Introducing: Geoffroy de Crécy

Sunday 18 November 2018

Geoffroy de Geoffroy is a French director and illustrator, who continuously explores many ways to apply and combine the techniques of traditional animation, stop-motion, 3D and mixed media.

We are super excited to announce our most recent signing – Geoffroy de Crécy. Geoffroy is a French director and illustrator, who continuously explores many ways to apply and combine the techniques of traditional animation, stop-motion, 3D and mixed media.

He is perhaps now best known for his mesmerisingly hypnotic animating loops and gifs which have been featured in the likes of It’s Nice That and WeTransfer as well as working with clients such as Fanta, Kellogg’s, Guinness, Fedex and Carambar (to name a few).

We sat Geoffroy down to find out a little more about what makes him tick…

Tell us a bit about yourself, and how you became an illustrator/animator?

I started as a self taught graphic designer in video-game industry. I learnt there how to use 3D softs and make CGI. I then directed animated music viedos, and TVCs. Four years ago I decided to start exploring still images for illustrations.


How would you describe your style?

My style is inspired by the digital tools I use. It’s driven by the obvious and hidden possibilities of digital software. I try to find a coherence between the subject I treat, and the tool I use. That’s probably why I like to make robots and architecture!


Whats been your favourite project so far, and why?

I have a long term project about loneliness of machines. It’s made of many loops I create continuously in my spare time. And all these loops contribute in an always growing video. It’s a great pleasure each time I add a loop to the film. It works perfectly, with no need of a specific work in editing.


Your loops are wonderfully hypnotic. Are there any rules you follow to create these?

I have different kind of loops. The first are part of the project I’ve talked about. They have very specific rules: No human characters, only machines. No Sci-Fi machines, only ones we come across in our daily lives.

Out of this series, I also created some “free loops”, where the only rule is visual efficiency, nice motion.

Is there a specific reason for wanting to create loops?

This comes from my double background as an animation director and illustrator. When I work on a nice still picture, I can’t help but animate it. And a loop is the perfect midpoint between illustration, and narrative animation.

It is also a very efficient way of making people watch my work.


Where do you get your inspiration from?

I like photographers a lot. People like William Egglestone, Stephen Shore. You can tell so much about a place, or a time by framing just a room, a detail. It’s very strong.


Your work also features a lot of robots/machines. What’s the reason behind this?

It’s because I’m a very bad animator, and I can’t animate people or animal!

That’s because representing people or animal with CGI is difficult. Originally, CGI is made for conceiving and designing robots and buildings. That’s why I often focus on these topics. But I add an illustrative, warm and human touch.

What’s your creative process when it comes to illustrating/animating?

It depends on the kind of works. For commissions, I make sketches first, to come up with and present my ideas, before I start working on the computer. But for my personal work, I often start by creating a little scene directly in 3D software, and then when I’m “in” the picture, I see how I could improve, animate, loop it interestingly. This is an incremental process. I let the scene aside, and come back few days later, and make changes and improvements.


What tools are you using at the moment?

An old 3D studio max , and the adobe suite. And sometimes, a pen.


Have you got any exciting projects coming up?

I will have an exhibition of my work in October. I’m still working on my lonely machines loop, and expecting a lot of “go’s” for a lot of projects I’ve being preparing in the last weeks.


What are you currently fascinated by and how is it feeding into your work?

Brutalist architecture.