【Wei-Fan, Wang | Exploring the Possibilities of Narrative Freedom Between Creation and Structure】

The 2025 Kuandu International Animation Festival has invited animation creator Wei-Fan, Wang to serve as a preliminary jury member. A graduate of the Animation Department at Taipei National University of the Arts (TNUA) and currently studying at the Royal College of Art (RCA) in London, Wang specializes in animation and is passionate about directing and screenwriting. He is dedicated to exploring diverse forms of expression through storytelling and visual styles.

After graduating from TNUA, Wang worked as an art designer at video production companies and corporations. However, the clash between institutional constraints and creative reality proved difficult for him. He candidly shared, “Right after entering the workforce, I was immediately faced with particular client demands and had virtually no creative freedom. Coming from TNUA, where I had a lot of freedom, it was a huge shock.” This experience became a turning point that led him to pursue further studies abroad and broaden his horizons.

Now studying at RCA, Wang is also confronting the challenges of the UK’s one-year master’s program. Nevertheless, he has chosen to face these challenges with an open mind. In particular, the “genre film” course taught him how to deconstruct narrative logic and structure—skills he had little exposure to in Taiwan. He admits that his original visual language was heavily influenced by East Asian cinema, which made him especially curious about European storytelling logic: “Although I didn’t find all the answers in class, the cultural contrasts helped me better understand myself.”

Speaking about his experiences at film festivals, Wang mentioned being selected for prestigious events such as the Annecy International Animation Film Festival and the International Documentary Film Festival Amsterdam (IDFA). At IDFA, his fully animated, surreal work was recognized by curators for embodying the “authenticity and spirit of documentary,” which deeply encouraged him. “When a documentary festival is willing to accept such a cross-genre work, it shows that new forms of narrative are beginning to be acknowledged and explored.”

Reflecting on his two years abroad, Wang believes that “the UK, compared to France and other continental European countries, offers fewer resources for animation directors. Opportunities here tend to lean more toward commercial work.” Combined with the high cost of living in major cities, this creates a significant burden for independent creators. He adds that while Taiwan has limited resources, the familiar environment and established connections make it a better place for innovation and experimentation.

His advice to younger students comes from personal experience: “My previous film was a project I hadn’t finished in my junior year. After graduation, I brought it back to life with the help of grants, and it ended up doing pretty well.” He encourages students not to give up on unfinished work too easily. “As long as you still love the piece, it’s worth giving it a second chance.”

Wang’s short film HEY DAD, a quiet, intimate queer animation that avoids conventional love stories and conflict, instead offering a gentle and nuanced perspective on LGBTQ+ inner lives, will be screened at this year’s animation festival. Director Wei-Fan Wang will also attend in person to share his insights with the audience!

【Hsin-Hsuan, Yeh｜Experimental Narrative and Cross-Cultural Perspectives in VR Animation】

Hsin-Hsuan, Yeh, an animator who recently graduated from the European RE: Anima Joint Master’s Program in Animation, is currently working as a freelance animator while also teaching part-time in Taiwan. For her master’s graduation project, she chose VR as the primary medium, expanding her practice from 2D and stop-motion animation into the realm of emerging technologies.

Her creative mindset shifted as she began to reconsider the concept of “narrative control.” She observed that many VR works tend to guide the audience through mood and atmosphere created by sound and visuals. While this approach helps viewers familiarize themselves with the medium, it can also limit the space for interpretation. Drawing inspiration from the way film montage hands interpretive power to the audience, she aimed to recreate this sense of empowerment in VR. Her VR piece, Sense of Nowhere, employs a fragmented narrative structure that continually offers new elements, encouraging viewers to interpret the story on their own after the experience. For Hsin-Hsuan, Yeh, this was an attempt to shift narrative control back to the audience within a VR context.

