in development with

THE MAGIC WORLD OF

Children’s drawings become real!




Children’s LOGLINE: Children’s drawings

become real when nobody is home. FORMAT
: Hybrid

drawings They want to play and discover

their environment. Their funny and
mixed w
78 / 52
ith live
episode
3D anim
a ction
s x7m
ation

become real!
contrasted personalities create tons Target: in
Preschool
of comedic and tender situations.
Genre : 3 - 6 ye
ars
slapstic
k comed
y



Welcome to
The Magic world of

Crayons
Concept of the series
As children creativity is boundless and as
children’s drawings are not perfect, the
characters of CRAYONS are unique and just
authentic misfits. None of the Crayons
characters are perfect, but being
imperfect is fun.

Stella hangs her five favourite drawings on

the wall, she is proud of her creations, and
considers them as her best friends. She
shares her life and her feelings with them as
any kid would do with a doll or with their
favourite toy. There is a strong connection
between Stella and the Crayons since they
represent facets of her personality. They also
represent children in general, since these five
characters are a funny representation
of typical children’s behaviours.



Kids’ imagination is amazing and strong… so

strong that when they love something with
all their passion… magic happens! That is
why, when nobody’s home, these characters
come out of the paper, becoming 3D
characters, hungry for discovering the world
and playing. Their opposed personalities have
different approaches to every challenge. Big
adventures full of comedy and tenderness
will come out of any small situation.

But, as if they were fishes out of the water,

they have limited time in the world outside of
their drawings; that is why they always need
to come back to the paper where they were
drawn. They also know that if they are seen
by humans the magic will end, making them
evaporate and disappear. This is why they
rush back into their 2D papers when the
family is coming back.
 
 Always positive and naive. He
just wants to play with his
friends.

Curious and kind of a

genius, she’s the
Lazy and “grown up” and the
gluttonous, he only
wants to eat and one who carries the
sleep. group’s
responsibilities.

AUPA
KOMA KOKE

Crayons represent different

typical behaviour patterns of
children
BING ODO
She’s the little baby, lovely but He wants to be loved and
also a little spoiled. recognized as the boss… but
nobody follows him!.



Aupa is the “good guy” of the team; he is always

happy and has crazy and basic ideas to have fun with
anything. He wants to play and share everything with
his friends. He is also very emotional and naive and this
often makes him a victim of Odo.

100 % Optimistic
100 % Naive
Good Buddy.
Dreamer
Irresponsible
Emotional and sensitive



Koke is a curious and ingenious girl. She is more

mature than her friends, which puts her in a position
of natural leadership. A role that she does not abuse
of and that she plays with kindness and tactfully,
especially with Odo who she avoids hurting.

She incarnates the figure of the older,

protective and responsible sister.
Sometimes she would like to play with her friends
in a more relaxed way, but she can't help but
maintain this role of group leader given the
unpredictable personalitites of her friends. She is, in
a way, Stella's alter ego, sharing many of her
accessories and features (pony tails, glasses and
that big sister attitude). She truly considers Stella
as her ultimate model: everything she says or thinks
is necessarily extraordinary.

Smart and curious.

Perfectionist and competitive.
She always wants to be right.
Protective and with a great
sense of justice



Odo would love to be the leader of

the group, to have recognition and to be
admired by his friends, but he doesn't know
how to get their admiration, especially since
his ideas are rarely funny or relevant. This
makes him feel frustrated and in a bad
mood. Thankfully, his friends love him
because they see his need for recognition
and they try to comfort him. In fact, Odo
will be the first one to forget his temper
and jump to save his friends in case of
danger. He is a protective leader, although
he believes he must have another form of
authority.

Grumpy
Negative and nervous.
He demands love and
admiration
He doesn’t know how to
demonstrate his good feelings.
He loves his hair, he is a vain
guy



Bing is the little one in the group.

