Today we’d like to introduce you to Terri Lam
Hi Terri, thanks for joining us today. We’d love for you to start by introducing yourself.
My name is Terri, and I am from Hong Kong. I am an animation director and illustrator, currently pursuing an MFA in Experimental Animation at CalArts, where I focus on creating 2D animation.
I have loved watching animation since I was a child, to the point where my classmates would tease me for still being so passionate about cartoons as I grew older. When I was 15, Frozen was released and became a global phenomenon. It was then that I realized the magic of animation isn’t just the characters or the story, but the result of an entire team’s creative effort. This realization opened my eyes to the possibility of pursuing animation as a career. I wanted to be part of that world, contributing to the creation of films that could inspire and entertain people. From that moment, I became determined to self-study animation, preparing a portfolio for university applications.
However, in high school, I was primarily focused on fine art, which meant my portfolio was mostly made up of fine art pieces, with a few animation works mixed in. After graduating from high school, I was accepted into the Visual Arts program at Hong Kong Baptist University. But it didn’t take long for me to realize that my true passion wasn’t in fine art—it was in animation. I made the difficult decision to drop out and accept an offer from Guangzhou Academy of Fine Arts, where I could study animation in a more focused environment. During my four years there, I gained a solid foundation in character animation and honed my skills in areas such as character acting, character design, storyboarding, and more. I also developed a habit of sketching interesting things and people I encountered in daily life, turning these observations into a rich source of inspiration for my future projects.
Even though I eventually shifted away from fine art, my love for the tactile, hands-on quality of traditional work never faded. I’ve always been drawn to the unique texture and organic feel of hand-drawn animation—something that I believe is hard to replicate through purely digital methods. This fascination with the tangible qualities of art led me to explore experimental animation, which offers a broader, more unrestricted platform for combining my love for traditional techniques with more unconventional approaches.
Can you talk to us a bit about the challenges and lessons you’ve learned along the way. Looking back would you say it’s been easy or smooth in retrospect?
It is not a smooth journey. Since my first year at CalArts, I’ve often felt lost. I love experimental animation, but after spending four years immersed in commercial animation, I struggle to find my place. My style doesn’t feel daring enough for the experimental world, yet industry professionals in commercial animation often find my work too experimental. It’s as if I’m caught between two worlds, not quite fitting into either. This tension left me feeling conflicted, unsure of where I truly belong.
As time went on, I began to analyze my work more deeply, searching for answers. I began focusing more closely on the elements I was naturally drawn to in my personal work. That’s when I began noticing patterns—subtle, almost hidden at first. I realized I had a subconscious inclination toward certain colors and styles that consistently appeared in my work. For example, I have a particular fondness for pink, and I’m captivated by geometric shapes and graphic design. These preferences weren’t random; they gradually revealed themselves as integral elements of my unique artistic voice.
This discovery was a turning point for me. Instead of trying to force my work into predefined categories, I embraced these tendencies and allowed them to guide me. I began to explore how these elements could coexist, blending the structured precision of commercial design with the freedom and unpredictability of experimental animation. This fusion has helped me create a space where both worlds intersect, allowing me to find harmony between the two.
Can you tell our readers more about what you do and what you think sets you apart from others?
In my personal work, I enjoy observing the quirky yet fascinating details of everyday life and capturing those moments. I see these details as reflections of emotions or thoughts that people don’t usually express, so I blend lighthearted and humorous elements with more serious or melancholic storylines, which has shaped my distinctive narrative style. This approach allows me to resonate emotionally with my audience while exploring complex emotions, social issues, and the intricacies of humanity in a more approachable way.
In addition to my work in experimental animation, I’m also involved in commercial animation production. For commercial projects, I primarily focus on pre-production work, including character design, background setting, and storyboarding. I also contribute to aspects of production such as rough animation and layout design. I thrive in the fast-paced environment of commercial animation, where tight deadlines—ranging from two weeks to a month—push me to quickly adapt and switch between different styles. This experience has sharpened my skills in delivering quality results under time constraints.
Some of the commercial projects that have left a lasting impact on me include a collaboration ad between Daniel Wellington and Rich Flower, as well as a Pizza Hut ad. For these, I was deeply involved in both design and animation production, learning to balance artistic creativity with the demands of commercial work, all while navigating tight schedules and specific stylistic requirements.
Before we let you go, we’ve got to ask if you have any advice for those who are just starting out?
Maintain your own creative rhythm; there’s no need to compare yourself to others, as everyone’s creative journey and form of expression are unique.
Contact Info:
- Website: https://terrilam523.wixsite.com/artworks
- Instagram: https://www.instagram.com/terrilam_art/
