FRAMEWALKER
AN ANIMATED 2D MINI SERIES (2025)
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No matter what life throws at you, would you be able to…
FRAMEWALKER is a 2D animated series about the cards dealt by life [FRAME], and how one deals with it. [WALKER].
FRAMEWALKER: a silhouette in familiar places. He represents everyone, anyone.
In the first episode, FRAMEWALKER is going to a life-changing audition. However, something is amiss - when he enters the cinema doors, he panics... what happened?
Note: Due to issues with production costs, FRAMEWALKER has been indefinitely suspended.
STRUCTURE
How did we tell our story?
Well — more of stories. You see…
To understand an episode of FRAMEWALKER, you need to watch it more than once. An episode's story is crafted in two parts, but packaged in one viewing.
There is the story we first see - the actual actions FRAMEWALKER takes, running & talking in the city [STORY #1]. The second half is in the background: text & images in billboards, and on pavement [STORY #2]. STORY #2 continues where STORY #1 ends.
In the context of the first episode, STORY #1 shows FRAMEWALKER running to his audition, which he took big risks for. His friend helped by giving him the script. STORY #2 reveals that perhaps he was given the wrong script intentionally. In a situation like that - what do you do?
For this project, I contributed via animation, project management (art department), & writing aid. I expound further on my roles throughout production below.
Below is a full mock-up of Episode #1 with Story #1 & 2.
Episode 1: Full Mock-up with Story #1 & #2.
Credits: Jeks Inanuran - Motion Graphics | Mari Cinco - Writing & Table Read |
Mark Ballesteros - Animation Layout & Lead
PROD SCOPE
Production Scope Problems & Solutions:
Thinking in Backgrounds
What did we have to work with?
FRAMEWALKER had a unique production process. In this video, I talk about FRAMEWALKER'S scope, and how I approached & solved the challenges we encountered.
As the video states, I had to think in backgrounds before storyboarding anything.
In planning for production, I had to consider:
• Did the backgrounds have a cohesive flow & framing?
• Did it serve both scripts for STORY #1 & STORY #2?
• Did backgrounds account for environment Interactivity & script diversion?
• Did any actions need changing based on the background?
BOARDS
Putting everything into action
As soon as the backgrounds, script & actions were decided, I storyboarded everything.
This is a copy of the final boards. Some poses were changed in the final animation if it served the episode's flow.
DESIGN
Silhouette Exploration
Early on, I was tasked to experiment with how to make FRAMEWALKER's silhouette design more interesting but efficient.
With these concepts, I tested visual interest, story relevance, and completion speed: each silhouette could be done within 5 minutes max.
SACCI & DACCI
AN ANIMATED 2D MINI SERIES (2025)
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In rural Italy, a raging fire burns a family’s agricultural empire to ashes — leaving them with deep debt and a mother in critical condition.
The responsibility to re-build is passed onto the owner’s sons, Sacci & Dacci. However, they are met with a chance to enter a contest in line with their true dream – fashion design – which promises an incredible sum of money for those who win.
Is passion worth the gamble at play?
And behind the scenes… is something else pulling the strings?
Note: SACCI & DACCI's production was suspended in order for FRAMEWALKER to take its place.
CHARACTERS
Who are Sacci & Dacci?
SACCI & DACCI (S&D) are brothers whose personalities parallel each other.
Sacci is reserved, stiff, and calculating.
Dacci is lively, flamboyant, and loud.
In spite of their differences, both of them yearn for self-expression in the lens of fashion. Throughout the story, they would learn more about themselves, their dreams, and their reasons for wanting what they want.
For this project, I contributed via character design, visual development, thumbnail concepts, & writing aid. I expound further on my roles throughout production below.
Hiring Process Animation Test
ANIM TEST
Hiring Test Pre-Art Direction
Using the description for S&D above, I was tasked to both design & animate them using my own style.
They needed showcasing their fashion designs & personalities on a news broadcast. This is what I came up with.
Below are a few explorations I made before landing on their temporary designs for the test.
Designs Used for the Short Animation
CHARACTER DESIGN
Visual Development & New Direction
Once on-board, I was given clearer instruction:
S&D were to be designed in a realistic style, with their final render in an artsy sketch-like style; inspired by a-ha’s Take On Me music video and others like it.
Exploring piece by piece, as requested, I compiled moodboards and made concept sketches. Concept exploration was divided by face, trenchcoats [S&D main clothing], and render proposals.
Everything was done in batches. Newer iterations considered the design elements that the Studio Director liked best.
Peg: Take on Me Music Video by a-ha
Art & Animation by: Candace Reckinger & Mike Patterson
Face Exploration
These are based on S&D’s personalities, and common Italian features.
I first designed them in pairs, then explored them individually.
Clothing
The main clothing of choice are trenchcoats. S&D hide their fashion designs underneath.
Vis Dev:
Render Tests
Experiments with a "sketch-like" watercolor style.
Focus was on quality and stroke speed for easier rendering come animation.
THUMBNAILS
Conceptualizing Composition
S&D was intended to be a YouTube mini-series. Therefore, a video would not be watched if it did not stand out from the crowd.
The main goal of a thumbnail is to spark audience curiosity, explore composition, & be cohesive in a glance. It also works hand in hand with the hook title, which I made suggestions for to aid the writer & bolster the composition.
Below are Episode Thumbnails I made along with the loglines for each episode. I also used thumbnails as a means for helping the team visualize the vehicle for telling a story based on what resonated the most.
Set-Up
Episode #1
LOGLINE: When their mother is critically injured from a devastating fire that destroys their family's livelihood, two brothers are pressured about what to do.
Set-Up
Episode #2
LOGLINE: A limited once-in-a-lifetime job offer arises, which pushes the needle toward the brothers' personal dreams & financial needs — if they succeed. Is it right to take it at this time, and is it moral to do so?
Episode
Framing
Devices
S&D's first three "set-up" episodes were to be done in motion graphics, & the both the script writers & motion graphics team were stuck on how to go about the framing.
To help give them ideas for episodic framing & structure, I suggested these.
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