Korean American Animator Will Kim Creates Moving Watercolor Tales
by KARIN CHAN
There is no space to walk around Will Kim’s home studio in South Pasadena, Calif. due to a mosaic of watercolor paintings lying on the floor for drying purposes. The 30-year-old Korean American animator digitally scans each painting individually and spends about 10 hours every week arranging hundreds of jpegs on a film editing software. After completing a project, he tosses out his precious paintings, much to his family’s dismay. Kim tells KoreAm that he can’t afford to hold onto past works as his garage holds more stacks of paper than his sons’ toys.
Born in Los Angeles, but raised in Seoul for the first half of his life, Kim belongs to a rare breed of animators who painstakingly draws every frame in a film and does not work as part of an animation studio. For a 2-minute animated film, he paints over a thousand watercolor stills.
“I’ve invested thousands and thousands of dollars in art supplies. It’s not even the brushes—it’s too many watercolor papers,” Kim tells KoreAm in a phone interview. “But in this highly digitized animation era, I still paint frame by frame on paper because there’s something that a computer cannot mimic on paper.”
Several film festivals—such as the Los Angeles Film Festival, Tribeca and the Cannes Lions International Festival of Creativity—took notice of Kim’s unique and colorful animated brushstrokes. Last month, Kim’s short film Waiting won best animation at the Asians on Film Festival before getting accepted into this year’s San Diego Film Festival, which runs from Nov. 5-14.
Described as a “visual poem” by the creator, Waiting is a tribute to Kim’s late friend Simon, who died after a long battle with a rare blood cancer. The short film is based on a series of dreams in which Kim is visited by his dear friend’s spirit and beautifully captures the absence and longing a person feels when a loved one departs from this world.
“In the film, there’s this moment where I’m in a surreal place trying to hug this spirit—it’s an empty hug at the end of the film. I had a hard time letting go, but at the same time we know his spirit was still here,” Kim says.
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