Pretty childish, she's cute, but selfish and a
very… spoiled child. She knows how to wave
her eyelashes and open her eyes to try to
persuade her friends to give her what she
wants. But when she can't get it, she starts
screaming and turns into Super Bing! A
maxi-version of herself, uncontrollable
and very strong. Thank gosh it only
lasts a few minutes.

Selfish
Capricious and a bit
manipulative.
Creative and romantic.

SUPER BIN
G



Koma is a lazy guy. His main interest is to

sleep comfortably in his drawing on the wall.
The only thing that really pushes him out of
the paper is the idea of stuffing his stomach
with food.

He is never fully awake so he does not

really understand what his friends are doing
and follows them without thinking. In a
way, their actions are guided only by the
idea of satisfying his vital needs: to eat,
drink or sleep.

Lazy
Gluttonous, he doesn't really
care about the quality of what
he eats.
When it comes to food, he takes
things very seriously.
A little crazy (not very smart,
often too slow to understand
things).
He is a follower and a bit
indifferent to everything.



Odo usually begins an adventure with such boring

Dynamic of the ideas that the rest ends up following Koke. This

characters annoys him a lot and that is why he tries to steal

the ideas of others by claiming that they are his
own. Sometimes he will try to frustrate them and
does the opposite just to annoy them. What Odo
really wants is the admiration of his friends, except
We usually have two that he does it very foolishly. Koma is the kind of
subgroups: Koke, Aupa guy who follows you when you promise him
and Bing on one side something to eat. This is how Koma often finds
Odo and Koma on the himself as Odo's almost only partner.
other. Sometimes it is Aupa’s naivety what
allows Odo to enlist him too under his
"orders".

Koke is a curious girl. She has ideas and a strong will to pursue
adventures. She is the brain and Aupa the arms, always ready to
carry out the missions without thinking. Bing follows them like a
sticky little girl. It is the disturbing element that destabilizes the
group with its caprices. Koke needs to take a protective role with
her. Bing can easily persuade Aupa to do whatever she wants.


NARRATIVE PRINCIPLES
HERE ARE THE RULES THAT DEFINE HOW
THE WORLD OF CRAYONS WORKS
THE MAGIC, THE 2D WORLD, THE 3D WORLD,
AND THE MOTIVATIONS OF OUR CHARACTERS.
Stella loves her drawings. They are her favourite characters
and became her imaginary friends. They live so intensely in
her imagination that they ended up materializing in the real
world. This obviously does not happen with all the drawings
created by Stella or other children every day, only with
those that have been made with a special combination of
love and passion

Crayons live in two worlds: the 2D world of paper,

and the other, which is the one we live in, where they jump
out of their "home" for adventures.

In the 2D world they are flat and cannot move, but they
are not prisoners. There they feel comfortable and happy,
spending their time watching and often admiring what Stella
does. They watch her and learn a lot from her. Every moment
she spends drawing in front of her desk, playing in her room
or sleeping in her bed represent moments of happiness for
Crayons. Her mood is very important to them: if she is happy,
they are happy; if she is sad, they will do their best to make
her smile. They are, in a way, her silent confidants, the
sponges of her emotions.

 In the 3D world they have the opportunity to live
incredible adventures. As soon as they jump out of their
drawings they become 3D characters. This is a great fun form, because
it allows them to interact with the world. A world full of exciting
discoveries and challenges.
They are energetic and always eager to discover the world. In addition
to this collective motivation, they experience more personal ones
related to what they are. So, Koma will jump into the real world
attracted by the smell of toast, Koke wants to try to understand how
the clock on the wall works... Odo tries to build a small car, hoping to
get recognition from his friends (like Stella, who has just been
rewarded for doing her homework perfectly); Aupa dreams of flying
like the bird he saw through the window.... We can guess: there are
many situations!
Sometimes their jump into our world is directly motivated by Stella.
Finding an object that is loved by her and that she has lost, trying
to fix something that she absolutely needs, even visiting her at night
either to comfort her while she sleeps, or while she fights fever or a
tenacious nightmare, etc... In short, they form a small brigade of
guardian angels who wish the best for their creator.
It is important to point out that it does not necessarily have to be
all five acting as a group. It all depends on each story. Therefore,
we can have some characters out while others remain in their paper.
However, since one of the biggest strengths of this comedy rely in
the differences in their approach to a given problem; our Crayons
will mostly come together.

