
LIFE IN PIECES
Concept Artist
Character Designer
Storyboard & Animatic Artist
2D Animator
Compositor
A short film by
Giuliano De Caprio, Celeste Garofoli & Paolo Tinti
Music by
Luca Marcia
Production
Civica Scuola di Cinema Luchino Visconti
MY RULES
Life in Pieces is a 2D frame-by-frame animated short film, created over the course of one year by three studentsfrom Luchino Visconti University. Throughout the project, we experienced every stage of the production pipeline, from pre-production to post-production.
Pose Sheet | Fetillo final vertion (V5)


Charachter designe
Fetillo, the protagonist of the short film, is a goblin-like creature whose body is enclosed within a sphere split by a central seam, resembling two interlocking puzzle pieces. Cocky, arrogant, and ruthless, he will stop at nothing to obtain the missing pieces of his puzzle.
Version 4, the approved version of Fetillo's design. As production progressed, however, we realized that the character design wasn't suitable for the needs of the short film. The sphere enclosing his body was too large, making his silhouette feel too rigid and giving him a stocky appearance. In addition, his arms, legs, and hands were too short and thin, limiting both his expressiveness and the range of motion required for animation. As a result, the design was later revised and refined.
The first version originated from the idea of a mole-like character. The choice of making him blind was connected to the original narrative concept of the puzzle: Fetillo was not supposed to be able to see the image hidden inside it. This idea was later abandoned, along with the concept of the image within the puzzle, which in the final version became an object with no artwork, meant to reveal its true meaning only later in the story.
The second version represents the first real step toward the final Fetillo: the design moved away from the animal-like appearance of the first iteration and became more humanoid, laying the foundation for the character’s identity.
The third version was already very close to the final design, but some elements still needed refinement. In particular, the large rounded shapes did not work well with the character’s silhouette. The fourth version, which was initially approved, also revealed some limitations during production: the oversized sphere made the character feel too rigid and stocky, while the thin and short limbs limited his expressiveness and range of movement.
The fifth version is the final design, refined to better fit the narrative and animation requirements of the short film.
The evolution of Fetillo’s design

VIDEO-BOARD


STORY - BOARD
The film follows Fetillo, a goblin-like creature who has devoted his entire life to completing a massive puzzle, resorting to any means necessary to collect every piece. Once the puzzle is finally complete, he discovers it conceals a disturbing truth: his world is only a single fragment of a much larger reality, trapped within an endless cycle of worlds nested inside one another.



THE STORY
TRAILER
Rough Animations
I was personally responsible for creating most of the rough animation for the short film. Every sequence was animated with its final timing, providing a solid foundation for the later stages of production.
This was an intense and challenging experience, but also one of the most valuable parts of the project. It greatly improved my confidence as an animator and gave me a much deeper understanding of timing and spacing, significantly strengthening my ability to control movement and rhythm in animation.
Life in Pieces First Concept
These are the first concept art sheets created for the short film. During the early stages of production, the art direction leaned toward a darker, dark fantasy aesthetic, with a muted, desaturated color palette in which gray was the dominant color.
The visual style was heavily inspired by Paul Driessen, featuring a colored monoline drawing style enriched with extensive cross-hatching. Originally, the hatching was applied to both the characters and the environments, but due to production constraints it was ultimately retained only for the backgrounds.
The animation style was also initially intended to follow Paul Driessen's approach, but as production progressed, the team decided to adopt a more traditional animation style that better suited the project's needs.
The Map Sequence
The map sequence shows some of the adventures faced by Fetillo during his journey to collect the missing pieces of his puzzle. The visual style differs from the rest of the short film, drawing inspiration from medieval maps. The entire sequence was created as a moving theater set.
I was personally responsible for the entire production of this sequence, from the storyboard to the final compositing. The work was completed in approximately one week. This was also the sequence that underwent the most changes and major revisions throughout the production of the short film.
This background was created using the same colored monoline style as the rest of the project, enriched with extensive cross-hatching. The environments often feature distorted perspectives, originally developed with the idea of pushing perspective distortion to an extreme in order to create a more stylized and expressive look.
However, following the changes to the character design and the evolution of the animation style which was initially intended to follow these distorted perspectives — the project moved toward a more balanced and restrained approach.

