The most widely used form is 2D animation, in which flat illustrations, icons and text are set in motion, often referred to as motion graphics. Alongside it is 3D animation, where objects and spaces are built as three-dimensional models and can be shown from any angle. There are further variants such as whiteboard animation, isometric animation, character animation and stop-motion using real objects. Combinations are common too, for example live footage with an animated layer on top adding figures, arrows or names.

2D works well for explanation and abstract subjects: processes, services, figures, step-by-step guides and anything you cannot physically hold. It is quicker to produce, aligns easily with a brand identity, and is straightforward to amend later. 3D is the logical choice when the shape of an object genuinely matters, such as machines, products, installations, buildings and cutaways revealing what is inside. The trade-off is time, because models have to be built, textured, lit and rendered.

It starts with a script, since in animation the text sets the rhythm and the length of the visuals. The voice-over is often recorded early, so the animation timing can be built precisely around it. A storyboard follows, showing the sequence of scenes, along with a few style frames defining style, colours and typography, and then a rough moving version to check the pacing. Only once that is approved is the final animation produced and finished with sound effects and music.

For the visual style, brand assets and source files matter: the logo as a vector file, colour codes, fonts, and any existing illustrations or icons. For 3D animation, existing models or CAD drawings of a product save considerable time, since the object does not have to be built from scratch. On content, a clear text or core message is needed, plus someone who can check technical details, because an error in a diagram is immediately visible in animation. Finally, it helps to share a few examples of animations that do or do not appeal.

Price is driven mainly by length, chosen style and complexity: simple icons and moving text are far quicker to produce than drawn characters or detailed 3D models. A lead time of three to eight weeks is typical, with approval of script and storyboard usually being the deciding factor. Changes are cheap during the script phase and expensive once the animation is finished, because an amendment then ripples through every scene, which is why approval happens deliberately in stages. Multilingual versions are straightforward provided they are planned for in advance, since text and voice-over can be swapped out as a separate layer.