A Love/Hate Relationship

It was vital the film was inclusive, so Ginsburg set out to depict a “multitude of different types of breasts, using a vibrant color palette to communicate the diversity of skin tone,” she tells It’s Nice That. The film was hand-drawn in Photoshop using flat color and a range of brushes to add digital texture, such as splatter, ink, a noise brush to create veins and a pencil brush for details and “most importantly nipple hair!” then animated frame by frame, by the director and her team. Overall, Ginsburg says she wanted a rich, bold aesthetic so the film would be memorable, as it’s such an important message. “There are very joyful, uncomfortable, sad, and awkward moments in this film. I tried to heighten the emotional impact through the use of color, texture, and character design.”

The director’s morphing animation style allowed her to cover a wide range of shapes, sizes, and colors in a short space of time. “I love transitions. My work is extremely transition heavy, for me they never get old. I find them endlessly magic and mesmerizing.” The film also uses sweeping camera movements to make it “feel like one story” despite it being a montage of many scenes “morphing in and out of each other – from the breasts growing to change size, shape, and color to plucking a nipple hair which leads to many more sprouting in its place, to a mammogram, to a double mastectomy, to a nipple tassel sequence, to an awkward sex scene, to a majestic fertility scene, to saggy breasts becoming a scarf!”