LIFE
Concept Artist
Character Designer
Storyboard & Animatic Artist
2D Animator
Compositor
A SHORT FILM BY
Giuliano De Caprio, Celeste Garofoli & Paolo Tinti
Music by
Luca Marcia
Production
Civica Scuola di Cinema Luchino Visconti
MY RULES
Life in Pieces is a 2D frame-by-frame animated short film, created over the course of one year by three studentsfrom Luchino Visconti University. Throughout the project, we experienced every stage of the production pipeline, from pre-production to post-production.
IN PIECES
Pose Sheet | Fetillo final vertion (V5)


Charachter Designe
Fetillo, the protagonist of the short film, is a goblin-like creature whose body is enclosed within a sphere split by a central seam, resembling two interlocking puzzle pieces. Cocky, arrogant, and ruthless, he will stop at nothing to obtain the missing pieces of his puzzle.
Version 4 was the approved design of Fetillo. However, during production, we realized it was not suitable for the short film. The oversized sphere made his silhouette too rigid and stocky, while the short, thin limbs limited his expressiveness and range of motion. The design was therefore revised and refined.
The evolution of Fetillo’s design

VIDEO-BOARD


STORY - BOARD
The film follows Fetillo, a goblin-like creature who has devoted his entire life to completing a massive puzzle, resorting to any means necessary to collect every piece. Once the puzzle is finally complete, he discovers it conceals a disturbing truth: his world is only a single fragment of a much larger reality, trapped within an endless cycle of worlds nested inside one another.



TRAILER
The second version represents the first real step toward the final Fetillo, with a more human and less animal-like design.
The third version was already very close to the final result, but the rounded shapes compromised the silhouette. The fourth version, initially approved, also revealed some limitations: the oversized sphere made the character feel rigid and stocky, while the short, thin limbs limited his expressiveness and range of movement.
The fifth version is the final design, optimized to meet the narrative and animation requirements of the short film.
The first version was based on the idea of a mole-like character, made blind because, in the original concept, Fetillo was not supposed to be able to see the image hidden inside the puzzle. This idea was later abandoned, along with the image itself, turning the puzzle into an object with no artwork, whose meaning would only be revealed later in the story.
Rough
This was an intense and challenging experience, but also one of the most valuable parts of the project. It greatly improved my confidence as an animator and gave me a much deeper understanding of timing and spacing, significantly strengthening my ability to control movement and rhythm in animation.
Animations
I was personally responsible for creating most of the rough animation for the short film. Every sequence was animated with its final timing, providing a solid foundation for the later stages of production.
Life in Pieces
These are the first concept art sheets created for the short film. During the early stages of production, the art direction leaned toward a darker, dark fantasy aesthetic, with a muted, desaturated color palette in which gray was the dominant color.
First Concept
The animation style was also initially intended to follow Paul Driessen's approach, but as production progressed, the team decided to adopt a more traditional animation style that better suited the project's needs.
The visual style was heavily inspired by Paul Driessen, featuring a colored monoline drawing style enriched with extensive cross-hatching. Originally, the hatching was applied to both the characters and the environments, but due to production constraints it was ultimately retained only for the backgrounds.
The Map
Sequence
The map sequence shows some of the adventures faced by Fetillo during his journey to collect the missing pieces of his puzzle. The visual style differs from the rest of the short film, drawing inspiration from medieval maps. The entire sequence was created as a moving theater set.
I was personally responsible for the entire production of this sequence, from the storyboard to the final compositing. The work was completed in approximately one week. This was also the sequence that underwent the most changes and major revisions throughout the production of the short film.
This background was created using the same colored monoline style as the rest of the project, enriched with extensive cross-hatching. The environments often feature distorted perspectives, originally developed with the idea of pushing perspective distortion to an extreme in order to create a more stylized and expressive look.
However, following the changes to the character design and the evolution of the animation style which was initially intended to follow these distorted perspectives the project moved toward a more balanced and restrained approach.
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