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Character design, 2026

총몇명, Model Sheet to Final Board

2026

Character design and storyboard for two YouTube episodes, commissioned

In 2026 Subin Yu (유수빈) designed the character sheets and drew the TVPaint storyboards for two episodes of the Korean YouTube animation channel 총몇명, about 400 panels per episode, for an adult comedy audience.

Six-character model sheet: an elderly mother in a purple vest, a boss in a grey suit with an orange tie, a young man in a blue shirt, a young mother in a bun, a small girl in pink, and a grandmother in a teal cardigan.
Episode A cast. Heights and ages settled before a single panel.
Two-character model sheet: a mother in a padded coat and in an apron, a daughter in a blue hoodie and in a grey puffer, plus a hair-tie detail.
Episode B cast: the same two characters at the exam hall and at home, with a hair-tie turnaround.

Episode A. The alley, 12 panels

Blue line for staging, red for camera and emphasis. The dialogue is burned into the panels in Korean, and the captions give the gist.

Panel 12

  1. Wide: a night-market alley with stalls. A small hunched figure between them. Z.I.

    01174

  2. Closer: an old woman crouched, hugging a paper bag. Z.I.

    02175

  3. Cut in: her face, framed by a red rectangle. CUT Z.I.

    03176

  4. Insert: the bag of twisted doughnuts in her arms. PAN down.

    04177

  5. Two-shot: the boss walks into frame toward her.

    05178

  6. He stops in front of her.

    06179

  7. He kneels and takes her hands. S.Z.I.

    07180

  8. Big close-up: the boss's weathered face, tears welling.

    08181

  9. Pan up from their hands to his face. PAN up.

    09182

  10. The mother looks up at him.

    10183

  11. Reverse: the hero watches through foreground silhouettes, framed in red.

    11184

  12. Close on the hero's face as he understands.

    12185

Read all panels
  1. Wide: a night-market alley with stalls. A small hunched figure between them. Z.I.
    01 174. The alley. Zoom in.
  2. Closer: an old woman crouched, hugging a paper bag. Z.I.
    02 175. Closer on the mother.
  3. Cut in: her face, framed by a red rectangle. CUT Z.I.
    03 176. Cut in on her face.
  4. Insert: the bag of twisted doughnuts in her arms. PAN down.
    04 177. Insert: the doughnuts. Pan down.
  5. Two-shot: the boss walks into frame toward her.
    05 178. The boss walks in.
  6. He stops in front of her.
    06 179. He stops.
  7. He kneels and takes her hands. S.Z.I.
    07 180. He kneels. Slow zoom in.
  8. Big close-up: the boss's weathered face, tears welling.
    08 181. Close on his face.
  9. Pan up from their hands to his face. PAN up.
    09 182. Pan up from the hands.
  10. The mother looks up at him.
    10 183. She looks up.
  11. Reverse: the hero watches through foreground silhouettes, framed in red.
    11 184. Reverse on the hero, watching.
  12. Close on the hero's face as he understands.
    12 185. He understands.

Episode B. The dinner table, 16 panels

Over-the-shoulder reverses across the table, with two profile inserts. The acting lives in the eyebrows and mouths more than in the poses.

Panel 16

  1. The daughter at the table, looking down. Cut Z.I.

    01102

  2. Profile close-up, a tear forming. S.Z.I.

    02103

  3. Same profile, the tear falls. S.Z.I.

    03104

  4. Over the mother's shoulder: the daughter speaks.

    04105

  5. Reverse over the daughter's shoulder: the mother deboning fish, not looking up.

    05106

  6. The daughter, mouth trembling.

    06107

  7. Insert: chopsticks laying fish on rice.

    07108

  8. Two-shot across the table.

    08109

  9. The daughter looks up, eyes wet.

    09110

  10. The mother, still not looking up.

    10111

  11. The daughter waits.

    11112

  12. Cut in on the mother as she delivers the line. Cut Z.I.

    12113

  13. The daughter freezes, tears stopping.

    13114

  14. She blinks.

    14115

  15. A small smile starts.

    15116

  16. Clean single: the daughter smiling.

    16117

Read all panels
  1. The daughter at the table, looking down. Cut Z.I.
    01 102. She can't say it yet.
  2. Profile close-up, a tear forming. S.Z.I.
    02 103. Profile. A tear.
  3. Same profile, the tear falls. S.Z.I.
    03 104. It falls.
  4. Over the mother's shoulder: the daughter speaks.
    04 105. She admits it.
  5. Reverse over the daughter's shoulder: the mother deboning fish, not looking up.
    05 106. The mother keeps deboning the fish.
  6. The daughter, mouth trembling.
    06 107. Trembling.
  7. Insert: chopsticks laying fish on rice.
    07 108. Insert: fish on rice.
  8. Two-shot across the table.
    08 109. Two-shot.
  9. The daughter looks up, eyes wet.
    09 110. She looks up.
  10. The mother, still not looking up.
    10 111. Still not looking.
  11. The daughter waits.
    11 112. Waiting.
  12. Cut in on the mother as she delivers the line. Cut Z.I.
    12 113. The line: 'So? You're not going to eat because you bombed it?'
  13. The daughter freezes, tears stopping.
    13 114. The tears stop.
  14. She blinks.
    14 115. Blink.
  15. A small smile starts.
    15 116. A smile starts.
  16. Clean single: the daughter smiling.
    16 117. She smiles.

총몇명 makes animated episodes for a phone screen and an audience in their twenties, so the pacing is faster and the acting bigger than in preschool work. The channel supplied the script and its flat house style. The cast and the boards were mine.

The model sheets settle what the boards will need. A height ladder runs from a hunched grandmother to a broad-shouldered boss. The same character gets a coat for the exam hall and an apron for home. There is a hair-tie turnaround and a prop callout. The style belongs to the channel, so these sheets show that I can deliver to a spec rather than how I draw on my own.

Two excerpts appear below as extracted panels. In episode A the hero watches, in a night-market alley, as his tyrant of a boss finds his own elderly mother crouched between the stalls and kneels. In episode B a girl admits at the dinner table that she bombed the college entrance exam, and her mother answers with one line without looking up from the fish. Panels drawn over photographic reference plates are left out.