Project 2: A cup of tea
Waking up in a world seemingly devoid of life we meet a robotic teacup and kettle duo, realising they are out of tea the go out on a journey to collect the ingredients in the harsh world that nature rules over, collecting and foraging for ingredients. When they complete their mission they come back to their home finishing off their master-piece and presenting it to their owner, now a skeleton just slumped against the wall. They settle beside the remnants of their owner and fall back into their peaceful slumber.
This project centre's around a creating an animatic according to a given brief, it must include no more than 3 none-human characters and be centred around the theme of "making a cup of tea", any genre is acceptable as long as it rated-U.
01
Initial ideas-
Starting a story
To begin this project, I was inexperienced with story telling and the various aspects of it. I have always been on a more techniqueal side or given base ideas to work off of to help others create their vision and because of that I was unused to producing and designing the "bigger image" that is needed for producing animations, storyboard, scripts and animatics.
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As this was my first time exploring and producing this kind of work I have face many a challenge, but in the end i was quite happy and excite to work on this project as it was fun learning all the things that went into producing work that I lone, and seeing the leave of care that goes into each individual aspect of it, even aspects i have never considered. //
The brief & the ideas
Project Overview:
The project brief requires the creation of a U-rated story in any genre with the main theme being "making a cup of tea", centred on a maximum of three non-human characters. The entire development process must be documented and presented as a research portfolio.
The project is limited to two or three non-human characters and no more than two locations, such as one interior and one exterior space. The genre must remain suitable for a universal audience.
After exploring several ideas, I developed a concept that felt personal and meaningful.​
The story is an event-focused, feel-good sci-fi with a bittersweet tone, inspired by a solar punk aesthetic. It follows two small robots in a post-apocalyptic world: a cautious, loving teapot robot with an old-dog-like personality, and a small, energetic teacup robot with bird- / bug-like qualities. They inhabit an abandoned home and venture into a collection area outside.
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The goal of the story is simple: to make tea. When the robots wake and realise there is no tea for their long-gone owner, they set out to gather the necessary ingredients despite the challenges of their decayed environment. After successfully preparing the tea, they lovingly “serve” it to their owner’s remains before settling back down into rest. The tone remains warm and hopeful, blending gentle humour with a quiet, bittersweet ache.
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On first seeing this brief I played around with a few ideas, unsure how I wanted to precede until I found an idea that moved me, something I could pour myself into.​​
Premise & synopsis
Premise (2-3 sentences):​
Waking up in a world seemingly devoid of life we meet a robotic teacup and kettle duo, realising they are out of tea the go out on a journey to collect the ingredients in the harsh world that nature rules over, collecting and foraging for ingredients. When they complete their mission the come back to their home finishing off their master-piece and presenting it to their owner, now a skeleton just slumped against the wall. They settle beside the remnants of their owner and fall back into their peaceful slumber.
​​Synopsis (200-300 words):​
We are introduced to our little robotic teacup, fluttering awake after being asleep for seemingly a long time. Our little teacup is a bit worn but is lively, bright and colourful, fluttering around like a humming-bird or a little bee, chipping and making little noses to wake up their friend the kettle-bot. A slower more cautious creature, a deeply caring little bot, slightly more worn and world weary than the little cup, but still content none the less.
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​The little teacup shows the kettle-bot his currently empty cup –with no more tea in the kettle either- the journey/ task begins, to make a new cup of tea. First the go to collect the ingredients in a world devoid of all human life where nature has completely taken over. Getting all the herbs and leaves collected and added to kettle, plus finding water, honey and/or other such things they come back to the dilapidated building they started in, setting kettle-bot to boil and finally pouring the tea into our little cup they settle beside what is left of their owner and home, a skeleton with plant life surrounding it –showing its age and the time that’s passed. Our little teacup and kettle-bot fall back to sleep/stasis, forever together trapped in this bitter-sweet loop in a world that’s moved on.​​​​
Step by step key points
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The cup stirs awake (realises no tea) and wakes up the teapot​​
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The 2 start their journey to the garden area
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​​They fill the teapot with either a stream or a pumpor rain? (not rain)​​
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They collect the tea leaves and some flowery herb things
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​​Make their way back, once in the ruined house the teacup gets the honey (the hive is in the house)​​
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Adds the final ingredient and the teapot heats itself up​​
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Fills the tea cup​​The tea cup then settles next to the owner
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​​The teapot then follows suit and cuddles up like a cat/dog​​
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A family together again
02
Scripting -
Writing a script & its challenges
Writing my first script was challenging in itself, but it became even more complex when the characters’ dialogue consisted entirely of boops, beeps, and mechanical, non-human sounds. Without traditional speech, I had to rely much more heavily on action, movement, and environmental cues to communicate emotion and intent. It forced me to think visually rather than verbally, ensuring that each sound had meaning and that the audience could still understand the characters’ feelings through context, rhythm, and interaction. Balancing clarity with simplicity — especially within a U-rated tone — required careful thought.
