sarita kumari
Before a single frame of white snake: Aulot was alive, Rosemary W was already sketching emotions in a silhouette. For that, animation is not just visual storytelling – it is a bridge between heritage and the heart. As part of the Visual Development and Character Design team at the Light Chezar Animation Studios, Wou helped breathe new life among one of China’s permanent legends, not every frame as a decoration, but acting as a story in a speed.
Figure: Photo by Kobe Levi
The 2024 feature film, directed by Gianc Chen and Ziakai Lee, re -imagines the ancient story of white snakes with CG animation, which is a relative. White Snake: The offlot has earned more than $ 1 million at the Global Box Office, and the China Animation and Comic Competition has been the top Visual Effects at the Golden Dragon Award and the top award for “Expected Film” at the Weibo Award at 2021.
In favor of Ue, the film was not just a professional milestone – it was a creative calling.
Emotion in size: Language size as narrative
Production from White Snake Still: Aulot via IMDB
A reached the design with a storyteller’s instinct. Each curve, angle and silhouette is intended to be sensitive that he draws.
“A circular shape can arouse gentleness,” he explains. “Spickey lines or sharp silhouets can carry excitement. Even a composition, horizontal or diagonal direction can transfer the sensitive melody of any scene.”
When designing the magical spelling in the original conversion sequence, U use to create mobility by using long, downward-commander shapes and shaped compositions when it expresses the visible idea of ​​gravity and understanding — without a word. His designs are not just depicting the moments – they expect them. The result? The managers are rarely needed to clarify the sensitive beats – WWO Visuals have already carried the message.
The sensitivity of this intuitive design made him essential-not as a cable artist, but as a co-author of the sensitive language of the film.
Designing with purpose: to respect the tradition of the tradition through functions
Working in animation means balanceing the creative outlook with the reality of production, such as rigging, rendering and other technical limitations. U took that challenge, mixed the Historical Tihasik truth with modern CG fluency.
Production from White Snake Still: Aulot via IMDB
Take the pseudonym during the night dressed by Ziao King (vocal by Ziaosai Tang)-designed for secret movement instead of a stealth-radi fabric mask. The Historical Tihasika originated the design of the song dynasty of the dynasty era and the traditional textile, while adapting for uuti animation. This mask is needed to draw with incision, to react naturally at speed and to support the character’s expression – to strengthen its confidential role in all stories.
“It had to feel ancient and alive,” he said. “I wanted the audience to see the past – but to feel the present.”
The Wou Traditional converted the aesthetics into a CG-friendly design that served both the story and the screen-it is a rare fame that reflects the ability to bridge the industry with functionality.
Adaptability as artistic currency
Wu’s effect on White Snake: Extends across categories. From the design of the character and the variation of the prop’s to magical influence and director cooperation, its fingerprints are everywhere.
This adaptability is involved in strict, multi -divisional training. Animation and Digital Arts of Southern California’s John Sea Hench Department graduate, Wu Animation and Double Major in Game Art, Suma Kam Loud has graduated. His praise includes the Scholar Award of the Directors, the Academic Achievement Award and Variety, Equity and inclusion Awards.
“I’m designing a prop or staged a shot, I ask: how does it serve the story and what does it mean for the parties?”
He not just thinks of the outlook – he thinks systematically. This mentality allows him to navigate large size produce with both artistic and operational fluidity.
Designing for emotions, instruction for inheritance
For Ue, White Snake: Aulot offered a meaningful opportunity to fully realize his vision – a combination of artistic intent, cultural heritage and a combination of sensitive stories. The film attracted the attention of his storytelling which is culturally resonant and emotionally universal.
“I want to tell the main stories of cultural history, but in a way that feels emotionally instant,” he says. “The tradition of technology should be carried on, it should not be mixed.”
Production from White Snake Still: Aulot via IMDB
Looking at the front, the Wou is interested in handling the original animated features that integrate myths with the design-barred storytelling. His goal is ambitious but obvious: to feel the ancient feelings and animated forever.
To close the loop: from myths to modernity
Wu’s work refers to a basic fact: great animation surface is not about the polish of the surface – it’s about the soul. Through White Snake: Aulot, he helped re -explain the one -century -old legend with sensitive precision and cultural depth, proves that CG animation can be both modern and meaningful.
Since the audience is invented, the body of Ue’s evolutionary work with its professional journey on Rosemiawu.com and LinkedIn acts as a permanent reminder: an artist behind each frame who does not know what it is to draw – but why it is important.
About the writer
Elena Rivera is a culture and art author that focuses on global animation, storytelling craft and visual design. He is interested in highlighting the lowly presented voices in creative industries and exploring the tradition of the tradition and innovation. His work has been published in film and design publications across North America and Asia.
