eggs easter illustration loop colorful hand-drawn 2D animation motion design


easter loops


In a context of abundant information, the implementation of advertising screens is expanding. It promotes the development of advertising and animated posters in places still untouched. They are ubiquitous even in our pharmacies. The content is noisy, redundant, without a break.

The graphic jingles are a breakthrough solution of this incessant advertising loop. This process is commonly used on television but also on the radio. It allows the brain to assimilate the content and better understand the next message.

These interludes take the form of short animations of 5 seconds. My approach resulted in the creation of 3 independent loops on the theme of Easter. This system allows the use of the content over a longer period but also on other mediums.


Client: Futuramedia

Song: La foret de Sharegood - Polo & Pan's sharing is caring remix

Copyright Walt Disney. For promotional and dancefloor related purposes only.

Directed and animated by Thomas CHARIER.


PARIS ~ 2015



Futuramedia is a Cegedim Group company, specialized in the digital signage on specialized health and beauty outlets since 2004.

It offers its partners standalone digital signage management solutions for turnkey sales outlets.

Pharmacies are part of their target audience. The pharmacy has become a real showcase for the brands it offers products.

  • ~ chicken, bunnies, bells ~



The graphic break put in place opposes the sad nature of the environment of pharmacies. This strategy revolves around a jovial theme and synonymous with celebration. Easter celebrations have a comic, playful and colorful connotation.

eggs easter illustration chicken loop colorful hand-drawn 2D animation motion design

The folk world of Easter celebrations is made up of sweets, magical powers, a multitude of animals and an emblematic object: the Easter egg.

This theme rich in allegories opens the field to the personal interpretation of this traditional festival. The metaphors are distorted and surprise by their whimsical narratives.


The jingles are of use in simple reading and do not allow looping. The narration must remain brief and must be clear. Unexpected actions challenge the viewer and push him to be attentive to the following.

The narrative develops in three stories and stages three different actors. A hen, bells and rabbits. These characters benefit from a design and a collective graphic style. The Easter egg intervenes in each scene and becomes the narrative thread.

  • ~ it’s all about eggs ~

eggs easter bunnies illustration loop colorful hand-drawn 2D animation motion design

The shimmering tones recall the colors of the eggs. The shapes are smooth and gain volume thanks to simplified shading. They are introduced as an ideal solution for a graphic cartoon style.

The background of clear and plain color changes for each loop. The emptiness of the environment makes it possible to highlight the action and let the content breathe. The camera remains static for the sake of understanding the information.

eggs easter bells illustration magic loop colorful hand-drawn 2D animation motion design

This graphic strategy aims to be readable quickly and to disconnect for a few seconds from the pharmaceutical universe.



Each loop took advantage of a decomposition of the movement. This study has made it possible to elaborate complex sequences within the framework of a loop system.

The inking of the characters makes it possible to refine their volumes. This process establishes a solid base used as a reference when working animations.



A hen pecks. After a brief hesitation she suddenly opens in half like a chocolate egg. Easter eggs spring from the inside and roll off the field. The top of the hen flies, the bottom wobbles to close and become normal again.

A rabbit parade juggling with chocolate eggs. The cycle is infinite, each rabbit is preceded by another rabbit who recovers his juggling. The parade scrolls from left to right of the image.

Three bells levitate. They flatten themselves on the ground and perform a magic trick. An egg appears in the center and is covered. The bells start mixing again and then return to their original state. The egg is gone.



This project has perpetuated the ritual of creating a traditional animation through preparatory work, animation and coloring. Character design, storyboarding and timeline cutting provided a solid foundation for execution.

Nevertheless the choice to draw each frame of the animation to 25 images per second, on paper, has been solved in a considerable loss of time. Digitizing hundreds of sheets and inking them on a computer is a painful experience.

In the end, half of the frames were discarded and recompiled in 12fps. The animation by hand generated subtle variations in the contours which, at real speed, caused a tremor noise.



This reckless experiment allowed me to understand in detail the stakes of such an animation process. Perseverance in production always brings the designer to a personal conclusion and makes it evolve. He deduces from his effort an optimized response for his future research.

This project is at the origin of my predilection for animation in 12 frames per second.