telling hilarious jokes, or her own contagious laughter. She is determined to create works that have the world slapping their knees. When she isn&#8217;t busy being silly, she is working hard on creating characters and worlds for not only herself but for others to enjoy as well.

Kizzy Whitfield

One day on a family outing to the Tribeca Film Festival, Li watched a Japanese animated film called Brave Story. That movie would be the single piece of media to completely change Li’s world. It was the first time she saw a character that was from a divorced household on screen. She felt an uncontrollable desire to create similar stories where anyone can be the protagonist and go on adventures. So, from that moment on, working in animation became her ultimate dream.
Throughout middle school and high school, Li studied as much as she could in order to attend an art college. In 2014, she was accepted to Montserrat College of Art’s animation program in Beverly, Massachusetts. Halfway through college, Li studied abroad in Niigata, Japan for one summer and the trip opened her eyes to a whole new world. While getting lost in train stations and rice fields, Li would document her encounters with new people, food and local cats. When she returned for the next semester, Li took her first storyboard class and fell in love with the craft. She never realized that there was an actual job in animation that allowed artists to simultaneously draw and tell stories. It was the perfect fit for her, and she knew she would become a storyboard artist. The next summer, Li did her first internship at Sesame Workshop in Manhattan and worked on Sesame Street as an animation revisionist. 
At the end of 2017, Li successfully completed her final semester and graduated with a BFA in Animation and Art History.
For the next two years, Li continued to work in freelance as a 2D animator and storyboard artist for indie projects on Kickstarter and Youtube. In 2019, she took her first trip to California with her older sister. Li couldn’t help but feel like California was where she needed to be so she could further pursue her dream, so it was time to make the Big Jump! Upon returning home, Li caught wind of the Nick Artist Program from friends and social media. She whipped up her best storyboards and sent her application and crossed her fingers.
Fast forward to September, Li received a call from Nickelodeon and was informed that she passed the first round. She was over the moon about the news and couldn’t believe it! The next couple of months were intense and nerve-racking, but once Li received that final congratulatory call, she couldn’t stop herself from crying with joy. Now Li wakes up every morning excited to work with so many talented artists at Nickelodeon. Not only that, but she is also eternally grateful to her family, friends and crazy dog for encouraging her to never give up and to follow her dreams.

According to her family and friends, Li was born with a sketchbook and pencil in hand, ready to create and share stories with the world. As a child, she grew up in Jersey City bouncing between two households along with her two sisters. While her family situation was difficult, the three sisters always came together to use their imagination to escape from their troubles and doubts. Whether it was watching cartoons or performing doll soap operas, there was never a moment where Li wasn’t creating worlds and characters.

Li Cree Hurt

Every day after school from elementary to junior high, Marisa and her sister would run into the house, throw their backpacks down and dive for the TV remote. Hooked on shows like SpongeBob SquarePants and Fairly Odd Parents, Marisa was unknowingly already studying the art of cartoons. During these years, Marisa continued to grow her passion for drawing; taking art classes throughout school and even competing in local art contests. At graduation, the time finally came for Marisa to decide what career path she would take. It wasn’t until a conversation with a counselor at the Academy of Art in San Francisco that she heard the words “visual development” for the first time. That was it! 
Just like that, Marisa picked up her things and moved to California in 2015. She studied at the Academy for four years where she learned everything she could from character design to color scripts! She graduated in May of 2019 and soon after learned from some classmates about the Artist Program. Having just graduated with no professional experience, she thought it was too far out of reach. With other things in mind, she and her boyfriend set forth on an adventure to move down to L.A.  
Marisa realized very quickly that finding a job was a much harder task than she had expected. For months she handled little freelance gigs here and there while continuing to work on her portfolio. During this time, she created a series of personal projects that reflected her life in both Texas and Miami. After a few months, she finally caught a break. In the fall of 2019, Marisa got the opportunity to join Disney Publishing Worldwide as a background painter. Her first real job! This opportunity would prepare her for what was coming next. With the Nick Artist Program deadline only a day away, a friend happened to remind her to apply. Now with a fresh portfolio and the confidence of her new professional experience, she decided to give it a try. After months of long interviews and waiting, she finally got the call. 
Marisa is excited to be at Nick and hopes to use her love for design and humor to tell stories that bring people together.

Marisa Torres was born into a loud Cuban American family that relocated from Miami to the suburbs of Sugar Land, Texas. Feeling out of place amidst the cowboys and gunslingers, she quickly developed the habit of drawing as a means of escape. As a kid, Marisa and her family made frequent trips down to South Florida and made sure to stop at any and all theme parks along the way. While exploring the many worlds these parks had created, Marisa discovered the importance of storytelling and transporting people into different worlds. During those trips, she began to fall in love with the magic of creating stories and wondered how she could be a part of it.