Hsin Hsuan, Yeh also shared her experience in the RE: Anima Joint Master’s Program in Europe as one of “constant relocation.” Since the program spans three countries, students have to move every four to six months. This gave her a deep understanding of the distinct differences in curriculum design and teaching methods between countries. Belgium focused on narrative animation, Finland specialized in “expanded animation,” including XR (AR, VR, MR) and projection-based formats, while Portugal emphasized animated documentary. Students rotate through all three countries and eventually choose a specialization for their graduation project.

Hsin-Hsuan, Yeh believes that such a diverse learning environment not only broadened her perspectives but also allowed her to engage with peers from around the world, fostering cross-cultural exchange and understanding. While the constant travel was a rich source of inspiration, she also noted that it required students to be highly mobile and adaptable.

In closing, Hsin-Hsuan, Yeh encourages younger students to pursue what they love and to delve deeply into it. She believes that truly compelling work often stems from a creator’s passion and deep exploration of their subject matter. While telling a story well is the baseline, the difference between a score of 60 and 100 lies in finding one’s unique voice—something that could stem from animation itself or be inspired by everyday experiences with games, films, reading, and more. Reflecting on why you love these things, she says, is the key to creating work that stands out.

Her work, Sense of Nowhere, is like a journey through consciousness, exploring the question: “Where do we go when we empty our minds?” It blurs the boundary between the inner world and external reality, transforming fragmented sounds and thoughts into tangible experiences. It guides viewers into the subconscious, weaving together auditory and visual cues, drifting through associative fragments and scenes, and ultimately returning to the present. The piece will be screened at this year’s animation festival, and director Hsin-Hsuan Yeh will attend in person to share her insights!

【Te-Chin, Chen | Between Craft and Rhythm: Walking the Path of an Animation Professional】

The 2025 Kuandu International Animation Festival (KDIAF) has invited animator Te-Chin, Chen to serve as a preliminary jury member. A graduate of the third class of the Animation Department at Taipei National University of the Arts, she completed her studies at Gobelins, l’école de l’image in 2021. Now based in France, Chen specializes in traditional 2D hand-drawn animation and has contributed to a wide range of projects, including short films, commercials, and television series, gaining extensive industry experience along the way.

Reflecting on her decision to study in France, Chen explained that she had long been drawn to French culture. Inspired by a teacher who had studied there, she decided to pursue animation in Paris. She recalled with a laugh, “I almost missed the enrollment deadline because the acceptance letter ended up in my spam folder!”. While Gobelins’ program is taught in English, Chen noted that having a solid grasp of French makes daily life and job-hunting in France far smoother. Unlike the training at TNUA, which emphasizes creative thinking, Gobelins’ curriculum is highly technical. The French school adopts an intensive workshop model, with segmented training periods each dedicated to a specific skill—such as motion design, character work, or background art—guided by one-on-one mentoring with resident instructors. This high-intensity, efficiency-driven model gave her a new appreciation for the pressure and momentum of “actually finishing something in a very short time.”

Throughout her career, Chen has been involved in a wide range of animation productions, from 2D outsourcing studios in Taiwan to commercial and short film projects in France. She observed that outsourcing for American companies often comes with communication hurdles and relentless revision demands, sometimes even requiring major rework at the final stage of production. This, she said, laid bare the frustration and helplessness of working on large-scale projects. Advertising projects, by contrast, while short-term and high-pressure, offer better pay but greater instability, following an entirely different work rhythm. What she valued most, however, was the short film production environment in Toulouse: directors initiate their own projects, producers secure resources and form teams of over ten members through broadcasters or state funding, and the teams complete five- to ten-minute pieces within three to six months. “This kind of director-led process, with clear team divisions, allows me to focus purely on the animation itself. It’s a very precious way of working,” she said.

For young animators still navigating their training, Chen offered candid advice: “It’s easy to feel discouraged when your work doesn’t get into festivals, but once you enter the workforce, you realize that the required qualities are completely different. Professional work demands technical rigor, while festival-driven creation follows an entirely separate logic.” She encouraged students to clarify their future direction, reminding them that there’s no reason to dismiss themselves because of setbacks on one path. Her parting advice: “Even after graduation, it’s never too late to start again from zero—that’s not a bad thing.”

