Seems I'm onto something...

The NSPCC already have several animated films/documentaries to discuss difficult stories and highlight the help their charity provides for children in the UK. This must be an effective tool as there is a new one, Pete's Story animated by Daniel Bruson. Again it also seems that the hand-drawn, tactile approach is one that works very well for this type of subject matter as this animation took five months of hand-painting every frame in watercolour and then digitally compositing it all together. Perhaps this is because it make the viewer feel more involved in the story. I tend to think that even if someone is not an expert in art or animation, they can still tell that a lot of effort and time has gone into something like this, which holds their focus more, it generates a respect for the piece and I think it's important to have that when trying to get a message across. 

Pete's Story is visually STUNNING. I'm fairly certain that each individual frame could be work of art in it's own right, but the transitions and the fluidity of the animation is incredible. I really think the chiaroscuro technique works well with this story as it leaves room for some ambiguity in the scenes that are more traumatic, and highlight the darkness in Pete's life at that time. 

https://vimeo.com/channels/staffpicks/108303152

Notes on the film in it's vimeo account:

"Winner at D&AD Awards 2015. dandad.org/awards/professional/2015/film-advertising-crafts/24792/petes-story/

Pete's Story is a true account of a boy that suffered from his mother's violence over his childhood years in the UK. NSPCC and Lovers invited me to create this frame by frame watercolour ink animation to communicate the story’s haunting and delicate atmosphere.

NSPCC is the leading children's charity in the UK and is widely known for its long fight for childhood protection. The film was used to reach out potential donors and to create awareness among young people about child abuse and what NSPCC can do to help.

The idea was to convey a mixture of fear, solitude and the imminence of violence confined inside this labyrinthic house, in contrast with the green touch points that show potential (but unused, in this case) interfaces between Pete and NSPCC. I worked five months to create this watercolour animation frame by frame, on paper, and then compose it digitally in post production. I’ll be posting a making of soon.

Special thanks to Alex Ostrowski and Ally Carter for their trust, motivation and support."