Marisa Torres

Chasing that sensation, Shannon began taking art classes during elementary and middle school that helped her improve her artistic skills. She moved on to watercolor and oil painting classes in high school. With an otherwise normal high school experience when it came time for her to go to college, she realized hadn’t put much thought into what she wanted to do with her life. She figured she would go to a nearby college and wing it. That’s when her father shocked her by suggesting a career in art. So, in 2015, Shannon took the leap and enrolled at DigiPen Institute of Technology, a college where artists, coders, game designers, and sound designers come together and make video games and animated films. There she learned everything about how they are made; most shockingly that 2D animation was created frame by frame, each image drawn on a separate piece of paper.
By her sophomore year, she still felt directionless as an artist and as a person, but that all changed when she joined a 2D animated film team. She was surprised to discover how rewarding collaboration was to not only her own artistic growth but her personal growth as well. She suddenly felt invigorated to give it her all. Shannon worked on many aspects of the film from producing, to storyboarding, to 2D animation, and editing. It was like she had woken up. She stayed up until all hours of the night to work on her film, drew until her hand hurt, and even trudged to school over winter break in the snow, in flip flops, uphill both ways. It was so much fun. She was free to discover and create something with her own hands. 
From there she went on to her senior 2D animated film team, which combined the love of teamwork she fostered during her sophomore film with the stakes and pressure of making something that pushed her artistic limits. Getting the chance to tell a story about a young Indian girl in her senior film got her excited about making stories that allowed people to see a part of her and her culture. It was cemented in Shannon’s mind that the animation industry was where she needed to be. Shannon focused on visual development and color styling during her senior film motivated by her previous training in painting and design and the specific way that color tells and elevates a story.
After graduation, she applied to visual development and color styling positions in the TV and feature film industry. With a series of rejections at her feet, Shannon dove into self-improvement as an artist, pushing herself to network with artists online, taking on new personal projects, and even moving with her friend to California to get closer to the industry she wanted to be in. With many new art pieces under her belt, she put together a portfolio for the Nick Artist Program. After a whirlwind interview process, Shannon received the call that she had been selected for the program. Exhilarated and grateful, what she takes away from this opportunity is the value of pushing through fear, trying new things, and never forgetting her love of the collaborative process behind making great animated films and cartoons.

Shannon Parayil is the youngest of three children, born and raised in the ever-raining Washington state to an Indian immigrant family. One of her earliest art memories was coloring in Montessori when she was 4 years old. Her teacher saw her scribbling aimlessly with markers on a piece of paper and taught her how to draw straight lines, make shapes, and color them in. Little Shannon’s mind was blown. Someone had helped her approach her art in a brand-new, she would continue to pursue that feeling in all her artistic endeavors.

Shannon Parayil

In elementary school, Carl Edward filled wide-ruled notebooks with Star Wars fan fiction rather than doing the morning journal entry questions that the teacher put up on the board. He went to Halloween Horror Nights in the fourth grade (without ever having seen a scary movie before). Carl Edward went back to his Catholic school with drawings of the slashers he had acquainted himself with the weekend prior. His rendering must have been decent because Carl Edward was banned from drawing at school. So, naturally, he decided to keep it up.
Drawing was a through-line during his schooling experience. Carl Edward drew on every piece of paper that came his way, much to the frustration of teachers who were just trying to teach him basic math. It was so much faster to illustrate what he wanted to say rather than speak his thoughts out loud.
Then throughout middle school and high school, Carl Edward invested his creativity in theatre and improv performing, basking in live reactions. Laughs were preferred. From time to time, he’d find himself in trouble for “upstaging” costars, adding in unrehearsed bits. During one performance, Carl Edward’s only scene was to enter and kiss the feet of an evil queen, so he brought a Febreze bottle onstage and sprayed the queen’s feet for a solid minute.
When it came time for college applications, Carl Edward hadn’t considered art as a viable option. Yes, he had taken many art classes and participated in art contests, but at his academically driven school, art was not taken seriously as a path for higher education. His interest in art was obvious, but how to proceed was unclear. Rewatching stop motion movies like “Tim Burton’s A Nightmare Before Christmas” and “Chicken Run” helped Carl Edward see animation production as tangible and accessible through the arts he already knew. The handmade quality reminded him that people do this work — and that it’s an art form that can be learned. A clear connection between all his interests was forged. With a month left until submission deadlines, Carl Edward pivoted from an anticipated English degree and pursued animation at California College of the Arts in Oakland, CA.
At CCA, Carl Edward discovered storyboarding. It was the part of the pipeline that resonated most with his previous experiences — a playground in which he could inhabit every character, build limitless worlds, and simply draw a story!
Carl Edward graduated with high distinction and was honored to be the commencement speaker for the class of 2020.
During his last year at college and into the summer after graduating, Carl Edward joined a Berkeley non-profit called Afi Health, where the team created short pediatric videos to inform children of their various medical conditions. As someone who grew up with acute asthma and severe allergies, Carl Edward took this as an opportunity to utilize his learned skills and let medically struggling children know “you’re going to be alright”.
Post-graduation, Carl Edward moved to Sierra Madre, CA. He worked a few random jobs — the wildest as a receptionist for an understaffed dog hotel where a husky named Loki opened gates and doors for his oversized friends.
Now, Carl Edward is an obsessive young adult still with a flair for the dramatic and a knack for the bizarre. He is grateful for family and friends who supported him and for those who discouraged him. Carl Edward will continue his journey as a storyboard artist in the Nickelodeon Artist Program.

