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Meet Charlotte Vevers

Today we’d like to introduce you to Charlotte Vevers.

Charlotte, let’s start with your story. We’d love to hear how you got started and how the journey has been so far.
I’ve been drawing for as long as I can remember and made comics all through high school, but I never thought animation was an actual option. When I was applying to colleges, I was initially looking into majoring in fine arts but saw Edinboro University, a small College in Pennsylvania, offered an animation program. I applied and haven’t looked back!

My initial passion was design, but a year or so after graduating, I ended up getting an interview for a storyboard revisionist position on the PBS kid’s show Ready Jet Go. I got the job and moved across the country in a week. I ended up falling in love with the storyboarding process. I love working in television because every few weeks is a new episode and a fresh start with new ideas. It’s definitely challenging, but also incredibly rewarding to help the script come to life. Since Ready Jet Go, I’ve worked on lots of different shows from kids to adult shows and in a variety of styles.

In my free time, I’m continuing to work on my own design portfolio, illustration, as well as many, many personal projects. I’m so lucky to be surrounded by talented people that continue to help push me towards my goals. Animation is challenging, but I’m so, so lucky to be able to help bring stories to life with my art.

Great, so let’s dig a little deeper into the story – has it been an easy path overall and if not, what were the challenges you’ve had to overcome?
It has definitely not been smooth. It took me a full year of building up my work and many rejections before I got my first real job. Even after my initial job at Ready Jet Go, I had a period of unemployment for about six months. It was scary and there were definitely days when I thought I was going to fail and have to pack up and go home. Fortunately, that didn’t happen, and I moved onto another PBS show. Since then, I’ve jumped from show to show, but since animation is contract-based, it’s always a little scary when a contract ends. That being said, sometimes rests are needed between gigs. A lot of artists in animation overwork themselves (me included) and work-life balance is super important for artists to produce their best work.

Please tell us more about your art.
In terms of my personal work and projects, I tend to be heavily influenced by creepy/cute things like Cartoon Network’s Over the Garden Wall, old and strange fairy tales, and weird anime. I’m from the dreary East Coast, so I have a feeling that plays a big part in influencing my aesthetic. I live for rainy days. I’m in the process of developing a few show pitches and have plans to dip my toes back into the comic world one of these days.

Do you look back particularly fondly on any memories from childhood?
Oh man, of course it’s art-related. One day my dad came home and surprised me with a sick My Little Pony coloring book. The show wasn’t airing anymore when I was a kid so I had to borrow my cousin’s vhs copy, so any merchandise felt rare and special.

It’s either that or catching frogs at my cousin’s pond in the country.


  • $25 portraits
  • $50 full body
  • $100+ more details/figures

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Charlotte Vevers

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