Shivam Choudhary’s Journey Through Art and Animation
When Shivam Choudhary was a child, he rarely went anywhere without a pencil in his hand. He drew on scraps, notebooks, margins - anything that could hold a mark. That early fascination never faded. Today, those same lines he once sketched in schoolbooks are finding new life in his debut animated film, Kaagaz ke Phool.
Early poster for Shivam Choudhary’s KAAGAZ KE PHOOL
Kaagaz Ke Phool film’s Style Test
“I’ve been captivated & obsessed by art ever since I was a kid! I can remember always having a pencil in my hand and drawing anything and everything. It’s been such a joy for me!”
What began as childhood play turned into a philosophy: to seek beauty in the everyday, to give dignity to the ordinary. Shivam’s drawings often capture the unnoticed - a shopkeeper waiting for customers, a child playing with a stray, women resting in the shade. For him, these are not minor details but fragments of life worth remembering.
His creative process, too, mirrors that openness. Instead of trying to master every stroke, Shivam lets his tools surprise him. Watercolor bleeds and accidents are not mistakes but collaborators.
“I view my canvas and colors as partners in the creative process”
It’s this spirit of improvisation - a willingness to trust, to let go - that runs through his practice.
Painting Process
But Shivam’s ambitions didn’t start with illustration. Long before that, his heart belonged to animation. He once tried - and failed - to enter formal animation programs. “I aimed to receive formal education in animation filmmaking; however, I was unable to pass the entrance exams despite multiple attempts.”
Pivoting to illustration was almost accidental. Yet animation never left his imagination. Small personal experiments kept it alive, and later, attending animation festivals rekindled his conviction.
That conviction now has form: Kaagaz ke Phool. The film, still in pre-production, is woven from Shivam’s personal experiences. Its early style tests already hint at something unique - a jerky, puppet-like motion that feels closer to stop-motion than traditional hand-drawn animation. The effect, however, wasn’t intentional design but necessity.
“Since I can’t do frame-by-frame hand-drawn animation, I manipulate my drawings and paintings instead. I enjoy the unique look my animations have, and it serves the story I want to tell.”
This willingness to turn limitation into strength reflects Shivam’s stubborn independence. “If the world says there’s a certain approach to take, I’m determined to go in the opposite direction,” he says. It’s this streak that gives his work its edge.
The project also brought him allies. When he casually shared his early tests with friends, Pari and Parth from Studio Mikudi responded not only with enthusiasm but with an offer to produce.
“It was truly gratifying to see their confidence in my story and their willingness to take on the role of producers,”
They’ve since helped structure timelines and even initiated conversations with potential investors. For now, though, Shivam is the film’s primary driver. The target is modest yet ambitious: one year, five lakh rupees, and a story born from personal truth.
Like many independent animators, he faces the perennial challenge of funding. Sponsors, grants, and brand collaborations are part of the path forward. “We look for sponsors and partners who genuinely connect with the film’s vision, apply for grants that back early development, and because the story is so deeply Indian, seek out brands that share a similar ethos,” he explains.
Outside the film, Shivam’s personal illustrations stand out with a voice that feels deeply his own. He doesn’t see style as something you invent but as something inseparable from the artist’s inner life.
“It’s a reflection of their thoughts, their voice, and their unique way of being, which is woven into everything they create.”
For him, that voice emphasizes freedom, acceptance, and the overlooked beauty of small moments.
Survival in this field isn’t easy, but platforms like Patreon have given him breathing room. Currently, it makes up about 20–30% of his income, something he describes as a “lifesaver.” The stability it provides allows him to keep experimenting and growing. At the same time, he resists clinging too tightly to his work. Each project, he believes, teaches him something new and pushes him forward - part of a journey that matters more than any single piece.
Optimism is the fuel that carries him. “I truly believe that great work never goes unnoticed,” he says, with a quiet assurance. His toolkit today includes Clip Studio Paint, Photoshop, and Premiere Pro. His inspirations range from artists like Satayjit Ray, Rajive Eipe,Rishi Sahany,Quentine Blake,Victoria Semykina,Laura Carlin to Amrita Sher-Gil and French animated films to name a few.
And as for what’s next? Shivam’s answer is simple: to keep going. “I am eager to learn and explore more animated stories. I look forward to what the future has in store.”
From a boy sketching in the margins of his notebooks to an artist on the verge of his first animated film, Shivam’s pencil has always looked forward- towards new horizons and opportunities. Kaagaz ke Phool may just be the beginning - not just of a film, but of the stories waiting to bloom from his hands.
And on that note we come to the end of this article with Shivam Choudhary. We thank him for his time and wish him all the very best for the future.
You can find Shivam’s work on the channels below:
Shivam Choudhary