Carl Edward Mongan was an obsessive child with a flair for the dramatic and a knack for the bizarre. Sports were not his strongest suit, and not from a lack of trying. Carl Edward’s parents signed him up for almost every sport, and at the end of the season decided “I’m not doing that again.” He was actually asked to quit karate due to his talkative nature during meditations. This suited Carl Edward just fine. He preferred to draw.

Carl Edward Mongan

Coming from a geographically small place, Samuel sensed that the world was enormous; therefore he became a very curious person. His parents didn’t have many opportunities growing up, therefore had an enormous desire to feed their son&#8217;s curiosity and encouraged him to try everything and to get as many life experiences as possible. With a lot of hard work and sacrifices, they encouraged Samuel to try out a variety of things in school including learning English, playing soccer, going camping, competing on the marching team, playing the clarinet, joining the swim team, and even training as a juggling performer.
When he reached university he maintained his curiosity of the world and explored many different career options before finding his true calling. He started at the University of Puerto Rico on a choir scholarship, but he majored in Engineering with the intent of building a real-life Iron Man. [WK1]Even though he was in a good position to fulfill the engineering career, he still craved other interests. He changed his major to English literature, then studied French in Quebec, Canada. He went on to study Cinematography and flirted with Graphic Design. These many experiences guided him to find his true passion for animation.
He transitioned his studies to Atlantic University College in Guaynabo, Puerto Rico to pursue a degree in Digital Animation. He got involved in as many projects as he could, one of which was a local film festival where its top participants were rewarded with a trip to Los Angeles to see “Hollywood.” This was his first time in L.A. and he spent the week touring amazing studios such as Blizzard Entertainment, Paramount, Universal Studios, Sony Animation, and, of course, the Nickelodeon Studios in Burbank. This introduction opened his eyes to the possibilities and gave him a clear perspective on what he could one day become.
After graduating from university, he joined local animation studio, Gladius Studios, along with 13 of his college friends. For the next 2 years, he honed his CG skills working on commercials and even some animation series as a Visual Effects Artist, all while developing a specialization in lighting and compositing. However, he hadn’t forgotten his dream of working for a big studio and when he saw the Nick Artist Program opened opportunities for a CG Track, he challenged himself to apply. Samuel is very excited about his achievement of getting into Nickelodeon and exploring animation outside of Puerto Rico. He is eager to get involved in big projects and continue his journey around the animation world.

Samuel Pagan is a Puerto Rican artist that specializes in Lighting and Compositing. He was raised in the city of Mayagüez around sports and music.

Samuel Pagan

Growing up in a rowdy, multi-generational home was often full of overcrowded rooms and crying babies, but they found themselves constantly surrounded by faraway stories of beautiful islands, family members they hadn’t met, and tales they could only dream of. Since they were a child, Jasmine had always seen storytelling as a way to connect and understand the world around them. And from that point on, they had always loved storytelling.
And once the wonders of cable were introduced into their life, Jasmine was hooked. Through cartoons and animation, they had found the stories that they had always craved.  Jasmine saw themselves in Miyazaki films, wished for Fairly OddParents, and dreamt of becoming a Sailor Scout and fighting evil by moonlight. This began their journey into art. It naturally occurred with copying everything they saw on TV, and as a child, that meant drawing everywhere and on everything–which included the walls of their rental apartment. Their love for drawing and cartoons grew tenfold throughout the years. They were inspired by the creators of these amazing shows and movies, and after some research, they began to realize that animation was a possible career path. However, no one in their immigrant family had pursued entertainment arts before. After too many nights of research, a handful of existential crises, and lots of convincing to their parents, they took the blind leap of faith into the world of animation and never looked back.
Jasmine graduated from high school and built up their skills at community college. While working towards an Associate’s degree in Animation, they found what they were most passionate about—storyboarding. With a new sense of determination and newly packed bags, Jasmine made their way along the coast to attend Art Center College of Design in Pasadena. While at Art Center, they simultaneously sat in all the storyboarding classes they could find, took classes at Brainstorm, and attended storyboarding courses online. Once their time at Art Center came to an end, they found themselves suddenly thrust into navigating the big, daunting world of professional freelance animation.
In the midst of freelancing, Jasmine decided to apply for the coveted Nick Artist Program. With a few weeks filled with too many cups of matcha lattes, they created a new storyboard, put together all their favorite comics and illustrations, and pressed the submit button. To their surprise and a string of several phone calls and interviews later, the last phone call finally rang—they made it! Jasmine is forever thankful for their parents, sisters, family, friends, mentors, and pets that continue to support them along their path. Jasmine’s journey is just beginning and they can’t wait to grow and experience all they can with the amazingly talented and lovely people at Nick!

