Titmouse is hiring

FX Artist, 2D

Contract

Hybrid in Paris, France

The FX Designer is responsible for conceptualizing and designing 2D visual effects that support storytelling, enhance mood, and contribute to the visual language of a project. Working closely with directors, art teams, and FX animators, the FX Designer develops stylized and functional FX concepts that can be translated into animation by the FX team.

Format: Onsite/Hybrid (Paris)

Type of Contract: CDDU (Fixed-Term Contract) or freelance contract if you are based in France)

Start Date: April 2026

Reports to: Prop Supervisor, Art Director

Job Description

KNOWLEDGE, SKILLS AND REQUIRED ABILITIES

Proven experience as a 2D FX Designer, or similar role in a 2D television production environment.
Strong draftsmanship, visual storytelling ability, and understanding of animation principles.
Proficiency in industry-standard design tools such as Photoshop, Harmony, or equivalent drawing software.
Solid grasp of natural phenomena and stylization techniques for effects design.
Ability to deliver clean, readable FX designs suitable for translation into animation.
Excellent communication and organizational skills; ability to work collaboratively and respond to notes constructively.
Experience with episodic television animation pipelines.
Background in traditional FX animation or a combination of design and animation.
Experience working with international or multi-site productions.
Ability to manage multiple tasks, prioritize effectively, and meet tight deadlines.
Proficiency with Google Suite.

PRIMARY RESPONSIBILITIES AND ESSENTIAL DUTIES

Create clear, stylized FX designs such as fire, water, smoke, electricity, magic, weather and destruction effects, based on story needs and visual tone.
Collaborate with the Art Director, Director(s), and or Supervising Director to ensure FX design aligns with the overall artistic vision of the production.
Develop FX design model sheets, style guides, and reference for use by animators and compositors.
Interpret scripts and storyboards to identify opportunities for visual effects that support storytelling and mood.
Propose creative FX concepts during early stages of development or production planning.
Refine designs through feedback and interactive development in collaboration with other departments.
Support technical integration of designs by working closely with FX animators and pipeline teams as needed.
Maintain design consistency across sequences and episodes in serialized productions.
Other duties as required.

WORK ETHICS AND EXPECTED CONDUCT

Adhere to Titmouse policies and procedures.
Demonstrate courtesy and cooperation with colleagues and external stakeholders, and demonstrate respect and a positive attitude throughout the workday.
Demonstrate teamwork while taking initiative and assisting others to the best of your ability.
Properly organize your workspace, files, etc., to increase efficiency and accuracy and avoid unnecessary overtime.
Understand instructions or ask for clarification in a clear and concise manner until the tasks are understood.
Demonstrate reliability by arriving and leaving work on time, respecting lunch and break times, and limiting personal phone calls and socializing to break periods.
Demonstrate behavior that supports the company's goal of providing a professional work environment and does not disrupt that environment.
Perform your best during the workday.
Respect the confidentiality of the company's financial, legal, and proprietary information.

Titmouse

Website

Titmouse began in New York City as a T-shirt company in the year 2000 when Chris Prynoski decided he wanted to make a T-shirt company. Chris P. had been making cartoons for nearly half a half a half a half a century, but it was the T-shirt bubble of the early ‘00s and fortunes were being made on short-sleeved shirts with funny designs. Lacking an accessible pool of talented child labor and the fact that customers were ordering more cartoons from Titmouse than clothing, it became evident that Titmouse was not going to be a T-shirt company for very long. So Chris and his wife Shannon restructured the business and headed out west to get some crispy Californian land. A kickass studio and a few computers later, only one key ingredient was missing: French blood. Frenchman, Antonio Canobbio had been petitioning the French government to reposition the Eiffel Tower 2 inches to the right. His true passion, however, was animation so he kissed France goodbye to become the studio’s creative director. Juno Lee was one of the original Titmouse employees when the company was being run out of a large garbage can on Santa Monica Blvd., His massive talent allows him to be anti-social, crabby and yet still function in society. He loves guitar, ping pong, cars, cilantro, and of course… Video Games.

It’s been over 11 years since Titmouse began. There are now multiple studios in Hollywood and NYC. Some say it was a combination of hard work, talent, and hustle; others attribute the success of Titmouse to a chance encounter with a homeless wizard on Venice Beach to whom Chris P. gave a sandwich. Some think Bigfoot gifted Chris and Shannon sacred space crystals that gave them ultimate powers over lines and color.
A large part of the studio’s success could be linked to the fact that Titmouse currently employs over 200 of the most talented artists, writers, directors, editors, and producers in the animation industry. Or it could be that lots of people like to watch the cartoons made by the studio, but it’s most likely due to the space crystals.

The end.

Oh wait! Here’s what we’ve been up to lately: Black Dynamite; China, IL; Metalocalypse; Motorcity; Randy Cunningham; Superjail!; The Venture Brothers; commercials; short films and our book called MOOK currently in Vol.2

More jobs from Titmouse