By Cansu Peker

Zipei Zhang (ZP) is a motion designer and character animator based in New York City, specializing in 2D and 3D animation. With a strong foundation in thought-provoking visual storytelling and symbolic motion design, ZP seeks to create a silent yet powerful dialogue with the audience, encouraging deeper reflection on contemporary themes.

After earning a BFA in Animation from the School of Visual Arts in 2021, ZP continued to expand her expertise by pursuing an MFA in Computer Art at SVA. Her creative approach is deeply influenced by real-life experiences and emotions, often translating personal observations into symbolic visual narratives.

We asked ZP about her art, creative process, and inspirations.

What initially drew you to motion design and character animation?

I've loved telling stories since I was a child. I would use expressive body language to bring my stories to life, and I still remember a time when I entertained my family for three hours straight on a long-distance bus! As I grew older, I became fascinated with animation because it felt like a "visual story" — a way to bring my endless childhood storytelling to life on screen. The ability to express emotions, ideas, and narratives through movement and design excited me, and I knew early on that I wanted to become an animator. Animation not only allows me to tell stories but also gives them depth, emotion, and a sense of magic.

What inspires your art? Are there any particular themes or subjects that you enjoy exploring through your artwork?

My artistic creation is usually inspired by what I feel in life. I don't have a particular theme for my creation, but more often it is the things I encounter at the time that make me have a strong desire to express myself. For example, an artist I once liked very much was plagued by rumors. Those outrageous rumors were widely spread, and many people even believed them to be true. However, people soon forgot about it and turned to pursue the next goal. This incident made me feel very absurd and made me think deeply about social media. I summarized the three characteristics of social media: "exaggeration, widespread, and fast change," and used this as inspiration to create my undergraduate graduation project, "Flying Turtle." This work explores the power of social media and was eventually shortlisted for multiple film festivals and competitions. I like to communicate silently with the audience through my works, especially through symbolic visual expressions to resonate with the audience.

Your project Love is Here experiments with multiple artistic styles. What inspired this approach?

Love is Here revolves around the theme of "the consistency of love." Love transcends race, age, and background, often leading people to act in ways that defy logic — whether it’s forgiveness, courage, or sacrifice. To showcase this universality, I presented the series in three different artistic styles, each representing a unique cultural or emotional backdrop. Despite their visual differences, they all lead back to the same message: love is universal and unchanging. This multi-style approach not only made the work more visually striking but also allowed audiences to connect with the theme from different perspectives. Seeing my work resonate with people across time and space brings me immense joy as someone who loves storytelling and communication.

Your animations have been selected for numerous film festivals. What has that experience been like for you?

Very proud and excited! As a person who loves communication, it gives me great joy to see my work resonate with audiences in different times and spaces.

Are there any artists or creative influences that have had a significant impact on your work? How have they shaped your artistic style or approach?

Pete Docter, the director of Up, Soul, and Inside Out, has had a profound influence on me. His ability to explore deep human emotions, often using silent moments instead of dialogue, is something I truly admire. In the climaxes of his films, instead of relying on words, he conveys emotions through powerful visual storytelling — whether it’s a sequence of memories, a quiet realization, or a simple yet profound scene. This approach has greatly inspired my own work. I often create animations without dialogue, using imagery to express emotions in a raw and meaningful way.

As you pursue your MFA at SVA, how has your perspective on animation evolved?

Studying at SVA has taught me that animation is more than just storytelling—it’s about the details. From the interaction between characters and their environment to the fluidity of scene transitions, every element contributes to the bigger picture. This has pushed me to be more thorough in my pre-production process, ensuring that my stories are told in the most compelling way possible.

What new technologies or trends in motion design excite you the most?

I’m excited about the potential of AR technology. Blending virtual and real-world experiences feels like a step toward the metaverse, opening up endless possibilities for storytelling.

If you could animate any story or concept without limitations, what would it be?

One concept I’ve been eager to explore is a world where everyone is exactly the same—no differences in appearance, gender, intelligence, or class. Would conflict and exploitation still exist in such a world? It’s a question that fascinates me, and I hope to explore it in my future projects.