Jasmine Reyes was born and raised in the Bay Area suburbs to a loving and loud Filipino family. Jasmine’s early days were riddled with crayon scribbles, early anime, and a home packed with their parents, two sisters, uncles, aunts, cousins, and grandparents.

Jasmine Reyes

Since childhood, Booker Jackson has been obsessed with cartoons, kung fu, and comics. He could always be found with paper and pencil in hand drawing his favorite characters or acting out his favorite scenes with friends.
One fateful day, while watching cartoons, young Booker stumbled upon a behind-the-scenes interstitial on Nickelodeon. An artist was featured having a blast while drawing at work. It looked so fun watching him share the same expressions of the characters he drew. Next, they showed him and a co-worker shooting at each other with nerf guns during a work break! The segment ended with the magical words, “If you become an animator, you’ll never have to grow up.” That was it; The moment Booker decided he was going to work in animation.
After scouring the sleepy city of Sacramento, Ca, for a way into animation, Booker, realized there were little to no resources to guide him into such a niche career. Booker, however, was not deterred and instead inspired  to teach himself art and animation in any way possible. He began recording, drawing and studying his favorite cartoons, films, and video games. He would fill ruled notebooks and reems of paper with the adventures of his own characters and show them to his friends and family. He’d draw the world around him as often as he could. He even took up martial arts and strength training to gain a better understanding of the movements and anatomy of the human body.
Booker’s hard work eventually paid off as he earned admission into college studying animation after high school. However, financial hardships would only allow him to stay for one semester before having to leave. Bruised but not beaten, Booker picked himself up and went right back to his own artistic training regimen while working full time day jobs. After years of ups and downs creating art for conventions, art contests and indie work, he began to feel his art was speaking to an audience, stepping ever closer to his dream. He finally felt it was time create a portfolio in hopes of breaking into the wonderful world of animation. And to his delight, Booker was accepted into the Storyboard Track of the Nick Artist Program. Booker now looks forward to this new chapter of working with a team of like-minded individuals to help create stories that will resonate with people from all walks of life.

Booker Jackson

Cherrie Wang has spent her entire life doodling on anything she could get her hands on, as well as gobbling up shows, cartoons and movies. Quiet and shy, she could barely look anyone in the eye, preferring instead to bury herself in the pages of graphic novels.
Summers were spent at her grandparent’s home in sunny Los Angeles, where there was just one golden rule: in order to watch cartoons or to play or to draw, she first had to finish a large daily allocation of math and science workbook pages everyday. She’d power through them as fast as she could, and spend the rest of the hours drafting imaginary worlds and her own original comics, watching shows and imagining her own characters one day animated.
When it came time to apply to college, Cherrie faced the facts. Her family valued scientific sensibilities over silly drawings and didn’t understand the world of art and animation. They urged for stability and security. Despite struggling her way through more supplemental math and physics classes than you can imagine, she applied and made it into USC Viterbi School of Engineering.  After an ungodly amount of suffering, last-night cramming, and way too many mental breakdowns to count, Cherrie graduated with an engineering and computer science degree—to the absolute astonishment of her friends and family (especially her mother, who had called her every week of undergrad asking if she’d failed out yet).
Putting her technical skills to good use, she developed data visualizations for NASA, joined the Google APM program, led new projects on Google Maps and launched YouTube VR on the newest headsets. Getting to work alongside incredibly talented and hard-working peers inspired her to look inside of herself and pursue her own passions.
At the beginning of 2020, Cherrie made it her New Year&#8217;s resolution to figure out what was next. “If not tech, then what?” she wondered as she investigated a wide spectrum of new career paths—from music production to stand up comedy, she even considered going to law school (a classic career crisis moment).
While living and working in Tokyo, she was immersed in the world of Japanese visual arts, which inspired her to revisit her long-lost love of storytelling. Cherrie signed up for an online storyboarding class and it was love at first sight. She couldn’t believe there was a job that so perfectly combined her passion for the visual arts and storytelling! From there she was determined to make the switch into animation. She watched movies, studied cinematography, sketched people non-stop on the trains. Every hour that she wasn’t working, she was drawing.
In 2021 Cherrie left her engineering career behind to pursue animation. She got her first opportunity working full-time on an animated show at Pure Imagination Studios, and at the end of the year, got selected for the Nick Artist Program! She’s beyond excited to continue growing as an artist and to work with such an incredible group of individuals.

