Soyeon 'Dottie' Kim is a filmmaker, illustrator & educator. This is where Soyeon shares her stories about her art and life. Samples of Soyeon's work can be viewed at www.soyeonkimart.com. She also runs a Design/Animation studio, YELLOWSHED with her partner, Todd Hemker: www.yellowshed.com
Here is an article (and some pictures of installations & descriptions) about my interactive art show and film screening on Jan. 29th, covered by Walter Ryce, Monterey County Weekly. Click here to read the article.
Jan. 22 - Feb. 7 Children's Film Festival Seattle (Seattle, Washington, US)
Mar. 26 - Apr. 1 Athens ANIMFEST (Athens, Greece)
May 20 & 22 Pickford Theatre: outreach program (Bellingham, Washington, US)
Jun. 21 - 28 Melbourne International Animation Festival (Melbourne, Australia)
Jul. 9 - 12 Comic-Con: San Diego Children's Film Festival (San Diego, California)
Jul. 26 - 31 Supertoon International Animation Festival (Sibenik, Croatia)
Sep. 17 - 22 Indie-AniFest (Seoul, Korea)
Oct. 8 - 15 Tacoma Film Festival (Tacoma, Washington, US)
Nov. 6 - 12 Kansas International Film Festival (Overland Park, Kansas, US)
Dec. 1-31 Mumia Underground World Animation Festival (Belo Horizonte, Brazil)
I held a puppet-making & animation workshop for children at the Days & Nights Festival, organized by Phillip Glass on Sep. 27th. Here are my initial idea sketches & a few pics from the event. The workshop's theme was 'Art & Science', so we made a few cardboard spaceships for kids to interact with the animated images. Children at the workshop also made paper puppets and animate them to travel the space!
Award: Best Short Narrative - Monarch Film Festival 2013
Aug. 4: 10th San Diego International Children’s Film Festival (San Diego, California, US) Aug. 10-12: 6th New Orleans International Children’s Film Festival (New Orleans, Louisiana, US) Sep. 26-30: 9th Indie-AniFest: Korean Independent Animation Film Festival (Seoul, Korea) Oct. 2-6: 3rd Days and Nights Festival (Carmel, California, US) Nov. 14-24: 22nd St. Louis International Film Festival (St. Louis, Missouri, US) Nov. 23-24: Vancouver Art Gallery (Vancouver, Canada) Dec. 6-15: 13th Anchorage International Film Festival (Anchorage, Alaska, US) Dec. 14-15: LACMA: 9th Los Angeles International Children's Film Festival (Los angeles, California, US) Dec. 15- Jan. 15: The Film Skillet Winter 2013/2014 Animation Contest: Finalist
Jan. 23- Feb. 2: 10th Children’s Film Festival Seattle (Seattle, Washington, US) Jan. 24- Feb. 9: 1st Lisbon Children and Youth Film Festival (Lisbon, Portugal) Jan. 25-26: 30th USA Film Festival: KidFilm (Dallas, Texas, US) Jan. 30- Feb. 9: 29th Santa Barbara International Film Festival (Santa Barbara, California, US) Feb. 1-9: 36th Clermont-Ferrand Short Film Festival (Clermont-Ferrand, France) Feb. 13-23: 5th Providence Children Film Festival (Providence, Rhode Island, US) Feb. 18-23: 36th Big Muddy Film Festival (Carbondale, Illinois, US) Feb. 20-23: Animac: Mostra Internacional de Cinema d'Animacio de Catalunya (Lleida, Spain) Feb. 22-23: 16th BAMKids International Film Festival (Brooklyn, New York, US) Mar. 6-30: 16th Mecal International Short Film and Animation Festival of Barcelona (Barcelona, Spain) Mar. 9-14: 18th Freeze Frame International Film Festival for Kids of All Ages (Winnipeg, Canada) Apr. 4-11: 16th Reel 2 Real International Film Festival for Youth (Vancouver, British Columbia, Canada) Apr. 10: Honolulu Museum of Art (Honolulu, Hawaii, US) Apr. 18-20: Comic-Con International: Children's Film Festival (San Diego, California, US) May 12-18: 5th Golden Kuker-Sofia International Children's Film Festival (Sofia, Bulgaria) May 27-31: 7th Tissa Short Film Festival (Tissa, Morroco) Jun. 1-9: 16th Mo & Friese Hamburg Children's Short Film Festival (Hamburg, Germany) Jun. 6-7: 10th Blue Plum Animation Festival (Johnson City, Tennessee, US) Jun. 18-22: 7th International Animation Festival Fest Anca (Zilina, Slovakia) Jul. 1-31: 9th California Animation Festival (Central California Broadcasting event, US) Jul. 22-29: 20th Seoul International Cartoon & Animation Festival (Seoul, Korea) Jul. 27- Aug. 1: 4th Supertoon Animation Festival (Zagreb, Croatia) Jul. 29- Aug. 3: 10th Traverse City Film Festival (Traverse City, MI, US) Aug. 22-24: 15th Sacramento Film & Music Festival (Sacramento, CA, US) Oct. 2-5: 7th Animasyros Int'l Animation Festival + Forum (Syros Island, Greece) Oct. 2-12: 37th Mill Valley Film Festival (Mill Valley/San Rafael, CA, US) Oct. 3-12: 9th Anim'est Int'l Animation Film Festival (Bucharest, Romania) Oct. 15-19: 6th Carmel Int'l Film Festival (Carmel, CA, US) Oct. 23-28: 7th Banjaluka Int'l Animated Film Festova; (Banjaluka, Bosnia & Herzegovina) Nov. 6-15: 14th San Diego Asian Film Festival (San Diego, CA, US) Nov. 8-23: Animatic: Muestra De Cine De Animacion (Pamplona, Spain) Nov. 18-23: Istanbul Animation Festival (Istanbul, Turkey) Dec. 2-9: Bogota Short Film Festival (Bogota, Columbia) Dec. 10-11: Monarch Film Festival (Pacific Grove, CA, US) All year around: 5th WorldKids International Film Festival (Mumbai, India) All year around: PUCK cinema (traveling cities in Spain) All year around: Spike & Mike's Festival of Animation (traveling cities in US) 2015 Jan. 13-15: REELKids Film Festival (Peterborough, Canada) Jan. 16-25: Black Movie: Geneva International Independent Film Festival (Geneva, Switzerland) Feb. 7-8: 6th Int'l Kinder Film Festival (Miyagi, Japan) Feb. 27-28: Anymasyros Touring Festival (Greece) Mar. 11-15: Regard Festival International Du Film Court (Quebec, Canada) Mar. 25: Monterey Museum of Art (Monterey, CA, US) Mar. 26-Apr. 1: Athens ANIMFEST (Athens, Greece) Apr. 14-19: 27th FilmFest Dresden International Short Film Festival (Dresden, Germany) Apr. 12th Int'l Children's Film Festival/ Manisa-Usak (Istanbul, Turkey) May 7-14: Green Film Festival in Seoul (Seoul, Korea) May 29 -Jun. 4: 55th Zlin Film Festival (Zlin, Czech Republic) Jun. 27: Shastaland Children's Film Festival (Redding, CA, US) Jul. 16-Aug.4: Fantasia International Film Festival (Quebec, Canada) Dec. 1 - 31: 13th Mumia Underground World Animation Festival (Belo Horizonte, Brazil)
So there was a huge gap in the production between 2001 and 2010.
I finished the animation & clean up, planning to finish the film as a minimal pencil lined drawn animation in 2001. After completing the film according to that plan..., I realized that it was missing a lot of visual explorations that I originally planned for. So I decided Not to call it done, and continued to develop the new art direction..., expecting to delay the production about a year... well, who knew that would end up stretching to over 10 years...
Now looking back, I would have been happy to leave the look the way it was with just simple lines and hints of tones and shades here and there..., but I thought that I had to keep trying to find 'the look' that I was looking for. I am honestly not sure what would have been the wiser choice. I was young... I had to try if I wasn't completely satisfied with the film. (r...ight?)
Unfortunately (& very fortunately), my professional career had kept me quite busy since then. I had a full-time teaching job (4 classes per quarter, 4 quarters a year), AND almost full-time regular freelance jobs on the side from 2001 to 2007. Happy complaints...! But when I had the commitments to others, of course my project got pushed down to the bottom of my priority list. After having wonderful years getting good experience in the commercial studios and teaching in MN, Todd & I moved from Minneapolis back to LA in 2007. Settled in LA, studio projects had kept me busy (most of time, I worked double shifts on projects, while I taught at Calarts & CSULB part-time, so my schedule wasn't that different from my previous years.
During these years, it was very hard to find time for my film. (few weeks every other year, or if I got lucky, a few months every 3 years or so. I remember working on the animation fixes on 2003 & 2006, then picking up again in 2010 (production on hold on other years).
Then bad economy crisis hit Hollywood too. Things had dried up pretty badly for me in 2010, and I didn't have much 'paid-projects' to work on. Good & Bad: Bad for the obvious reasons, and Good... I could finally get back to the 'Ahco'.
So here we go again...
The samples from the next posting (above) are made after waking up from my long hibernation... in 2010.
The production was still slow, since I had day-jobs, and I was mostly using nights and weekends, but my mind was set to complete the film this time around, no more holds.
Today, I finally took the 'courage' to go over to the garage, and cleaned up thousands of Ahco drawings (layouts, keys, roughs, in-betweens, clean-ups, & notes...) I saved several shots just as souvenir, but after carrying them around for 15 years, I think that it's time to let them go.
I trashed most of the roughs several years ago, so I think that I had almost twice more folders and papers for Ahco than what appears in the pic below.
They are all packed up nicely for the recycle bin. Perhaps they will come back as nice clean papers for my next project. Until then, thanks guys for the wonderful memories...
I've tried several other techniques: each technique had its pros and cons...
I wanted the elephant character to have very subtle & minimal movements, while lemur & crocodile to have very active and dynamic ones...
So after years of numerous tests... I decided to go with the Drawn technique, where I had the full control over... how to make them move: rigid vs flexible, slow vs fast, etc...
Here are 2001's style frames. There were more art direction/ design tests after the technique was finally chosen, however, these ended up being closest to its final art direction. (check the next posting for it's final look!)
So the animation technique was set to Drawn technique, yet I wanted to explore more art styles: color schemes, coloring methods, and textures etc... I always wanted to apply woodcut look to the film, (and with Todd's suggestion) so I tried a digital mock-up for the test.
Another test using Paint-on-glass technique in 2000.
I wasn't happy with the cut-out test result, due to its limitation and rigidity in movement (especially considering I was using the direct-technique under 16mm Oxberry camera), so I tried Paint-on-glass technique for the flexibility of shape and form changes.
Style frame: Paint-on-Glass (Above)
Pics from 16mm test footage (Below)
I used to plan acting for this direct under the camera technique