 But magic has its limits!
And in the universe of this series, there will
be
two main rules.
Crayons must never be seen by a human!
If this happens, the magic will break instantly and the
character will fade into a small cloud of smoke, leaving only an
empty space in its paper drawing. Magic is linked to the world
of dreams and here we leave the door half-open to explore
what would happen if Stella catches them... However, for
dramaturgical reasons, we prefer to avoid any contact with the
outside world and to keep Crayons out of human sight.
Crayons can't stay off the paper for
too long they're like fish or “the little mermaid” out of
the water. If they stay there, problems await them: first
the loss of their colors... and then the transition to black
and white before they become completely flat! Which is a
big problem when they have to interact in a volumetric
world.... if they stay even longer they will feel a strong
weakness, and in the end they will be reduced to their
outline, a thin line of ink. That’s the highest alert and they
will need the help of others to re-enter their paper world,
to refuel and finally get their integrity back.
When leaving or returning to their world in two dimensions,
Crayons may encounter obstacles, for example an object or
piece of furniture may have been placed against one of the
drawings, blocking the comings and goings and forcing the
occupant to pull a trick to get in or out. A real challenge!
 STELLA



and its relationship with CRAYONS

Stella is a 6 year old girl who lives with her parents in a
beautiful house surrounded by a garden. She loves
drawing and these five characters are her favourite
designs. She created them with love and hung them on
the wall of her room. She considers them her closest
friends and that is why she always keeps them in front
of her desk. She confesses her wishes, feelings and
fears to her imaginary friends. In a way we could also
see the Crayons as reflections of herself. Each
of them represents a facet of her personality (even
Koke, the one with a strong physical resemblance).
Stella shares her life with the Crayons as if they
really lived in the room.

THE FAMILY
Apart from Stella, we will see her father and mother, but
never their faces as the camera will remain at the girl's height. Our
goal is to create a strong bond between Stella, her drawings and the
magical force that flows between them. Adults are not part of this
dynamic, so we will see them only in the background.
 


THE EPISODES ( 7 min.)

STRUCTURE OF
concept.
troduction sets the as 2D drawings
1) INTRO (3 0 se c.) T hi s in
e crayons
drawing; we see th e house and the Crayons
Example: Stella is
ella goes outside th
on the wall. Then St rs while the title appears on screen
pe
jump out of their pa
« CRAYONS ! » of a topic,
ith the introduction house
2) EPISODE: TheStella’s actions or some object in the
st or y st ar ts w
it could come from ntion.
te
that catches their at yons’
si tu at io ns that catches the Cradesire to help
A. We presen t so m e riosity, the
nt ion (T hi s m ay be, for instance: cu etc.)
at te ,
fix or fin d an ob je ct, the smell of food
her even
them, some of them,
B. Driven by this mof the paper.
ot ivat io n, all of
FLEXIBILITY IN
just one, jump out
a sim
ickly meet
ple mission will qu ternal conflict NARRATIVE There are possibilities of opening the narrative
C. What se em ed to be ex structure, to not get too repetitive. For example:
ations; sometimes
unexpected complic rnal conflict for a character.
te
it is an
STRUCTURE TO BE starting the episodes in different ways, not always
that becomes an in
g to th eir pe
the
rsonality, reacts to the MORE CREATIVE with Stella.

