Never Enough
Never Enough is a 2D animated portmanteau film that explores the theme of excessive collecting through a series of interconnected short stories. Each segment presents a different perspective on collecting behaviour, ranging from instinctive actions in animals to more complex human desires.
By combining experimental storytelling with a clear thematic focus, Never Enough examines how ordinary collecting behaviours can develop into excessive and irrational actions.
For the design of the old man, I primarily drew on circular shapes to define his overall form. Considering his wealth and greedy personality, I also incorporated visual elements inspired by affluent collectors.
As the character only appears from the upper body, I focused on designing a bust. To ensure clear contrast with the gold coin environment, I chose a relatively vibrant and lively color scheme.
I based the design on circular forms combined with key squirrel features, such as triangular ears and a large tail, exploring how geometry can shape character design. The color palette draws from real squirrels.
During iteration, I simplified details to strengthen the overall silhouette. Circular elements enhance the rolling motion in the earthquake scene, while a darker palette ensures strong contrast with the environment.
The elderly woman’s design is based on curvilinear forms, with a flowing silhouette that reflects her slightly hunched posture. Patches and stitching highlight her frugal nature. For animation, I simplified some details while maintaining visual richness and removed her styled hair to allow for more dynamic movement.
In the snail design, I combined geometric elements—a cubic shell, rectangular body, and triangular tail. Instead of typical earthy tones, I used a soft macaron-inspired palette.The shell is designed like a storage cabinet, allowing space for stacked items and enabling scenes where objects spill out as the snail moves. Different colors are applied to separate areas, helping visually distinguish item types while maintaining a harmonious, subdued look.
For the baby character, I drew on classic traits—diaper, bald head, and a soft, infant-like appearance with large eyes, a small nose and mouth, and an oversized head. I paired big eyes with a smaller body to keep the character balanced, avoiding extremes.
While the toy room environment is visually rich and colorful, the character uses a simple, high-contrast color scheme to stand out clearly.
For the dog character, I drew inspiration from big-nosed dogs, especially Beagles, while referencing various breeds to develop a simplified, rounded form. The color palette is based on natural canine tones.To match the humorous tone, I emphasized a rounder, more comical body shape and exaggerated reactions, such as wide-open mouths and startled jumps. Since the doghouse features a dominant yellow tone, I chose a lighter body color for contrast.
For the girl character, I referenced American-style designs with slender limbs, a slim figure, and slightly wider hips. Her outfit draws from minimalist yet colorful Korean fashion, giving a youthful and trendy feel.
The design is kept simple to support dynamic transformations in animation. A bold, vibrant color palette reflects her lively personality and love of shopping.
For the hamster design, I referenced photos of hamsters with cheeks stuffed full of food. The body is smaller than the head, with tiny round eyes that nearly close when the cheeks are full.
I created a character with overfilled cheeks, making the mouth and eyes appear squashed and deformed. Subtle details and texture were added to the ears to enhance a more realistic feel.
Unicorns are typically depicted as graceful and elegant, but in my story, this one is gluttonous and mischievous.
To emphasize its sweet tooth and playful troublemaking, I moved away from refined forms and chose a more chaotic, humorous design.