【Chien-Ju, Hung | An Animator Navigating Between Creation and Reality】

In 2025, KDIAF invited animator Chie-Ju, Hung to serve as a preliminary jury member. A graduate of the Department of Animation at Taipei National University of the Arts, she later continued her studies at the renowned French animation school Gobelins. Following her academic training, Hung established herself in Europe as a freelancer, actively engaging in commissioned projects while also pursuing her own independent creations.

As an animator navigating between commercial and experimental practices, Hung shares her experiences studying abroad, her creative journey, and her insights into the realities of working in animation. After graduating, Hung went to France for further studies, initially learning 3D animation in southern France, and later successfully gaining admission to Gobelins to focus on 2D creation. During her studies, she faced challenges such as language barriers, differences in keyboard layouts, and difficulties in fully understanding some classes. However, being surrounded by talented classmates from around the world also inspired a strong motivation to improve. Inspired by their talent, she pushed herself, telling herself, “If they can do it, so can I.” This continuous drive propelled her from her student days straight into the animation industry. After graduation, she briefly worked at an animation studio in France, then became a freelance artist, producing animations for American companies, including two works that were later featured on Netflix. Although commercial projects provided a stable income, Hung admitted that after working for others for a long time, she increasingly realized that what she truly loved was “telling her own stories” — and thus decided to return to the path of personal creation.

However, the path of independent creation was not easy. “No connections, no resources, and still had to scrape by with projects in Taiwan,” she said candidly. Even so, she continued to strive for a balance between creativity and survival. For her, creation is not forced but follows a natural rhythm: “I create when I feel like it, and rest when I don’t.” This respect for her creative instincts is also reflected in her expertise in abstract animation — flowing visuals and unconventional rhythms allow her to intuitively express her inner emotions. When she looks back at her time in university, Hung believes that her greatest gains were not in her major courses, but in the numerous general education and cross-department classes she audited. “I attended philosophy, dance, theater, music… the learning environment at TNUA is truly rare and should be cherished,” she said. She encourages junior students to create as many works as possible during their student years, even if their skills are not yet fully developed. She recalled that a stop-motion animation she made in her second year became a key factor in her acceptance to a foreign school, “because they had never seen a Taiwanese story like that.”

Her work 27 is a documentary animation based on events that happened to her at the age of 26, and it will be screened at this year’s animation festival. As a preliminary jury member, Hung values the creative motivation and personal uniqueness behind a work. She believes that, beyond form or technique, what truly matters is whether the creator genuinely desires to tell a story — “Just be true to your feelings, and your work will shine.”

【Chih-Chen, Hsu | Independent Animation Experimentalist: Material and Innovative Exploration without Limits】

Chih-Chen, Hsu is currently studying in the Graduate School of Film and New Media at Tokyo University of the Arts, majoring in animation, and is expected to graduate in March of next year. Therefore, she is diligently preparing for her graduation project. Curious and experimental in her use of animation media, she is accustomed to working independently, exploring infinite possibilities in her creations.

When creating animation,  Hsu excels at utilizing various media for expression. Each medium has its unique characteristics and appeal to her. She particularly enjoys the “playful” and “experimental” feeling that arises when trying different materials.

Chih-Chen, Hsu shares that she tends to draw a large number of sketches during the brainstorming stage, unrestricted by a single medium, just to explore the potential of ideas manifesting across different materials. Recently, she has experimented with acrylics, crayons, colored pencils, ink wash, and oil pastels. She describes this process as being similar to a scientific experiment: “Adding one thing leads to new outcomes, which drives my production forward.” She particularly enjoys the variation in the viscosity of paints, the texture left by brushes, and the effects of powdery materials on different papers, all of which inspire her more creative ideas. She even prefers drawing single images instead of storyboards, re-evaluating them after a few days to gain new insights and further develop her story.

