The renewed visibility of hand-drawn animation and handmade trace within contemporary motion graphics is often read as a nostalgic revival or a passing design trend. This chapter reframes that visibility as a deliberate design strategy that inscribes the human body's gesture, imperfection, and temporal labour onto the surface of the work under post-digital conditions. The argument unfolds in four stages. First, the title sequences of Saul Bass, Pablo Ferro, and Robert Brownjohn demonstrate that the handmade trace is not a recent invention but a longstanding strand within the field's historical repertoire. Second, the aesthetic mechanism of this trace is theorised through the concepts of line, gesture, boiling, autographic mark, and workmanship of risk. The transfer of David Pye's distinction between workmanship of risk and workmanship of certainty to frame-by-frame animation, together with an extension of Nelson Goodman's autographic/allographic distinction from work identity towards the bodily record of the making process, constitutes the theoretical core of this mechanism. Third, the aesthetic homogenisation produced by software templates and the broader post-digital condition explain why this mechanism acquires renewed value today. Finally, the cases of Giant Ant/Rover, Canva, and Blinkink/Burberry illustrate how the handmade trace materialises in contemporary hybrid workflows across five layers (surface, line, movement, physical production, and meaning) at varying intensities. The chapter reads the handmade trace neither as pure resistance nor as pure nostalgia, arguing that this trace produces not aura but an authenticity effect; through Pye's concept of travesty and Hannah Frank's critique of anonymous labour, it also exposes the risk of commodification inherent in this strategy. The handmade trace is not a residue superseded by digitalisation; it is a persistent aesthetic problem reproduced in new forms as digitalisation deepens.