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On top of that, learning proper script rules and formatting was particularly difficult. Understanding how to structure scenes, format action lines, write sound cues, and present non-verbal “dialogue” correctly took time and practice. Sticking to industry-standard formatting while still making the mechanical sounds readable and expressive was a challenge, as I had to ensure the script looked professional without becoming confusing or overly cluttered. It made me much more aware of how precise and disciplined screenplay writing needs to be.
03
Research -
Mood boards, Primary research & animators
Environment:
I want to blend warmth and wonder with the cold harshness of abandoned, dilapidated spaces. The world should feel cosy and safe on the surface, yet clearly empty and long forgotten. It should create a bittersweet tone — comforting, but tinged with loneliness — and feel intriguing enough that viewers want to explore it further.
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Visually, I’d like elements to feel recognisable and grounded in reality, but altered enough to show this isn’t quite our world — just something that could have been. A soft, warm colour palette will contrast with ruined structures and decay, while nature slowly reclaiming everything adds calmness and beauty. The overgrowth not only softens the destruction, but also emphasises how much time has passed, highlighting how small and alone the robots are in what was once a vast, living world.
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Ingredients
I want to use warm, natural colours that evoke a sense of home, softness, and comfort. The overall feeling should be gentle and grounded, drawing from materials and objects that could realistically be found or made in the wild. Everything in the world should feel organic and thoughtfully repurposed, reinforcing the quiet, self-sustaining atmosphere.
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The objects these small robots use should subtly hint at personal preferences, helping to give them personality and a sense of humanisation. While the setting may be altered and overgrown, everything should remain recognisable and believable to the viewer — accurate enough in form and function to feel real.
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At the same time, all items must be practical for the robots’ size and abilities. Nothing should feel too heavy, complex, or unrealistic for them to handle, ensuring the world remains cohesive and convincing.
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Teacup
The teacup robot is inspired by a blend of insect forms, delicate machinery, and the elegance of a traditional Turkish teacup. Turkish teacups have a distinctive, refined shape — light, small, and graceful — which perfectly matches the gentle, charming energy I want this character to embody. The solar punk influence ties this delicacy to a sustainable, nature-integrated design.
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I explored different small creatures to clearly distinguish the teacup from the sturdier teapot. While I initially considered a hummingbird for its hovering movement and liveliness, I ultimately leaned into a more insect-like design to better suit the world’s tone and aesthetic. This direction keeps the character visually cohesive with the natural, overgrown environment.
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I was particularly drawn to the expressive eye shapes and facial structures of certain insects, as well as their thin, articulated legs. Although the resemblance is subtle, I adapted the legs to echo the delicate stands sometimes found on ornate teacups. The result is a small, fluttering, clear-winged robot with a bubbly, endearing personality that feels both mechanical and alive.
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Teapot
The teapot robot draws inspiration from insects, spiders, and traditional teapots and kettles. I want it to feel cute but sturdy — like a small woodland critter — balancing softness with durability. It should complement the delicate, fluttery teacup while remaining clearly its own character: heavier, steadier, and more grounded.
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To keep visual cohesion, I looked into traditional Turkish teapots, which often feature elongated necks and distinctive silhouettes. These shapes help give the character elegance and recognisability, while still allowing it to feel functional. Unlike the teacup, which is light and airy, the teapot needs to appear plausible — with visible heating elements, a clear structure for holding and pouring water, and a design that suggests independence and longevity. The solar punk aesthetic ties this together, implying sustainable energy sources and natural integration with its environment.