D. Each one, ac n way. One of the Crayons will

co rd in be There might be situations where,, by focusing on a
problem in their ow the episode. We also have a B Plot character's conflict, we will directly start the episode
of
principal character s / her emotional problem. on the moment when the Crayons pop out of their sheets of paper,
hi
focused on solving odifies the or even we will start on our characters already out there,
t w is t rival of an event m r in a situation to launched into a mission whose triggering incident has already
E. Plot
T he ar
m or he
rpose and places hi taken place. The same thing works for the time they return to the
character's initial pu ndle the conflict.
find another way to
ha paper world. Sometimes the dynamic of the story does not rely in
per world. the urgency of Stella's return but in the excessive time they have
y return to their pa
F. T he y m us t qu ickl
spent outside their natural environment and that they risk
ildren's disappearing.
N D will only use 2D ch
3) GENERIC E rt with the final credits.
(3 0 se c.) W e
drawings for this pa
THE



LANGUAGE some
The C
rayo
ns ju

OF THE CRAYONS thing

by sh
outin
and
g” W
they
st did
celeb
AKI!”
rate
mean whic
s "G h
From the moment the stories are reat
!"
led by the characters, their
different points of view and Odo wants to
make a
different ways of wanting to act car out of Lego
pie ces.
He wants to do
represent the keystone of a
storytelling. The absence of "BUGGA BUGGA" or sad, Koke
will
. If Aupa is ill
im me di at ely, looking
dialogue is a way to make these arrive
asking him
worried and
episodes more universal and w ak i? ??". (Aupa...,
"Aupa... ay?)
easier to understand for are you ok
crane
audiences in different countries. Koke studies the Lego
lize s tha t Odo
plans, and rea
Loo king at it
This does not mean that Crayons did all wrong.
"du du. .. dud u...
do not speak. They have their Koke mutters:
dudu" the n... "Oh no. .. Koma is starving and he
own language and will be
chases a scent coming from
consistent and enriched during PATAPAM BUM BUM". the kitchen saying... "MASA!,
the episodes. Simple words Which basically means,
"Oh,
ñam ñam ñam" Which means
borrowed from children's no... everything's "Food” and when he finds the
vocabulary will help us to
gonna crash!". fridge filled with food he’ll
establish contact between them call out his friends by saying
and make their goals perfectly “HEY, SUPPA MASSA!"
understandable. (he found a treasure!).

The repetition of words related

to the action, as well as the
intention in the voice actor's
acting, will make the meaning of Odo is tr
ying to im
of doing pose his
these words very clear Personal things. H way
place a e's tryin
piece of g to
languages are in constant Lego by sa
"DUDÚ!" ying:
evolution, which can even make and then
Koke wil
say: "no l
young spectators want to use it , no... DA
means “n
DA" which
themselves. ot like t
hat, like
do it!” I
 


BODY Crayons have five strong and

Waki!

LANGUAGE
clearly differentiated
personalities. This will be expressed in AKU!
their actions, the rhythm and length of
A PLUNGE INTO their movements. Each character has its

THE CHARACTER'S
own timing: Bing moves in small fast
steps, her gravity centre are her eyes.
INTIMACY Koma is a lazy boy so, with his slow
and heavy walking, his gravity centre
will be his belly and his arms, thin, will
always be hanging to the ground. Aupa is hyperactive, always
jumping around, getting excited, moving his big arms around
without worrying if he might break something around him or not.
Odo is grumpy, his walk as rigid as his control of his emotions, and
his gravity centre are his eyes. It is through his impossible hairstyle
that he expresses his emotions. Koke moves gracefully. She tries to
make her huge glasses hold on her nose but they have a constant
tendency to fall.

The Crayons are small and their perception of our world is

wider than ours. At their scale, everything becomes a
real challenge. The camera will be our ally to describe
CAMERA this by playing on the different points of view in a subtle
way. So when we follow the characters, we are with them
and we perceive the world as they see it, immense. But sometimes
we'll take a little distance to show how small they are.

The story is led by the characters. We should easily understand

their goals, their conflicts, and their feelings. Hence the need to
focus on them by focusing on the staging, the understanding of the
situations and the spectacular aspect of the shots.

The DNA of the Crayons series is comedy and

tenderness.
 in development with

THE MAGIC WORLD OF

Children’s drawings become real!