Today we’d like to introduce you to Yanzhang Song.
yanzhang, we appreciate you taking the time to share your story with us today. Where does your story begin?
Hi, I am an independent illustrator and animation artist. My artistic journey began during my undergraduate studies at Duke Kunshan University, where I immersed myself in a broad spectrum of creative disciplines including filmmaking, illustration, photography, and animation. Although my early education did not offer professional training in animation, it provided me with a rich playground to experiment and discover that animation was the perfect medium for expressing my inner visions, emotions, and critical reflections on society. During this time, I independently produced two short animated films that addressed social issues and the intergenerational challenges faced by women in China. I also had the opportunity to collaborate as a director and animator on a stop-motion project that delved into the impact of Alzheimer’s disease, further reinforcing my commitment to storytelling that makes a meaningful impact. During my time at UCLA I learned more systematic and specialized animation content and techniques. Through my first year I polished my skills and completed Nine Days, a short animated film discussing life and love, and was honored to receive the Best Animation Award. This year, my film House,Magic and A Teapot blending the artistic style of traditional Chinese porcelain with medieval painting to create a distinctive visual narrative and was awarded Best Art Direction.
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?
My journey has certainly been far from smooth, creative blocks have often felt like insurmountable walls, leaving me staring blankly at my screen for hours. Over time, however, I’ve learned to treat these dry spells as a natural part of the process rather than a sign of failure. When I find myself stuck in front of the computer, I step away and change my environment—whether that’s a walk in the park, a visit to a bustling café, or simply tidying up my studio—to clear my mind. If digital painting and animation aren’t flowing, I switch to sculpture or collage, letting the tactile experience of working with clay or paper unlock new ideas. I also make a habit of capturing inspiration as soon as it strikes—five minutes of rough sketches or quick notes on a dream or an intriguing scene can later blossom into fully formed concepts. And when nothing else works, I reach out to fellow artists or mentors to discuss my struggles; their feedback often sparks breakthroughs. These strategies haven’t eliminated creative blocks, but they’ve transformed them into detours that ultimately lead me back to the work with fresh energy and renewed perspective.
Appreciate you sharing that. What else should we know about what you do?
I’m an independent illustrator and animation artist whose practice spans digital painting, traditional 2D animation, and stop-motion. My work explores a spectrum of themes—from urgent social issues like feminist struggles in East Asia and the challenges faced by marginalized groups, to more abstract meditations on memory, love, and death.
What I specialize in is the seamless fusion of reality and imagination. Animation, in particular, is my “magic tool”: it gives me the freedom to build entirely new worlds and to challenge conventional narratives. In past projects, I’ve woven documentary techniques into animated form—capturing the stories of remarkable women in daily life to reexamine their legacies and the deeper influence they have on their communities.
I’m most proud of my ability to transform deeply personal reflections into visually compelling stories that resonate with a wide audience. In my current 2D short film, I draw on the delicate lines and motifs of traditional Chinese porcelain to weave a fairy-tale about a witch whose true power springs from wisdom and the warmth of love—an approach that exemplifies my signature blend of animation, cultural heritage and female power. By uniting diverse techniques and perspectives, I aim to create work that not only captivates visually but also sparks meaningful conversations and fosters empathy around content.
What was your favorite childhood memory?
One of my fondest childhood memories is sitting at my grandmother’s kitchen table as she rolled out dough to make our afternoon snack. With nimble fingers, she’d pinch and shape the soft dough into little people—round heads, stubby arms, and tiny legs—while weaving imaginative stories about their adventures in far-off lands. I would watch, utterly captivated, as each dough figure came to life under her hands, and our laughter would fill the room as we named them and sent them on heroic journeys. Before long, she encouraged me to try making my own little dough people, guiding my clumsy attempts into charming, if imperfect, companions. That sweet ritual taught me the magic of turning humble materials into storytellers—a lesson that still guides my work today. Whether I’m molding clay for a stop-motion puppet or sketching characters in a digital painting, I carry with me the joy of creation and the power of simple, hands-on play that my grandmother first shared with me.
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