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For movement and personality, I referenced spiders — particularly the jumping spider — because of its surprisingly cute, curious presence. Its stance and subtle, deliberate movements helped shape how the teapot carries itself: cautious, observant, yet capable. Basing both characters on bugs and spiders reinforces the idea that they are small creatures in a world far bigger than themselves — and yet, to them, that vastness simply feels normal.
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04
Characters -
Character Design & development
The teapot is designed as a small robot with the gentle presence of an old dog — cautious, determined, and deeply loving. It moves more slowly and thoughtfully than the teacup, carrying a sense of weariness that hints at time passed, yet it remains quietly content. Its structure feels sturdy and dependable, built to last, with softened edges that keep it approachable and cute rather than heavy. Slight scuffs and sun-faded surfaces suggest age and endurance, reinforcing its role as the more grounded, protective figure.
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The teacup robot, in contrast, is lively and constantly in motion. Inspired by small birds and insects, it flutters and chirps, full of bright energy despite being slightly worn. It feels lighter and more colourful in spirit, even if its palette is softened by time. Its movements are quick and buoyant — hovering, darting, and tilting expressively — giving it a playful, curious personality that balances the kettle-bot’s steadiness.
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Emotionally, both characters rely on pattern and surface design to convey feeling, almost like subtle facial expressions. Changes in light, markings, or small shifts in shape help communicate mood in place of traditional features. Their colours are intentionally faded and sun-bleached, creating a calming effect and reinforcing the sense of a world long exposed to the elements.
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Although distinct in silhouette and energy, the teacup and teapot are designed to feel as though they belong together. Shared motifs — such as recurring patterns, softened tones, and subtle wing-inspired shapes — visually connect them. These elements are used differently on each character to maintain individuality, but the cohesion in colour and design suggests companionship, history, and a shared purpose.
05
Environment -
Environment Design & story telling
The environment design supports both the emotional tone and storytelling of the project. Set between an abandoned home interior and an overgrown exterior collection area, the world blends warm and cosy vibes with the cold remnants of decay. Ruined structures are softened by nature reclaiming them with solar-punk technology mixed-in, creating a solar punk-inspired contrast between harshness and comfort. Familiar, grounded objects make the setting believable, while subtle distortions and time-worn details suggest this is not quite our like world, but one that could have been. The scale of the spaces reinforces that these small robot “critters” are tiny within a once vast and living world — a fact that feeds into the bittersweet tone that the world is steeped in.
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Storytelling is embedded directly into the environment. Sun-bleached textures, faded and dilapidated surroundings, and carefully added overgrowth reflect the passage of time and the characters’ quiet routine of making tea for their long-gone owner. Light plays a crucial role in guiding the viewer’s eye, highlighting key story areas such as their owners final resting spot or meaningful objects/actions, while allowing surrounding ruins to fall into softer shadow. Warm light pools create intimacy and safety around the characters. All this together helps to create a world that feels gentle and inviting, yet undeniably lonely — encouraging the viewer to linger and wonder about the history held within it.
06
Thumbnails & Storyboards -
Thumbnailing & storyboarding
Creating and revising thumbnails and storyboards was a crucial part of shaping the story visually. I used traditional methods for the majority of thumbnails, sketching in my sketchbook with pencil and paper to explore composition and pacing without worrying about details. These rough thumbnails allowed me to experiment freely with framing and movement. Once scanned, I moved into Photoshop, adjusting contrast to clarify characters and focal points, and rearranging or resizing frames often using the rule of thirds. During this process, I even completely changed the angle, staging, or emotional tone of certain shots/frames as I began to figure out what was — and wasn’t — working.
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Transitioning from rough sketches to fully digital boards added another layer of refinement. I added cleaner line-art, introduced tone and shadow, and even added selective highlights to guide the viewer’s eye. Some key frames were pushed further into polished, tonal illustrations to better capture mood and lighting, particularly moments central to the story. This stage helped solidify the contrast between intimacy and isolation within the environment.
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Making custom brushes and using other tools where also things I did using photoshop to help both time wise (by using the lasso tool and makes) and give a more natural feel to some of the more detailed frames.
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One of the biggest challenges was shot/frame variety. I realised I had a tendency to overuse long shots to emphasise scale and loneliness, which unintentionally made the story feel too "one-beat" and broke some of the emersion. Recognising this allowed me to rebalance the boards with closer, more intimate frames gaining back that lost emersion. Managing composition, pacing, and visual clarity — while avoiding repetition — required constant revision, but ultimately strengthened both the storytelling and my understanding of what makes something cinematic.
