Crafting Real Feels In Rendered Worlds
Achieving a stop-motion aesthetic using computer graphics sounds like a major feat. That’s what the team at Mathematic set out to do when tasked with creating ads for home improvement and gardening retailer, Leroy Merlin.
They are the kind of films that make you smile – knowing just how much thought, craft, expertise and time have gone into them. Right now, many are gushing praise for creative output generated in milliseconds. So when you see real art truly singing, it means more somehow.
Alix Laine, who specialises in stop-motion set design, helped Mathematic choose the right materials and even handcrafted a few reference elements. On the animation side, Mathematic’s animation directors explored lensing techniques to recreate a ‘miniature feel’ without losing clarity. They also conducted multiple animation tests, finally settling on animating at 12 to 16 frames per second to capture the charming, slightly ‘broken’ rhythm of traditional stop-motion.
The foundation of their approach was starting with real objects. The team spent a lot of time sourcing materials, including a few trips to Leroy Merlin, to find everyday items they could reimagine as parts of characters and sets.
“Instead of creating textures from scratch, we worked from actual references, sometimes even scanning or photographing them directly. The aim was to retain the imperfections – scratches, dust, irregular finishes – that make objects feel real and lived-in,” Mathematic tells LBB.
The team say Newton the dog was built around the silhouette of a paint roller, giving him a humble and instantly relatable physicality. Other characters were inspired by wire lampshades, cabinet hinges, or sanding blocks – all subtly recontextualised to feel charming without becoming too literal.
“By grounding our digital assets in tangible materials, we ensured that every element, no matter how stylised, retained a convincing sense of presence,” explains the team.
“Our design philosophy was centred around storytelling through materiality. Each character and set was developed not only to look good on screen but to embody a specific emotional tone or function within the story.
“We began with 2D concept sketches, focusing on silhouette, expression and posture. These were then translated into 3D, where we began experimenting with scale, texture and lighting, to ensure the designs held up from every angle,” says Mathematic.
The team tested dozens of combinations to find the right tactile balance when it came to materials, ensuring the characters felt both crafted and emotionally resonant. “Whether it was a tile backsplash used as a body texture or nails forming a moustache, every detail was selected to reflect both the DIY universe and the characters’ personalities,” they add.
“This way, the DIY spirit is ever-present, but it’s integrated in a way that feels poetic and emotional – rather than functional,” they explain.
Working alongside agencies like BETC Fullsix and STINK involved a fusion of creative visions. The team say it was a true “back-and-forth collaboration”. They continue, “Everyone brought something new to the table, and through ongoing dialogue, we were able to find the right balance between emotional storytelling and visual identity.”
When I ask what the team is most proud of when they look back at this project, they tell me it was a rare opportunity to craft something both technically ambitious and emotionally resonant. “We’re incredibly proud of how the final films turned out – they reflect the dedication of every person involved, from initial concept to final render.”
Mathematic says the audience feedback has been heartwarming, which really makes the whole thing worthwhile. “People connected with the characters, the handmade feel, and the gentle humour of the films. That alignment without creative intentions is the best reward we could ask for.”