Cherrie Wang

Guowei Lu was born in a city in China you’ve never heard of. At the tender age of 8, Guowei’s world was turned upside down when he was uprooted from his birth country and transplanted to Vancouver, Canada. There, he came to be known as Andrew, then Kevin, before finally settling on David.
With limited knowledge of the English language and no friends to interact with, David’s attention gravitated towards television. The quality of television was much higher in Canada than China, so David watched every show he could from Reboot to Angry Beavers. Before he knew it, he had learned English from the Simpsons, and had become proficient at drawing SpongeBob characters. With his newfound skills, David established himself as the artsy kid, an identity he would carry all through primary and then secondary school.
His love for art however, came into direct conflict with his family who were less thrilled about their only child selling commissions to fuel his World of Warcraft addiction. To put him on the right path, they enrolled him in the International Baccalaureate program, an accelerated program where every other kid wanted to go to Harvard or Yale. However, David did not have the intention (nor the ability) to go to an Ivy League school. He had his eyes set on Sheridan College, which was basically Canadian CalArts. When it came time for college, David’s parents refused to fund any art school and only agreed to support him if he got into a more respectable trade. With his animation dream dashed at this point, David went to the University of Toronto to study Computer Science, with one goal in mind: make money.
Luckily for David, he managed to squeak his way into an internship at the #2 (formerly #1) website in the world: Google. And soon after, he found himself working for Google as a fulltime software engineer. David’s string of good luck would continue as he got placed on the Doodles team, perhaps the only art focused team in the entire company. He went on to work on such Doodles classics such as the 2020 Olympics cat game, the one where you cut a bunch of pizzas, and the one with the turntables. What was especially exciting to him was that he got to work on some of the art as well! Even though he didn’t get paid for any of his art, he was grateful enough for the experience.
Reinvigorated by his surroundings, David started on his artistic path once more. With his hard-earned disposable income, he took many courses at the Academy of Art University, the Animation Collaborative, and Schoolism.com. He would go deep into Visual Development, but also branched out into Storyboarding and 3D Animation. After six years of toil, thousands of hours spent in front of a Cintiq, and three continuous years of applying to the Nick Artist program, David was selected for the General Design Track. David was finally given the chance of living out his childhood dream. He is forever grateful to the good people of Nickelodeon for this opportunity and is proof that a career change is possible no matter how far removed it is from animation.

General Design Track &#8211; 2022

David Lu

Emily is a character designer and self-proclaimed ’Burbs Girl® who grew up in southern California. As a toddler, she loved talking to new people. At stoplights, she used to stick her head out of the window to chat with the driver in the car over. Nightly story time with mom and frequent reminiscing from dad about that time he once “met some gnomes” while growing up in Mexico cemented her fate as a storyteller.
Her childhood passions were cartoons, dress-up, organizing her room, and Lunchables Pizza, in that order. She also nursed a fierce love for The Lord of the Rings, wearing one heck of a glow-in-the-dark Frodo shirt through the fourth grade. Stories were really her first means of exploring new, enchanted realms. Hey Arnold and The Wild Thornberries were her favorite TV shows and made her want to attend school on the east coast (or anywhere it snowed), as well as travel the world in an amphibious vehicle.
In high school, she joined show choir and used class projects as an opportunity to write academic, sketch-comedy jingles with her friends. In college (where it actually snowed), she studied art and joined a guild that played music in bell towers across Europe. It was during this time that she started traveling for real, and even though she wasn’t part of a fellowship undertaking peril and adventure to save the world from demonic jewelry, it was still pretty rad.
After graduating, some of her first professional work was illustrating kids’ books and doing graphic design for toy companies that empowered girls to pursue careers in STEM. In 2017, she changed gears to designing for political orgs that help elect women to office. But after a full presidential cycle designing for grownups, she decided that creating smart, educational, and empathetic stories for kids was the best contribution she could be making.
Her favorite types of content center on family and found family, children learning how to harness their superpowers and what it is that makes them different, and stories that help children (as well as grownups) work through difficult subjects like grief and loss. After all, her former art professor and mentor said it best: “We’re not making art, we’re making sense.”

Emily Monjaraz

As a city kid from the sprawling metropolis of Houston, TX, Katarina did have many woods to explore or oceans to see but dreamt of one day traveling the world and living the life of Eliza Thornberry. Of course, her fascination with nature and exploration would only be visualized and doodled in her sketchbook. Her addiction to doodling was fueled by her grandma buying her cheap crayons and markers from the dollar store and coming home and watching the latest episodes of The Wild Thornberrys together. Like many kids, she loved cartoons, but it wasn’t until she watched the making of Bambi that sparked her interest in animation. After many rewinds and eventually breaking her VHS tape of Bambi, she fervently wanted to bring those images back to life by painting on cell sheets just like the Ink Department. Little did she know, this was the beginning of her dream of one day mixing her two loves of art and nature together.
Katarina kept her eye on animation as a career, which was mostly unheard of in her small world, but she desperately looked everywhere for people and schools that could help her grow as an artist. After a year of taking art classes in high school and learning more about 3D animation, she finally decided to apply to the University of Texas at Dallas. They had an animation program that was not well known but she believed that no matter where you go, it&#8217;s what you make of the moment.
At UT Dallas, she began taking classes in multiple disciplines of animation. She quickly learned there were many departments in animation and once she took her first lighting and compositing class that&#8217;s when her entire life changed. Watching how you can bring a character and an environment to life with lighting brought back the feeling when her grandma would buy her cheap crayons and markers to color in her sketchbook. The road to lighting was not an easy one but she poured every bit of her heart into every school animated project she was a part of.
Just when she was graduating the pandemic was at a rise and applying to studios was at a halt. During this time Katarina moved back to Houston with her mom and brothers. This wasn’t the dream she had hoped for but sitting in her childhood room remembering 12-year-old Kat dreaming of one day working in animation finally happened. She got the opportunity to work at a local studio in Austin. For a year and a half, she had the opportunity to mentor through the studio’s program and even took on a mentee. Coming back to Houston meant giving back to her local community in any shape or form. Ever since she was little, living and dreaming about animation in Houston sparked a promise she made to herself as a kid. If she ever made it in animation she would love to come back home and give back to her community.
Katarina is excited to join the Nick Artist Program to further hone her skills while making meaningful connections and getting some time to capture pictures of sunsets in Los Angeles.

