INTERVIEW:
In 2026, bkk UNZINE is working with our featured artists to develop the themes for each month’s issue.
Dear friend to bkk UNZINE and amazing talent Hadrien Bonnet is the featured artist for March and the 65th edition of bkk UNZINE art magazine. Also known as “Coconut,” Hadrien is a French artist and animation director who founded his own animation studio in Thailand. A graduate of Gobelins, l’École de l’Image in Paris, Hadrien began his career at Disney, where he contributed to the animation industry before dedicating himself to teaching.
Can you talk a little about animation and what about the medium that draws you to it?
Animation is pure life created from nothing. It’s the illusion of breath, weight, emotion— built frame by frame. What draws me to animation is that it combines everything I love: drawing, acting, rhythm, storytelling, psychology, movement. It’s not just about making things move; it’s about making an audience feel something.
What I especially love is that animation forces you to observe reality deeply— how someone hesitates before speaking, how weight shifts in a walk, how eyes react before the mouth does. It’s life distilled and reconstructed.
Growing up, what were the cartoons you enjoyed most and why?
Growing up, I was deeply influenced by Disney films— especially the 90s era. The draftsmanship, the acting, the staging— it was on another level. Films like The Lion King and Aladdin made me realize that animated characters could feel more real than live-action actors.
As I grew older, my tastes expanded. I began to appreciate Japanese animation for its atmosphere and subtlety, and European animation for its artistic boldness. Today, I admire projects that combine strong storytelling with visual identity— where style supports emotion rather than replacing it.
Your artwork is very observational. What attracts your eye each day?
I’m constantly observing people. Markets, cafés, temples, the street— Thailand is a living sketchbook. Small gestures fascinate me: how someone holds a plastic bag of fruit, how monks walk in silence, how vendors negotiate prices.
Life drawing is essential. Without observation, style becomes empty. I always advise young artists: draw from life before drawing from imagination. Reality is your best teacher. If you skip that step, your work will lack weight and truth.
What do you find exciting about life in Thailand?
Thailand is visually explosive. The colors, the humidity in the air, the contrast between tradition and modern chaos— it’s incredibly inspiring.
There’s also a softness in human interaction here that influences my characters. The smiles, the calmness, the “mai pen rai” mindset— it changes how you portray emotion. It teaches subtlety.
“…master the basics. Build strong drawing skills. Develop a personal voice. Be patient and never stop observing life.
“Animation is not just a career— it’s a lifelong discipline.”
You’ve spent time in many regions of Thailand — how have they affected you?
Bangkok is energy— density, contrast, urban rhythm. It sharpens staging and dynamic compositions.
Chiang Rai, in the north, gives space and mysticism. Temples, mountains, spiritual quietness— it feeds imagination and mythological storytelling.
Southern Thailand brings light and atmosphere— the sea, reflections, natural color palettes.
Each region influences tone, color and pacing in my work.
Tell us about your animation studio and your goals as a teacher.
I founded my animation studio and school to transmit strong fundamentals. My goal is not just to teach software— it’s to teach how to see, how to think, how to act through drawing. Too many young artists want shortcuts. I focus on anatomy, weight, timing, acting, classical principles. If the foundation is strong, style can flourish.
I want to build bridges— between Europe and Asia, between classical hand-drawn animation and modern digital tools.
Did you always intend to teach?
Teaching came organically. At first, I simply wanted to share knowledge. But I realized that teaching forces you to clarify your own understanding. It makes you sharper.
When I see a student suddenly understand weight or emotion in a performance— that’s incredibly rewarding.
Have you noticed trends or misconceptions in young artists?
Yes. Many young artists focus on style before structure. They want to draw “cool” characters without understanding anatomy or movement.
Another misconception is thinking animation is about drawing fast. It’s not. It’s about thinking clearly.
The core element I want to instill is discipline. Observation. Patience. Animation is a slow art. Mastery takes years.
You’ve spent time at Disney— what were your biggest takeaways?
Disney taught me that excellence is in the details. Every pose must be clear. Every expression must serve the story.
I also learned humility. The best artists constantly question themselves. They refine, refine, refine.
This mindset helps me guide students today— pushing them toward clarity and emotional honesty.
What are your thoughts on the differences between western and eastern animation?
Western animation, especially American, focuses heavily on acting, weight and clarity of silhouette. Japanese animation often emphasizes mood, atmosphere and graphic composition. European animation is very strong in artistic identity and experimentation.
I believe the future lies in hybridization— mixing strong fundamentals with diverse cultural aesthetics.
Southeast Asia, in particular, has enormous untapped creative potential.
And your thoughts on hand-drawn vs. 3D animation?
They are tools, not enemies. Hand-drawn animation trains the eye and the brain in a unique way. It forces you to understand construction. 3D animation offers powerful staging and lighting possibilities. For me, drawing remains fundamental. Even in 3D, if you don’t understand drawing principles, the work feels hollow.
How did you become involved with bkk UNZINE?
Through artistic networks in Bangkok. I appreciate how platforms like bkk UNZINE give space to diverse voices and creative perspectives in Thailand. It’s important to support local creative communities.
What excites you about the Bangkok art scene?
Bangkok is raw and evolving. There’s experimentation, youth energy, street culture, digital art mixing with tradition.
I’ve had memorable experiences meeting artists who combine Thai mythology with contemporary techniques. That fusion is powerful.
What are the prospects for anyone wanting to pursue studying or a career in animation today?
The industry is changing rapidly. Technology evolves constantly. AI, streaming platforms, global collaboration — it creates opportunities but also competition. The risk is superficiality— relying on tools instead of understanding fundamentals.
My advice: master the basics. Build strong drawing skills. Develop a personal voice. Be patient and never stop observing life.
Animation is not just a career — it’s a lifelong discipline.
Special thanks to Coconut for making this interview possible, and keep an eye out for future collaborations with our featured artists!