Regarding her decision to pursue a master's degree at Tokyo University of the Arts, Hsu stated that during her freshman year at National Taipei University of the Arts, she was deeply impressed by the unique style of Japanese independent animation master Koji Yamamura, which made her realize the vast possibilities of animation creation. Additionally, the rich collection of past works available on Tokyo University of the Arts' YouTube channel inspired her to consider applying there. She also mentioned that the university is very welcoming to international students and does not strictly require perfect Japanese language skills, only basic communication abilities. Therefore, how to utilize the four years of accumulation during her undergraduate studies to prepare an outstanding portfolio became her focus.

The high degree of creative freedom at Tokyo University of the Arts is something Hsu greatly enjoys. There, she can experiment with materials, create images, and revisit her work after a period of reflection, allowing her creations to naturally develop into a unique style.

Regarding her recent personal goals, Hsu expressed that, besides working on her graduation project, she is also developing some special project plans. She hopes to continue her efforts as an independent animation creator in the future and is currently facing the choice of staying in Japan or returning to Taiwan after graduation. She encourages her juniors: “Don’t overthink what is right or wrong, but instead work hard to experiment and try.” Even if mistakes are made, these experiences will become valuable nourishment, guiding them forward, maintaining passion and an experimental spirit is the important message she wishes to convey to her juniors.

【Tun-Kai, Chuang | The VFX Magic Behind Dune: A Lifelong Learning and Visual Practice as an FXTD】

Tun-Kai, Chuang is currently working at Industrial Light & Magic (ILM), one of Hollywood’s leading visual effects companies, as an FXTD (Effects Technical Director), specializing in 3D physical effects. Using Houdini as his main tool, he creates visual effects for Hollywood films. After graduating from the Animation Department of Taipei National University of the Arts, where he majored in hand-drawn animation, he pursued computer animation and visual effects at Sheridan College in Canada, embarking on a learning and career journey completely different from his previous background.

Chuang shared that his decision to study at Sheridan College was not only driven by a desire to experience life abroad, but also by his creative urge to transition into a brand-new field. Choosing 3D effects, he started learning from scratch. He noted that the biggest difference between Sheridan College and TNUA was Sheridan’s industry-driven curriculum, which prioritizes preparing students to enter the job market.

The program emphasized mastery of industry-standard software and skills. This highly career-oriented teaching approach gave him a new perspective on learning. While studying in Canada, cultural differences also left a deep impression on him. He recalled his early days in a foreign country: walking home alone late at night through knee-deep snow during the freezing winter—an experience that felt both fresh and slightly lonely, yet unforgettable.

As an FXTD at ILM, Chuang’s daily work revolves around creating a variety of visual effects—explosions, water simulations, fire, and other magical effects that are difficult or dangerous to capture in live action. Using his work on Dune as an example, he explained the workflow and division of labor in Hollywood’s VFX production pipeline.

At ILM, the division of labor is highly specialized, with each department focusing on just one or two tasks to ensure efficiency and quality. In the overall production pipeline, the VFX department usually comes in toward the later stages. First, the Layout team establishes the scene composition and environment; then the Animation team handles creature movement and fine-tunes performances that cannot be fully captured on set. Afterward, Chuang and his FX team generate the physical effects using Houdini. The shots are then passed on to the Lighting department for shading and rendering, before finally being composited with the live-action footage to complete the final image.

Chuang admitted that the VFX industry is tightly bound to rapidly evolving technology, with software and techniques constantly changing. Even after joining a top company, one must continue learning to stay up to date. Though demanding, the process of applying knowledge and cutting-edge tools to create breathtaking visuals is what keeps him passionate about the work.

For current students, Chuang’s advice is: “Treasure and make full use of all the resources available at school.” He emphasized that equipment, software, teachers, and even the campus environment itself are invaluable. Unlike in the workplace, learning at school is pure—you can devote yourself to what you truly want to create, without the pressure of deadlines or job requirements. He encourages students to fully enjoy their time in school as a period of “free and joyful learning.”