Katarina Perez

It takes one masterful piece of art or media to inspire and set an artist on his journey. Jurassic Park was that inspiration for Roger Hernandez to seek out his calling in the world of polygons and three-dimensional planes. As a kid, Roger would watch countless hours of cartoons and movies, but most notably Ray Harryhausen movies: The 7th Voyage of Sinbad, The Valley of Gwangi, 1 million B.C etc… But when his parents took him to watch Jurassic Park in the theatre Roger witnessed the transitional evolution of a Ray Harryhausen clay dinosaur to a living, breathing T-rex on the big screen with fluent movement and real-world scale and that was the moment he knew that was what he wanted to do when he grew up.
During his time in community college, Roger started to look for the best universities and art schools to begin his journey; it all came to a crashing halt when reality hit, and he realized that the “best” schools were too expensive and out of reach for a family with limited financial stability. Searching for an alternative, he found California State University Northridge, and it was a Godsend! However, its art program was still in its infancy and its resources were limited, but nonetheless it was an exciting time as he would finally start the journey he craved.
A month after Roger graduated from Cal State Northridge, he found himself at his first studio job at Cosmic Toast Studios as a Generalist, working on projects that consisted of Flash animation, compositing, and 2D art clean-up. Despite Roger not doing CG as his primary vocation at Cosmic Toast, he still enjoyed learning and trying different software’s and mediums. After three years, in an unfortunate turn of events, the studio shut its doors, leaving Roger pondering his next course of action.
Despite a period of hardship, Roger did not give up and decided to go back to what made him crave this career in the first place – his love of CG art. Roger enrolled into Animation Mentor, took classes through Mold3D, CGMA online school and watched hours of online CG tutorials on YouTube, Plural Sight and Gnomon Workshop. During this time Roger would also do freelance work on the side, taking on projects for multiple clients and rebuilding himself from the ground up, making a wide array of connections in the process.
In January 2022, Roger began his new journey with the Nickelodeon Artist Program, and the same spark that started it all has now intensified tenfold! Goals are set and Roger’s venture into an exciting new chapter of his life has him fired up to see what’s next.

Roger Hernandez

Submissions are accepted between July 1st and August 1st.

Call For Submissions

Semi-finalists will be notified by the end of September.

Semi-Finalists Notified

Finalists will be notified by mid-October.

Finalists Notified

Chosen Artists will be notified no later than the end of November.

Chosen Artists Notified

Artist Program

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The Nickelodeon Artist Program is a 6-month, paid talent development program for aspiring animation artists. We seek out talented designers, painters, story artists, and CG artists, with diverse voices from underrepresented communities, with the goal of mentoring, developing, and staffing the next generation of inclusive storytellers and content creators.
The Artist Program features three training paths: General Design, Storyboard, and CG Generalist, all of which offer professional development in addition to an apprenticeship on an animated show with exclusive access to directors, supervisors, and lead artists on our productions.
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You must be 18 years or older to participate. Participation in the Nick Artist Program is a full-time job. You must possess and present evidence of identification and United States employment eligibility (valid for the duration of the Program). If you have previously applied to the Program and have not been selected, you are welcome and encouraged to apply again. However, you are required to submit an updated portfolio or storyboard, supplemental materials, and/or reel each time you apply.
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About Us

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GENERAL TRACK
If you love bringing stories to life through characters, backgrounds/environments, props, and color then the General Design Track is for you!
STORYBOARD TRACK
If your passion lies in visual storytelling, then the Storyboard Track is for you!
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CG GENERALIST TRACK
If you want to add dimension to storytelling through CG Asset Creation or enhance a storyline in CG Post-Production, then the CG Generalist track is for you!

