One drawing in · Still a drawing after · Nothing to install
Turn your sketchbook into moving art that stops the scroll — your hatching, paper grain and the signature of your own hand still unmistakably yours in motion.
A real run on this page's model, from one photographed sketchbook page. Watch the cloak and the clouds rather than the figure — they move while the hatching stays hatching, which is the whole test. This real run shows the standard to chase: movement where you want it, with the drawing’s character still intact.

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It animates a still drawing while keeping what makes it a drawing — hatching, paper grain and a hand-drawn finish. The hard part is not the movement, it is holding the medium while things move.
Most tools that claim this quietly do something else: they read the drawing as a description and render a photoreal scene from it. That is useful to have, but it is not what an illustrator asking for this wants. The whole point is that the drawing stays a drawing while it moves. So this pass is written the other way round.
The clip runs on Seedance 2.5 from your still, with the motion described in the prompt and the medium pinned explicitly: visible strokes, paper grain, no photoreal rendering, and a camera that stays where it was.
Creative engine
Upload the drawing, describe what should move, dial in the length and resolution, and keep the medium named in the prompt.

Hatching, cross-hatching, smudged shading and paper grain carry through every frame rather than resolving into rendered surfaces. Watch a single edge across the clip — if it hardens into a photographic boundary, the medium has been lost.
No rig, no keyframes, no animation software: the drawing you already have is the whole input. Describing one movement — a cloak ripples, grass sways — beats describing a scene, because the paper has to survive whatever you ask for.
Either side of this pass: turn a photo into a drawing first with the AI sketch generator, then stretch the finished clip further in the AI video extender.
From a photographed page to a clip that still looks hand-made.
Even light, whole drawing in frame, no shadow from your hand and no glare on the paper. Scans work too, and a drawing with foreground and distance gives the motion room.
Name the two or three things that should animate — cloak, clouds, grass — and say the page and camera stay still. Asking for everything at once is what produces drift.
The preset on this page already asks for that, so the clip keeps your pencil, ink or crayon and the paper grain instead of resolving into a photoreal scene.
Illustrators, people pitching a shot, and anyone whose sketchbook deserves more than a photo on a feed.

A moving panel answers the question a static one cannot: does this shot hold for three seconds. Faster than an animatic and much faster than a previz build.

A drawing that moves stops the scroll where the same drawing as a still does not, and it stays recognisably your line rather than becoming a render.
The one on the fridge, moving. It is the same pass as everything else here, pointed at the most rewarding possible source — and the AI sketch generator can make a matching drawing from a photo to go with it. For a finished, coloured picture-book spread with printed words on it, animate illustrations instead: that pass holds the text as well as the line.
Common questions about animating a still drawing with Kavel.
Not if the prompt says otherwise, and that is the single most important line to include. Name the medium — pencil hatching, ink, crayon, paper grain visible, no photoreal rendering — and it holds. The preset on this page already pins pencil hatching, paper grain, no photoreal rendering and a steady camera, so your drawing stays a drawing in motion — keep that line when you write your own.
One with some depth: a subject in front, something behind it, a horizon or a background plane. That gives the motion somewhere to happen. A single figure on blank paper can only move itself, so the clip has less to do and reads flatter.
Yes. Watercolour, marker, biro and full-colour illustration all animate the same way, and the medium note in the prompt changes accordingly — say watercolour bleed and paper texture rather than graphite hatching, and the same logic applies.
A few seconds per run, which is the natural length for this kind of motion anyway. If you need longer, generate the beat you want and then run it through the video extender rather than asking for one long take up front.
You can ask for a slow push or a gentle drift, but the strongest results on drawings come from holding the camera still and letting the contents move. A moving camera forces the model to invent parts of the page that were never drawn.
Ask for one small, specific movement and start from strong, confident linework — that keeps your lines steady and present from frame to frame.
None. There is no rig, no timeline and no keyframing — a photograph of the page is the entire input, and the clip comes back ready to download.
The estimate is on screen before you generate and moves with the length and resolution you choose. Failed runs return to your balance unless they broke the content policy.
Credits are shared across everything Kavel runs. You see the cost before each run, and a failed job is never charged.
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One photographed drawing in, a clip out that still looks drawn — hatching, paper grain and the feel of your own hand carried into the motion. Start free and see the estimate before you generate; if a run fails, it returns to your balance unless it broke the content policy.