CoppaFeel!

8 Signs of Breast Cancer

Deliverables:

1 × 60-second campaign hero film
8 × symptom-specific films

My role:

Creative direction
Project management
Illustration
Prop making
Motion design
Retouching and editing
Sound design

CoppaFeel! is a UK breast cancer awareness charity focused on educating and empowering young people.

I was tasked with creating a social-first, scroll-stopping and tactile campaign film to raise awareness of the eight signs and symptoms of breast cancer that young people should know. The films also encouraged viewers to share the signs with the people they love.

The campaign connected strongly with CoppaFeel!’s predominantly female Gen Z audience, achieving a combined 2,173 likes on Instagram and 842,619 views, 1,244 likes and 178 shares on TikTok.

The final solution was a mixed-media animation built around the simple, circular graphic shape of a breast. This provided a consistent visual thread throughout the film while allowing us to explore a different theme, setting and creative treatment for each symptom.

The eight symptoms were brought to life through a wide range of physical and digital techniques, giving every scene its own distinctive character while retaining a cohesive visual language.

Treatment & Storyboards

Animatic & Music demo

I developed a detailed treatment document containing the full storyboard, an outline of each concept and visual mood boards showing the proposed styles, materials and production techniques. This allowed the client and creative team to align on the overall approach before production began.

Once the treatment was approved, I produced an animatic to test the timing, ensure every idea could be communicated within 60 seconds and confirm that the visuals worked naturally alongside the narration.

I was also responsible for casting and directing the voiceover artist, shaping a performance that felt relaxed, warm and personable.

To give the soundtrack a contemporary feel suited to the campaign’s audience, I took inspiration from the light, repetitive melodic quality of Billie Eilish’s Birds of a Feather. I composed a plucked melodic line and combined it with nostalgic synth textures and electronic drums. Once the final film had been edited, I re-recorded and refined the music before adding the finished sound effects.

I developed a detailed treatment document containing the full storyboard, an outline of each concept and visual mood boards showing the proposed styles, materials and production techniques. This allowed the client and creative team to align on the overall approach before production began.

Once the treatment was approved, I produced an animatic to test the timing, ensure every idea could be communicated within 60 seconds and confirm that the visuals worked naturally alongside the narration.

I was also responsible for casting and directing the voiceover artist, shaping a performance that felt relaxed, warm and personable.

To give the soundtrack a contemporary feel suited to the campaign’s audience, I took inspiration from the light, repetitive melodic quality of Billie Eilish’s Birds of a Feather. I composed a plucked melodic line and combined it with nostalgic synth textures and electronic drums. Once the final film had been edited, I re-recorded and refined the music before adding the finished sound effects.

After the concepts were approved, I designed every scene as a flat 2D vector composition. As most of the artwork would ultimately be recreated using a mixture of physical and digital techniques, these designs acted as precise guides for scale, shape, composition and colour, helping maintain consistency across the entire film.

The project relied on a talented team of specialists whom I sourced and managed. In total, I coordinated seven people across the production, including prop makers, stop-motion animators and 2D and 3D animators.

Over the six-week production period, I prepared daily task lists, ordered materials, researched and tested production methods, created and laser-cut templates, solved technical problems and directed the team’s work to ensure every scene was completed on schedule and to a consistently high standard.

Each symptom sequence was designed to loop seamlessly. This allowed us to repurpose the eight sections as individual cutdowns, each supported by a longer voiceover and a more detailed explanation of the relevant symptom. The result was an efficient mini-campaign that extended the life and reach of the original hero film without requiring eight completely separate productions.

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All work © Gethin Vaughan Schofield 2026