How To Apply

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GENERAL TRACK
We are looking for talented and well-rounded artists with unique and/or under-represented voices.
In general, we recommend that you present your best work and limit your work accordingly. Focus on quality rather than quantity. 
Your portfolio should show diversity in skill. Organize your portfolio by highlighting your main passion first. Include an appropriate number of images to showcase your skills (a minimum of 5 images and a maximum of up to 25 images).
Please submit work such as:
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<li>Character designs</li>
<li>Environments</li>
<li>Props</li>
<li>Color and paintings</li>
<li>Sketches and works in progress, as well as completed compositions</li>
<li>Life drawings</li>
<li>Animal sketches</li>
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Submission Materials:
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<li>Portfolio</li>
<li>OPTIONAL &#8211; Reel</li>
<li>A URL to your blog or online portfolio/reel</li>
<li>One-page resume</li>
<li>Half-page biography &#8211; Tell us your story!</li>
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STORYBOARD TRACK
We are looking for great story artists with unique and/or under-represented voices.
In general, we recommend that you present your strongest work and limit your work accordingly. Submit original material only (your own personal work) &#8211; no storyboards of commercial material will be accepted.
Your submitted storyboard can be few sequences or a short film that highlight your storytelling, focusing on either comedy, action, or action/comedy.  Make sure that your storytelling in each shot is clear and understandable.
While there is no limit to the number of panels to include, you should only include enough panels to showcase your skills.  Submit only what you feel will best convey your ideas. Focus on quality rather than quantity.
Your storyboard should communicate your skills in the following areas:
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<li>Storytelling &amp; Story Structure</li>
<li>Staging</li>
<li>Composition</li>
<li>Perspective</li>
<li>Proportion</li>
<li>Clarity (others can understand what you&#8217;re trying to convey)</li>
<li>Clear action in an action sequence (if applicable)</li>
<li>Set-ups and pay-offs of jokes</li>
<li>Character acting ability (e.g. capturing conversation)</li>
<li>Appropriate use of Cinematography</li>
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Submission Materials:
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<li>Storyboard of personal work: a short film or sequences that highlight your storytelling, focusing on either comedy, action, or action-comedy (.pdf)</li>
<li>OPTIONAL Supplemental work: a portfolio and/or sketchbook images that highlight your skills and/or a reel/animatic</li>
<li>A URL to your blog or online portfolio/reel</li>
<li>One-page resume</li>
<li>Half-page biography &#8211; Tell us your story!</li>
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CG GENERALIST TRACK
We are looking for talented and well-rounded CG generalists with unique and/or under-represented voices. The CG Generalist Track will branch into two areas:
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<li>Asset Creation (Focuses: Character and Set Model/Texture/Rigging)</li>
<li>Post-Production (Focuses: Lighting/Compositing/FX/Animation)</li>
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In general, we recommend that you present your best work and limit your reel/portfolio accordingly. Focus on quality rather than quantity. 
Minimum Requirements:
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<li>College Degree not required</li>
<li>Demonstrate required skills and aesthetics</li>
<li>Be proficient in Maya and Photoshop plus the working knowledge for your areas of focus:
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<li>Asset Creation
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<li>Rigging: Python scripting is a plus</li>
<li>Modeling:  Mudbox or Zbrush</li>
<li>Texture:  Mari or Substance</li>
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<li>Post-Production
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<li>Lighting/Compositing: Nuke</li>
<li>VFX: Houdini is a plus</li>
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<li>Must submit a demo reel that demonstrates the required skills and show diversity in the skillset</li>
<li>Have a strong understanding of visual aesthetics and animation principles</li>
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Pro Tips:
<ul>
<li>Organize your reel by highlighting your main passion first</li>
<li>Be short, simple, and interesting… 2 minutes is good. No more than 3 minutes</li>
<li>Focus on visuals… No need to add music unless it really adds to the story</li>
<li>Submit original material only (your own personal work)</li>
</ul>
Your Reel should communicate the following skills in your chosen areas of focus: 
<ul>
<li>Asset Creation (Choose at least 1 area of focus no more than 2)
<ul>
<li>Modeling:  typology, surface, shape language, edge flow, polycount, and translating 2D designs into CG.</li>
<li>Texture – Physically Based Rendering (PBR) techniques, variation of styles, translating 2D designs into CG, color theory</li>
<li>Rigging: character rig set up, movement, facial expressions, coding, and tools</li>
</ul>
</li>
<li>Post-Production: (Choose at least 1 area of focus no more than 2)
<ul>
<li>Lighting/Compositing:  Lighting Principals, CG Light Rig Setups, Rendering and Compositing</li>
<li>VFX: FX, Simulations, Explosions, Bringing 2D ideas to “life” in CG</li>
<li>Animation: Acting, Timing, Poses, Expressions</li>
</ul>
</li>
</ul>
Submission materials:
<ul>
<li>A demo reel (1-3 minutes) that demonstrates the required skills and shows diversity in the skillset</li>
<li>Reel/Portfolio breakdown describing your contribution to a scene or an asset. (We love that CG is a collaborative art, tell us what you did in each piece)</li>
<li>OPTIONAL: Supplemental work such as: Character designs, Backgrounds, Sketches, and works in progress</li>
<li>A URL to your blog or online portfolio/reel</li>
<li>One-page resume</li>
<li>Half-page biography &#8211; Tell us your story!</li>
</ul>

