WSAVA is the World Small Animal Veterinary Association, an association of associations that brings together more than 200,000 veterinarians and veterinary team members through over 110 member associations in more than 90 countries.

I animated two videos for them. The first is a narrated institutional piece that walks through WSAVA's four focus areas and closes on an invitation to join. The second turns the association's own members into the subject, built from footage they recorded themselves.

The brief was not about explaining services. It was about making a global community feel like one.

WSAVA wanted the representation on screen to be as inclusive as possible, for people and for animals alike. In practice that meant 32 distinct characters: veterinarians and pet owners across skin tones, ages, hair types and body types, alongside cats, dogs, rabbits and guinea pigs across a wide range of breeds. The breed wall alone holds more than twenty of them in a single shot.

The script added a second problem. Alongside the concrete material, it asks the viewer to picture things that have no physical form: the One Health movement, inequity of access to veterinary therapeutics, antimicrobial stewardship. Those sections had to be given a visual shape from scratch, with nothing to photograph and nothing to reference.

Creative leadership on illustration

Character rigging

2D animation

Motion design

Creative direction over the illustration work, designed by Juan Principi, keeping every asset animatable from the very first pass instead of fixing it later in rigging.

Built 32 rigs, one per character, grouped and sequenced by body type so that the work compounded instead of restarting each time.

Reused those rigs across the film rather than treating each scene as a new build, which is what let a cast this size fit a five week schedule.

Ran representation through several review rounds with the client, for both the human cast and the animals, treating it as a design requirement rather than a final polish step.

Used the WSAVA wordmark itself as a recurring stage: characters and animals populate the letters at each chapter break, which turns the logo into a scene instead of a static endcard.

Gave abstract advocacy topics a concrete visual form when the script called for concepts rather than objects, the same problem I had solved on an international antimicrobial resistance series.

Animated the full piece to a voiceover track, from the opening globe through the closing call to action.

Veterinarians, team members and pet owners appear across skin tones, ages, hair types and body types, paired with animals that are just as varied.

Guidelines and areas of work like animal welfare, pain management, professional wellness and reproduction, given a visual form they do not have on their own.

Rather than treating the logo as a sign-off, the WSAVA wordmark becomes a recurring set that the cast steps into.

The second film flips the approach. Instead of illustrated characters, it is built from the members themselves: hundreds of photographs and self-recorded video from committee members and member representatives across the association.

I had no control over any of that source material. It arrived shot in different rooms, on different cameras, at different qualities. The work was to give it a single frame, literally: a card system with country flag, name and role that holds every contributor to the same standard, and a camera that travels through the resulting mosaic instead of cutting between clips.

Adobe After Effects

Adobe Illustrator

Duik