Approaches to 2D animation
Graphic and illustrated work
Move type, shapes and illustrations with a clear visual rhythm, from design-led commercial passages to a distinctive world built around artwork.
Cel and character animation
Give drawn characters a performance through pose, expression and timing, choosing the animation approach around the personality and action the piece needs.
Cutout, collage and mixed media
Combine drawn and photographic material, textured layers or cutout forms into a considered visual language, with movement that suits the assembled world.
2D animation with character
The drawing, palette and composition establish a world; movement tells us how to feel about it. A held pose can let a joke register, while a change of scale can move the eye to the important detail. We develop those choices around the brief, including how the work will sit with your brand. Graphic clarity, illustrative warmth and dimensional product detail call for different treatments. Where the subject needs depth, 3D animation or a mixed approach may be useful.
Planning your 2D animation
Design and a timed animatic give you a useful view of the work before the final animation. We can develop the look from an idea or build on supplied illustration and boards, agreeing which elements need further design. The animatic establishes shot order, pacing and the role of voice and music. Agency and in-house teams can review those decisions before the performance develops. For a complete advertising film, see Animated Commercials; the animation cost guide explains the scope variables.
FAQ
Frame-by-frame or rigged character animation: which fits?
Frame-by-frame drawing allows expressive changes of shape and pose; a rig moves prepared parts and can suit repeatable actions. The choice depends on the character's performance and the shots required. A piece can use both where the design and scope support it.
Can a drawn world include a 3D product?
Yes. The product and illustrated setting need a shared visual treatment, including perspective, lighting and how they move together. Styleframes help test that relationship before production. We can discuss whether the product should look photographic, drawn or somewhere between those approaches.
Can you animate our existing character?
We can work from an existing character design and its established personality. References for poses, expressions and proportions help preserve recognition. The scope needs to account for any additional views or artwork the intended performance requires, rather than assuming the static design is animation-ready.
How do cutout and collage animation keep their texture?
The source material and the way its layers move both matter. We consider edges, grain, scale and the relationship between photographed and drawn elements. A restrained move may suit a paper texture better than a polished transformation; the treatment follows the visual direction.
What files should our illustrator supply?
Layered source files help us understand which parts can move independently. Include the illustrator's references and any rules for the style, alongside the intended action. We can assess what needs separating, redrawing or extending before the artwork is ready for animation.