What we're looking for

IS THE PROGRAM A FULL-TIME OBLIGATION?
Yes, the Program is a full-time position for up to 6 months; however, employment is on an &#8220;at will&#8221; basis. Due to the intensive nature of the Program, you may not hold other employment or be enrolled in school on a full-time basis during the Program period if it will interfere with any aspect of or time commitment to the Program.
IS IT NECESSARY TO HAVE PROFESSIONAL ARTISTIC EXPERIENCE TO APPLY FOR THE PROGRAM?
Although professional artistic experience is not necessary (i.e. having worked as a character designer), a strong artistic background is encouraged. Keep in mind that a great portfolio and/or reel will showcase your potential and passion for your craft. Working knowledge of related software, computer, and Cintiq experience is also a plus.
IF I WORK FOR NICKELODEON OR OTHER VIACOM EMPLOYERS AM I STILL ELIGIBLE TO APPLY?
Yes, all ViacomCBS employees are eligible to apply for the Program.
WILL I BE ABLE TO UPLOAD MY APPLICATION PRIOR TO JULY 1ST OR AFTER AUGUST 1ST?
No, you will be unable to upload your application prior to July 1st or after August 1st.
WILL YOU CONFIRM RECEIPT OF MY SUBMISSION MATERIALS?
You will receive a confirmation email when your application has been submitted successfully.
CAN I SUBMIT MY OWN ORIGINAL IDEA FOR A PILOT OR ANIMATED SERIES ALONG WITH MY PORTFOLIO AND/OR REEL?
No. Only sample materials requested in the submission guidelines will be accepted.
DOES IT HELP MY PORTFOLIO AND/OR REEL TO INCLUDE NICKELODEON CHARACTERS?
No, in fact, your portfolio and/or reel need not include any Nickelodeon characters.
DOES MY PORTFOLIO NEED TO INCLUDE ANYTHING IN PARTICULAR?
Your portfolio should show your best work but be edited accordingly. Organize your portfolio by highlighting your passion and unique vision first. Include a variety of skills that showcase your talent: character design, environments, color, props, paintings, life drawings, animal sketches, and samples from your sketch-book.
HOW MANY IMAGES SHOULD MY PORTFOLIO INCLUDE?
Include an appropriate number to showcase your skills. You must upload a minimum of 5 images, but no more than 25 images.

DOES MY REEL NEED TO INCLUDE ANYTHING IN PARTICULAR? HOW LONG SHOULD IT BE?
For your reel, focus on quality rather than quantity. Each discipline is different, and you should assemble your reel accordingly to show your skill within that discipline. Be sure to showcase your best work. Reels should be 2-3 minutes in length.
MUST I SUBMIT A RESUME EVEN IF I HAVE NOT WORKED AS A PROFESSIONAL ARTIST?
Yes. As a part of the review process, all applicants must submit a work resume and an autobiographical summary. Applications that do not include both of these items will not be considered.
WHAT SHOULD BE INCLUDED ON MY RESUME/CV?
Your resume should include your key contact information. It is helpful to include your blog or website if they demonstrate your work as well. Include your work history, including movies, titles, or projects you worked on. Also, include software applications, scripting language you are familiar with, and your educational focus. Hobbies and references are helpful also.
WHEN WILL I BE INFORMED OF MY APPLICATION STATUS WITH THE PROGRAM?
The notification dates are as follows: Semi-finalists will be notified by the end of September, Finalists will be notified by the end of October, Chosen Artists will be notified by the end of November. Please note: notification dates are subject to change.
WHAT IS THE INTERVIEW PROCESS?
Upon receipt of your submission materials, your work will be reviewed shortly thereafter. If chosen as a semi-finalist, you will first be called for a phone interview and potentially, a second in-person interview. If chosen as a finalist, you will be called for a panel interview. 
PLEASE BE PATIENT. DUE TO HIGH VOLUME AND THE NATURE OF THE NOTIFICATION PROCESS, WE WILL BE UNABLE TO PROVIDE ANY INFORMATION REGARDING YOUR STATUS.
WILL I BE ABLE TO RECEIVE FEEDBACK ON MY SUBMISSION?
Due to the high volume of submissions to our Program, we are unable to provide you with such feedback.
HOW MANY ARTISTS ARE HIRED EACH YEAR?
The number of artists selected for the Program varies from year to year based on the needs of the Studio.
IF ACCEPTED INTO THE PROGRAM, WHEN DO PARTICIPANTS BEGIN THE 6-MONTH PROGRAM?
Artists begin the Program in January.
WILL I NEED TO RELOCATE TO LA IF I AM ACCEPTED? ARE MOVING/HOUSING COSTS PROVIDED?
The Program takes place at the Nickelodeon Animation Studio in Burbank, CA. Yes, artists who are accepted will need to relocate to the LA area. 
For participants coming from out-of-town, airfare and temporary housing assistance are available. However, all ground transportation and any moving costs are the individual artist&#8217;s responsibility.

Artist Program

Submission Period is Open July 1 – August 1

Upcoming Dates

Call For Submissions

Semi-Finalists Notified

Finalists Notified

Chosen Artists Notified

About Us

How To Apply

What we're looking for

Frequently Asked Questions

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