Tanja Majerus recalls returning home to Luxembourg after four years studying design in Brussels. “I couldn’t stop crying. I thought the whole world was ending,” she says.
The college had challenged her in ways her earlier art education in Luxembourg had not. Then came a turning point: the Lycée des Arts et Métiers had just launched a new BTS program in animation, and Majerus was part of the first cohort. “My teacher told me I should register. If it hadn’t been for him, who knows where I would have landed,” she says.
More than three decades later, Majerus has transformed her creative vision into a global career—built one drawing, doll, and stamp at a time. A journey powered by talent, and guided by emotional intelligence.
A Creative Family and Mentorship
Majerus was born into a creative family. Her mother, an artist who never realised her own ambitions, nurtured her daughter’s talent instead. Encouragement from both her family and teachers at Lycèe des Arts et Métiers gave Majerus the confidence to challenge limiting ideas. After completing the BTS, another teacher fought for her to secure a place at the world-renowned Les Gobelins School of Visual Communication—even though she was above the age limit. She credits that teacher for helping her secure a place, but her talent was equally decision.
Breaking Into Hollywood Animation
Her talent quickly opened doors. Majerus landed her first job on the animated feature Balto at Spielberg’s Amblimation studio in London. “They gave us rough drawings to clean up and through those four drawings they saw exactly who was a fit for their company,” she recalls. Selected on the spot, she followed Spielberg to DreamWorks after he closed the London operations.
Learning Boundaries and Creative Leadership
Her memories of that time were not all positive. “During the first six months of training I had a total block.” Later, she realized she was most comfortable with fast-moving characters—“The Tex Avery type of stuff.” Her team soon noticed her strength and precision in animation cleanup, and emotion-driven character animation. She became a character lead, overseeing the development of characters for The Prince of Egypt.
In both the UK and US, Majerus rose quickly, achieving in seven months what most would in five years. “The problem was I didn’t see my value as an artist and so I took on extra work that wasn’t in my job description.” By the end of production, Majerus was burned out. But rather than step back, she spoke up. “That’s when I changed everything,” she says. With this shift, she thrived, working on traditional animation films including El Dorado, Spirit, Sinbad and Curious George.
From Toys to Television: Reinventing Creativity
After a decade in animation, Majerus shifted into toy and packaging design. “It was there that I learned I’m multifaceted. I’m not just an animator and illustrator. I’m a creator, I’m a designer, I’m a concept artist, storyteller and writer,” she says.
At MGA Entertainment, she had a visible impact on major brands, notably Bratz doll packaging. She proposed adding the dolls’ profiles to the boxes, but when a superior told her it couldn’t be done, she went ahead and did it anyway. The designs were kept. Despite this success, Majerus felt the company restricted her creativity.
When a friend mentioned that The Simpsons were hiring after a long freeze, she feared she’d been away from animation too long. She applied anyway. Months later, she was called for a meeting and discovered she’d landed the job as one of the first animators on the Simpsons without even taking a test. “I was like; ‘what’s going on here?’”
She joined a seasoned layout team and, as the first animator to join, made animation the focus. “That’s because when I go somewhere, everything changes,” she says with a smile.
Honouring Roots While Building a Global Legacy
Majerus has worked on The Simpsons for a decade, yet jokes she is still considered “new” compared to colleagues who have been with the show since its debut in 1989. Even after Disney’s acquisition, the team has remained remarkably stable. “The Simpsons fulfilled my early dream: to find a crew that honors me as an artist,” she says with a sigh.
That doesn’t mean she has stopped seeking challenges. Majerus works constantly on her personal development to overcome the self-limiting ideas she once held. “Had I not worked on myself so much, I wouldn’t be where I am.”
Beyond animation, she is transforming decades of personal artwork into merchandise. She holds up a sweater from her clothing line, featuring an elegant watercolor of a woman in an animal headdress. It is fun, fierce, and distinctly Majerus. “I always look for new things. There’s a drive in me to create, and that creation is limitless.”
Giving Back and Inspiring the Next Generation
Majerus also stays closely connected to her Luxembourgish roots. In 2022, she was commissioned to create a second Luxembourgish stamp—a proud full-circle moment, since her first stamp was designed while she was still at school. She also shares her knowledge through teaching. When in Europe, she gives workshops at the Filmakademie Baden-Württemberg, which she says is now on par with the Lycée des Arts et Métiers’ BTS program. She also mentors aspiring artists via LinkedIn. “I love being part of their growth and making them excited. Because a lot of people get negative feedback and I always find something positive to say.”
Looking back, Majerus’ global career has been defined by self-discovery, resilience, and the courage to challenge limiting beliefs—her own and those of others. In a world of constant change, her story and motto: “To unlock your highest potential, nurture your whole being as deeply as your Art”, serves as inspiration for young creatives. Just as importantly, she shows that global possibilities can be pursued without ever losing one’s roots.
Read more articles:
Supermiro Founder: ”Don’t Get Too Attached To An Idea”
