From Ink Wash to Zootopia: Animator Rosemary Wu on Breaking Barriers and Embracing Animation's Diverse Landscape

Los Angeles-based animator Jingtong (Rosemary) Wu is a rising force in the animation industry, demonstrating a remarkable blend of artistic vision and technical prowess. A director, layout artist, animator, and computer graphics generalist, Wu's passion lies in crafting emotionally resonant stories using cutting-edge technology as powerful tools in her creative process. Her journey, from discovering her passion in a high school summer program to contributing to Disney's upcoming "Zootopia 2," offers a compelling outlook into the evolving landscape of animation and the dedication required to succeed in this dynamic field.

Wu's creative journey began at the University of Southern California (USC) School of Cinematic Arts, where she earned a BFA in Animation and a second major in Game Art. This dual focus provided her with a strong, concrete foundation in using animation’s flexibility and expressive potential as both a tool for cinematic storytelling and a medium for interactive experiences. During her time at USC, Wu made a name for herself as a director and contributed to multiple award-winning short films and recognized games. 

Her talent also extended to feature films, with contributions to the animated feature "White Snake: Afloat" (2024). Her work has received recognition at international film festivals and exhibitions, as well as from prestigious institutions such as USC, the California Institute of the Arts, and Walt Disney Animation Studios.

Beyond her personal endeavors, Wu has also dedicated herself to mentoring the next generation of animators. She has taught animation to elementary, middle, and high school students through CalArts' Community Arts Partnership programs, sharing her knowledge and passion with aspiring artists. Currently, Wu is a CG Layout Apprentice at Walt Disney Animation Studios, contributing her skills to the highly anticipated feature film "Zootopia 2," set to release in theatres on November 26, 2025.

The Spark of Inspiration

Wu's trek into the wide world of animation started during her freshman year of high school. "I attended the School of Visual Arts’ pre-college program in computer animation," she recalls. "That was the first time I learned how to model, animate, light, and create a short film using different cameras within a 3D environment. I was immediately attracted to the power and beauty of animation as a medium – how it blends art, storytelling, and technology, and how the possibilities are truly limitless."

This initial exposure sparked a passion that would mold her academic and professional pursuits. At USC, Wu delved into a wide range of animation mediums and styles, including 2D, stop-motion, and 3D animation. "I further developed my skills in animation fundamentals and drove myself to use the craft in more personal and expressive ways. I directed and animated on multiple award-winning short films and published video games while exploring new visual styles to tell emotionally compelling stories that connect audiences across cultures and generations,” she explains. “At the same time, I expanded my technical toolkit by incorporating techniques like motion capture, virtual production, and 3D scanning." This dedication to both technical proficiency and the craft of artistic expression has been a hallmark of Wu's career.

Gender Representation in Animation

The animation industry, like many fields in technology and the arts, has long been male-dominated. Wu acknowledges this reality, noting that, "the animation industry has historically lacked gender diversity, especially in certain technical or leadership roles - but it’s evolving."

With many websites like Great Women Animators tracing the history and current women animators, there has been a revolution in the industry. Wu remains optimistic about the future and accentuates the importance of fostering inclusivity. "I’ve been fortunate to learn from and work alongside many incredibly talented women and nonbinary artists, and I’m passionate about contributing to a future where animation becomes more inclusive and empowering, both on screen and behind the scenes," Wu says. 

Her experience underlines the ongoing efforts within the industry to create a more equitable and diverse environment. The increasing visibility of women and non-binary individuals in prominent roles serves as an inspiration for aspiring animators from underrepresented backgrounds.

Golden Age Contrasts: A World of Animation Styles

When asked about her favorite era in the history of animation, Wu points to the period from 1928 to the 1960s, citing the stark contrasts in how different cultures approached the medium during this time. 

"In the West, this was the Golden Age of Animation, when studios like Disney and Warner Bros. were creating technically dazzling, character-driven works such as 'Sleeping Beauty' (1959) and Looney Tunes shorts," she explains. The main focus in Western animation during this era was on technical innovation, vibrant color palettes, expressive character acting, and theatrical storytelling, often supported by large production teams.

However, Wu also highlights the development of a distinct style of animation in China during the same period. "Meanwhile, in China, a very different style of animation was emerging - one that felt quieter, more introspective, and deeply rooted in traditional art," she says. She cites "Where is Mama?" (1960), directed by Te Wei, as a particularly compelling example of this approach. 

This ink-wash animation draws inspiration from classical Chinese brush painting, telling a gentle story of tadpoles searching for their mother. "With minimal dialogue and facial expression, it relies on dynamic brushstrokes and fluid movement to create a beautiful painterly style influenced by Qi Baishi, turning simplicity into poetic elegance," Wu proclaims.

The contrast between these two approaches, the technically sophisticated and visually rich Western animation and the minimalist and deeply evocative Chinese animation, highlights the versatility of the medium. "What I love about this contrast is how it proves that there is no single formula for animation: Each culture brings its unique rhythm, emotional themes, and visual language to a medium capable of infinite forms of beauty and storytelling," Wu notes.

But there are common similarities, as well. Look at the recent exhibition on view at the Academy Museum of Motion Pictures, Inventing Worlds and Characters: Animation. It showcased a retrospective of celebrated animators and background artists, featuring over 300 artworks that highlight the craftsmanship of pre-digital animated filmmaking. The Disney machine was powered by artists from Asia who made the films remarkable in their own ways. This proves the timeliness of the subject.

Rosemary Wu's journey illustrates the path of a modern animator, mixing technical skills with a deep appreciation for the artistic and cultural ethos of the medium. Her experience at USC, intertwined with her teaching experience, has equipped her with a comprehensive understanding of the animation pipeline.

Her work on "White Snake: Afloat" and now "Zootopia 2" demonstrates her ability to amplify to large-scale productions while maintaining her own artistic scope. Her awareness of the gender imbalance in the industry and her commitment to promoting inclusivity are also exemplary.

Wu's appreciation for the diverse forms of animation that have emerged throughout history, particularly the contrasting approaches of Western and Chinese animation during the Golden Age, reveals a convoluted understanding of the medium's potential. Her ability to relay the cultural and artistic significance of different animation styles demonstrates a depth of knowledge that sets her apart from others.

Rosemary Wu's story is one of passion, dedication, and a commitment to pushing past the boundaries of animation. Her journey from discovering her love for the medium to contributing to major productions like "Zootopia 2" is an inspiration to aspirant animators everywhere. As the animation industry continues to evolve, artists like Wu, who embrace both technical innovation and artistic expression, will be at the vanguard of shaping its future.

Images courtesy of Happily Ever After and So Much More to Offer (University of Southern California), and White Snake: Afloat (Light Chaser Animation Studios).