Jasmin Lai – How Ritual and Memory Shape Donnelly’s Vision

Exploring Creativity, Composition The Future Of Animation

Jasmin Lai shares her artistic journey, creative process insights into animation, offering invaluable advice to aspiring artists while reflecting on her passion for storytelling and the evolving industry.

Jasmin Lai is a visionary force in the world of animation and illustration, whose work effortlessly bridges the gap between graphic precision and painterly warmth. With over 13 years of experience in the animation industry, her artistic journey has been nothing short of inspiring. From her tenure as an art director on the beloved Steven Universe series to her groundbreaking contributions at Chromosphere Studio, Jasmin has consistently demonstrated an unparalleled ability to craft immersive, emotionally resonant visuals. Her art, often described as “graphic with a painterly approach,” invites viewers into serene, dreamlike worlds, where simplified realism meets a masterful command of composition and color.

Drawing inspiration from legendary artists like Bernie Fuchs, Charlie Harper Mary Blair, Jasmin has carved out a unique space in the industry, blending timeless influences with her own innovative vision. Whether she’s designing kaleidoscopic cityscapes for projects like June: Life is Better When You Share the Ride or mentoring the next generation of artists, Jasmin’s work is a testament to the power of storytelling through visual art. In this exclusive interview, she shares her journey, creative process insights into the evolving animation landscape, offering a glimpse into the mind of an artist who continues to shape the future of the medium.

“Jasmin Lai is a trailblazing artist whose evocative visuals and innovative approach continue to redefine the boundaries of animation.”

Can you share your journey into the animation and illustration industry? What inspired you to pursue this career path?

As a child, I loved spending hours painting and drawing. I found much joy in watching a lot of classic animated films. Art was my obsession and dream, but there was always a lingering fear of failure or becoming the “starving artist”. Animation was the only path I could envision for myself, really. After high school, I applied to the CalArts Character Animation program. I was accepted. It was there where I first began to learn the pipeline of making an animated film. I was guided by professors who were also industry professionals who shared their most valuable info with me. I really don’t know how I would’ve gotten my foot through the door without them.

” Art was my obsession and dream, but there was always a lingering fear of failure or becoming the ‘starving artist.” – Jasmin Lai

How do you approach creating a unique visual style for your projects what influences your artistic choices?

I always ask myself: what is the ultimate vision? I gather as many references and moodboards as I can. I find sketching on physical paper to be really helpful for studying and observing things that I’m unfamiliar with. To me, visual style comes secondary to composition – which, as I was taught in school, means breaking down an image or scene by line, shape, space, tone, color, movement rhythm using these components to carry out the message.

What was your experience like working as an art director at Chromosphere Studio how did it shape your creative process?

Working as Art Director at an indie studio, I wore many hats. I helped with character / prop design and color, layout, background design / painting color scripts. Sometimes I provided drawovers, paintovers lighting keys for animators, CG artists and compositors. During pitches I would make cohesive paintings to show clients what the potential end vision of a project could be. I learned and worked along the limitations of 2D vs 3D animation. The vast range of styles hyperbolized the importance of composition.

Could you tell us more about your work on “June: Life is Better When You Share the Ride” and how you approached the background paintings for the project?

June was my first project working as a designer at Chromosphere. Set in Chicago, with lots of driving scenes, each of the backgrounds had to feel locationally accurate, which required lots of references. I had to feel like I had vicariously lived in Chicago. Perspective and color were priority for these backgrounds as Kevin Dart’s vision was to have a kaleidoscope motif throughout the background wherever a vanishing point was present. We accomplished this by using shapes and lines to direct the eye toward the center of the “kaleidoscope” in the shot. This production leveled up my skills in perspective and color.

How do you stay creatively fresh and motivated in such a competitive and evolving industry?

I have to humble myself to keep learning new things. I can at times feel myself stunting my own growth when I shy away from trying new things to add to my artistic skills. I sometimes completely remove myself from social media once in a while to reflect on my roots, finding inspiration in the walks of daily life.

What role does personal work play in your artistic development how do you balance it with professional projects?

Personal work is a culmination of all my skills and feelings at that time. Mustering the mental capacity to create when working on a current project is a rare, but cherished luxury. I’m inspired by daily life, no matter how “mundane” it can be. I always ask myself how I can encapsulate a moment in time with my current emotions.

What advice would you give to aspiring illustrators and animators looking to break into the industry?

Make art to please your soul, not others. Art that you would want to keep for yourself. The art you create should be a reflection of you and what you want to be hired for. It’s okay to seek exposure. Find experienced mentors who can help give you relevant advice along the way. It’s possible to get jaded in this industry from time to time. Therefore, it’s so important to know how your art can fill your cup outside of monetary gain.

How do you see the future of animation evolving what excites you most about it?

I believe (and hope) that we’re going to see a new wave of hybrid 2D and 3D animation. The audience and I miss the hand-drawn touch of the Golden Age of 2D animation. With this wave of AI animation coming onto the scene, people seem to be craving that handmade touch even more. With this 2D/3D hybrid comes expected beauty… so many untapped possibilities yet to be seen and I look forward to that.

EDITOR’S HIGHLIGHTS