Zipei Zhang

 Year of birth: 1999
Where do you live: New York
Your education: Pursuing MFA Computer Arts in SVA
Describe your art in three words: Resonance, Creativity, Vitality
Your discipline: Motion Design, Character animation
Website

How did your background in animation at the School of Visual Arts influence your creative journey, particularly your approach to motion design and character animation?

SVA constantly adapts to industry trends, ensuring that its curriculum remains relevant with the latest tools and techniques. Beyond foundational animation courses, I was always exposed to emerging technologies, which broadened my technical skill set. This ever-evolving learning environment shaped me into an artist who sees technology as a means to an end rather than a limitation. For me, every tool is an extension of storytelling—whether it’s 2D, 3D, or experimental techniques. I embrace new technologies without hesitation because they enhance my ability to bring stories to life in a more compelling and immersive way.

Can you walk us through your process when creating a new piece? How do you blend 2D, 3D, and collage techniques into your work?

I approach creation with a balance of logic and emotion. While inspiration often comes from personal experiences or observations, I like to deconstruct ideas systematically. Once I identify a central theme, I break it down into sub-elements, research their nuances, and assign a distinct artistic style to each one. This structured approach allows me to craft a cohesive yet dynamic visual language.
Before production, I meticulously plan every detail—storyboarding, designing style frames, and ensuring a clear artistic direction. My choice of medium, whether 2D, 3D, or collage, is dictated by the story’s essence. For example, when creating Hug in Love is Here, I wanted to capture the abstract, intangible warmth of romance. Since love is more about feeling than physical reality, using realistic 3D elements or collages of real images didn’t fit. Instead, I leaned into 2D animation, where expressive color choices and fluid motion could better convey the emotional depth I was aiming for.

Zipei Zhang | Collision | 2024

Love is Here seems to be a project that combines various artistic styles. What inspired you to explore different visual styles, and how did you approach this project conceptually?

Love is here is a series of works centered on the idea that love is a universal and unwavering force. Regardless of culture, background, or circumstance, love compels people to act beyond logic—whether it’s forgiveness, persistence, or courage. To highlight this consistency, I used three distinct artistic styles, each representing different emotional and cultural contexts. Despite these stylistic differences, all the pieces ultimately converge on the same theme: love transcends boundaries.
For example, in Bridge of Love is Here, I drew inspiration from the Chinese folktale of the magpie bridge. Two magpies endure hardships, crossing vast mountains and seas, yet their devotion remains steadfast. Their journey symbolizes love’s resilience—the belief that no obstacle is too great when two hearts are destined to meet.
Meanwhile, Collision visualizes love’s intensity through two ice spheres drawn together by an invisible force. Their collision leaves cracks, but instead of breaking them apart, love binds them closer. The ice melts, revealing fiery hearts beneath, symbolizing how love, even through struggles, ultimately strengthens bonds.
By exploring love through different styles and metaphors, I aimed to give audiences a multifaceted experience—allowing them to relate to love from different perspectives while reinforcing its universal nature.

How do you maintain emotional resonance and storytelling quality in your animations while also pushing the boundaries of design and motion?

For me, visual storytelling isn’t just about aesthetics—it’s about symbolism. Every design choice should have a deeper meaning that connects with the audience on an emotional level. If a piece is purely visually striking without that underlying resonance, it lacks impact.
For example, in my current project depicting a “crazy brainstorm,” I wanted to immerse the audience in the overwhelming rush of inspiration. To achieve this, I used rapid visual shifts—seventy different styles in three seconds—to simulate the chaotic and electrifying nature of creativity. By aligning motion design with emotional intent, I ensure that my work isn’t just engaging but also meaningful.

Zipei Zhang | I GETI T!NO YOU DON’T | 2025

You’ve been part of several film festivals. How have these experiences shaped your approach to animation and motion design?

Participating in film festivals has been incredibly rewarding. Seeing my work resonate with audiences across different cultures and backgrounds reaffirms the power of animation as a universal language. I love storytelling, but what excites me even more is the dialogue that emerges between my work and the audience. Each screening is an opportunity to witness firsthand how people interpret my stories, and their reactions often inspire new creative directions. These experiences have reinforced my belief that animation is not just about technical execution but about forging emotional connections.

With your proficiency in tools like Adobe Creative Suite, Cinema 4D, and Maya, do you have a preferred tool or combination of tools that best complements your style?

I don’t have a single preferred tool because I see software as a means to an end rather than a defining factor of my style. My choice of software is always dictated by what best serves the story. Some projects call for the fluidity of 2D animation, while others require the depth and realism of 3D. By staying adaptable and open to learning, I ensure that my artistic vision is never constrained by technical limitations.

Can you describe any challenges you’ve faced transitioning from 2D animation to 3D, and how you’ve overcome them in your projects?

The fundamental logic of 2D and 3D animation is vastly different. In 2D, exaggeration is limitless—you can stretch a character into spaghetti without constraints. In 3D, however, achieving such extreme deformations requires complex rigging techniques, making it nearly impossible in most cases. This lack of visual exaggeration posed a major challenge for me: without those expressive exaggerate, how could 3D animation still feel alive?
To tackle this, I immersed myself in studying 3D animation principles. I would split my screen between reference animations and my own work, carefully analyzing and recording the nuances of movement. One of my biggest realizations was that 3D characters should never be completely still—subtle secondary movements, like micro-expressions and breathing, are crucial for realism. Understanding these details helped me bridge the gap between the expressive freedom of 2D and the structural constraints of 3D, allowing me to refine my approach and bring more life into my 3D character animations.