07
Putting it all together -
The animatic + sound
Bringing the project together in Premiere was where the story truly came to life. I imported the storyboard frames and carefully timed each frame to match the characters’ movements and the emotional beats of the narrative. Slower frames emphasized quiet reflection using stillness like Hayao Miyazaki​ allowing the shots to breath, while quicker frames conveyed energy and fluttering movement.
Background ambience — from soft wind through the overgrowth to subtle mechanical hums — established space and mood, while key sounds like footsteps, boiling water, or tiny metallic beeps were highlighted, often times using reverb and always making use of precise volume control, giving depth to the world.
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Sound and timing worked hand-in-hand to guide the viewer’s attention and reinforce storytelling. Ambient layers were faded in and out depending on location and what was happening in frame, emphasizing transitions between the abandoned interior and overgrown exterior. The careful combination of frame pacing, audio layering, and environmental sound created an immersive, intimate world where the small robots feel alive, their actions meaningful, and the bittersweet tone of the story fully realised.
08
Evaluation -
The what's, where's, how and whys of the good, the bad, and the ugly.
This project was both challenging and deeply rewarding, offering a chance to explore visual storytelling, character design, and sound in a unique new way that I've never though of/ experienced. One difficult aspect was writing a script for entirely non-human characters, whose dialogue consisted solely of mechanical sounds like hoots and beeps. Without words to communicate emotion or intent, I had to rely on movement, gesture, and environmental cues, carefully thought-out actions and sounds to convey curiosity, determination, playfulness, and care. This limitation initially felt restrictive, but it became a creative strength, forcing me to think visually and audibly, and to make every action meaningful and make the surrounding world even more important to the narrative I wanted to make. Learning proper script formatting was unexpectedly difficult. Structuring scenes, action lines, and sound cues according to industry standards while keeping the mechanical dialogue readable required some trial and error, making me more aware of how precise and disciplined screenwriting needs to be.
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Character design was a key feature in this project. The teapot was designed as a cautious, loyal, slightly world-weary figure, while the teacup was lively, fluttering, and playful. Sun-faded colours, subtle patterns, and small “facial” cues helped convey emotion, giving the robots personality despite their mechanical forms. Considering scale, functionality, and realism was essential; every object they interacted with had to feel manageable for their size and consistent within the solar-punk aesthetic. Designing the characters to be visually distinct yet connected through motifs and shared colours reinforced the feeling that they belonged together. In doing so though I incidentally overcomplicated the designs, which is something I didn't want for this project and something I struggle with as I often put in too much detail and over illustrate most of my creations.
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Environment design and storyboarding were central to storytelling. With Environmental story telling being something I struggled with, but really enjoyed. Revising the layout and separate locations multiple times. Beginning with thumbnails, I explored composition, perspective, and pacing, then refined them. I adjusted angles, lighting, and frame placement to emphasize emotional beats, while the rule of thirds helped guide focus. Fully digitalizing select frames with line-art, tone, and highlights strengthened key moments. One challenge was avoiding overuse of long shots, which initially made the world and narrative feel plain boring and gave a distinct "one-beat" feel; balancing intimate and wide frames helped the feeling of being immersed in the world and also improved storytelling clarity. Though I still feel like i may have over done it with the long shots and didn't manage to quite put in enough environmental aspects in to properly convey the environmental story-telling that I wanted too do.
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Editing in Premiere brought everything to life. Carefully timed frames combined with layered sound — ambient wind, mechanical hums, footsteps, boiling water — it all created immersion and highlighted key story moments. Reverb and volume adjustments emphasized important actions, while fading environmental sounds supported shifts between interior and exterior spaces. This integration of visuals, pacing, and audio reinforced both the intimate scale of the characters and the bittersweet, abandoned tone of their world.
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Overall, this project taught me the importance of iteration, cohesion, and attention to detail across multiple disciplines. From scriptwriting and character design to storyboarding and sound design plus editing, each stage required problem-solving and creative experimentation. Overcoming challenges like non-verbal storytelling and strict formatting improved both my technical and narrative skills, and attempting to use environmental story-telling gave me a challenge and skill that I want to properly add to my current skill set. All of this resulted in to a world that feels alive, intimate, and emotionally resonant.