Design
More or less online
More orless online
Well. The site is finally online.
Not finished, obviously.
But it’s more or less presentable, which is already something.
There’s still work to do, things to fix, others to redo, and probably a few things I can’t even see anymore after staring at them for too long. I’m going to try to let it live now and improve it gradually. Otherwise it’ll be finished just in time for retirement, which slightly defeats the purpose of a portfolio.
Work-wise, I should soon be getting back to the project that had been postponed. And I’m actually quite happy about that: apparently it wasn’t just an elegant way of not telling me it had been abandoned.
A few other enquiries here and there too, but nothing signed yet.
So in the meantime, I’ve been experimenting quite a bit with Codex and OpenAI’s strangely generous approach to resetting usage limits. As long as it works, I’ll keep using it.
On the AI side, things are getting fairly strange.
The people building the most powerful models are starting to explain that maybe we should slow things down a little, while some researchers are leaving the ship behind them with messages that don’t exactly radiate serenity. It’s reassuring that they’re finally looking for the brake pedal. But when the people who already have a three-lap lead suddenly start asking for barriers to entry, you can also wonder whether safety is their only motivation.
Both things can obviously be true at the same time.
Another thing that caught my attention: the iPhone Duo. Not so much because it folds, but because of the shape of the screen once it’s open. We’re heading back towards something much squarer than the screens we’ve got used to.
I don’t know yet what kind of constraints this will create for interfaces, images or video, but it does look suspiciously like a return towards 4:3. After twenty years of making screens wider and wider, we’re slowly heading back towards the TV I grew up with. Full circle. PAL/SECAM, here we go again. All we need now is Teletext.
And finally, a few things I’ve seen recently:
A Pokémon hotel room, just to find out what it feels like to literally live inside a franchise. Very cute. Probably oppressive after 48 hours.
Parallax animation, entirely done by hand. A reminder that before asking an AI to generate twelve shots in three minutes, people were still moving things frame by frame. And it still works extremely well.
And my current musical favourite: 300SkullsAndCounting & Jenny Sparks — The Ballad of St. Nick’s Park. Screamo, bassline, chiptune and a vanished skatepark in Leamington Spa… On paper, it sounds like a mistake. It really isn’t.
Back from Holiday
Back fromPula.
A portfolio in progress.
Things found online.
I’m back from a holiday in Pula, Croatia. I had a job lined up for my return, but it’s been postponed. One of the slightly annoying things about freelancing: you block out the dates, organise your time, and then the schedule changes.
So I’m using this unexpected bit of free time to keep working on my portfolio site, which is still my main priority. It’s coming along nicely, although filling your own portfolio is honestly a bit of a slog. Choosing the projects, finding the images, working out how to present it all… that’s a job in itself.
I’m also working on two other websites that I can’t talk about yet. One of them is a properly WTF project that I should be able to show you before too long.
I’d also like to get into the habit of writing here more often. A few updates, things I’m working on, and discoveries worth sharing. I’ll try to keep it going.
Good things.
Strange things.
In the meantime, here are a few things I’ve saved while wandering around the internet.
Orwell: 2+2=5
The trailer for Raoul Peck’s documentary on George Orwell and the way his writing resonates today.
South Park IRL. Almost.
South Park reimagined by Abandoned Films as a 1950s movie, using AI.
Day of the Tentacle
Daniel Fritsche rebuilt the game’s intro in Blender, with a claymation look.
Léguman & Téléchat
A wonderfully WTF bit of French television from when I was a kid. We weren’t short of weird stuff back then either.
BRAINROT!
An animation by Lazy Square, with the voice of Thomas Middleditch. Your dose of brainrot.
2026, in motion
Ben Marriott’s selection of the best motion design and animation of the year so far. Plenty to feed your eyes.
That’s AI
A short film by Sebastian Lopez that I thought was pretty good. One detail worth mentioning: the team says no AI was used to make it.
Della, live
The musical discovery in this selection: Della, live at Fengaros Reacts.
LITTERED MVMNTS
A detour into contemporary dance with this film by Shoji Yamasaki.
Volvo Centum
A really interesting example of typography applied to industry: a typeface designed to improve legibility, particularly in car interfaces.
Two more
rabbit holes.
Brodie Kaman
An account to discover for graphic design and art direction, with plenty of connections to music.
A robot on Amazon.
So you can buy a Unitree robot on Amazon now. Unfortunately, I’m not rich enough for that yet. For now, I’m just looking.
Who am I?
Whoam I?
21 July 2026
Diary
3 min read
For the past three days, I’ve been tethered to Codex, trying to communicate a little about my work. Okay, “tethered” might not be the exact word, but after three days talking to a machine about the best way to explain who I am, it doesn’t feel entirely wrong either.
Communicating about my work isn’t exactly a passion of mine. For one thing, I haven’t had a website for about fifteen years… And I live in Besançon, not Paris… Anyway, I’m using my holiday :'( to get on with it, with the enthusiasm of someone who has managed to postpone the job for fifteen years.
I thought I was simply putting together an up-to-date portfolio. A few projects to sort through, images to track down, and two or three bits of copy for my friend GePeTo to write. But the first question arrived immediately: who am I? Well, no. At my age, the question quickly becomes: what have I become?
For nearly thirty years, whenever someone asked what I did, I would say graphic designer, motion designer or director, depending on the current levels of hype or misery. At least I knew what to say. I develop projects, direct films and create images, but I also build workflows, write prompts and direct AI systems. I can now produce sequences on my own that, a few years ago, would have required a full team.
On paper, that’s fairly good news. On LinkedIn, it’s harder to squeeze into a single sentence that doesn’t read like HR’s top five bullshit job titles piled into one.
One person, several roles.
Is it a question of headcount or production capacity? If one person can do the work of several, are they still a freelancer, or simply a studio whose entire staff occupies the same chair?
Calling myself a “studio” feels a little pretentious, but continuing to describe myself as just a pair of hands is beginning to look like false modesty. Graphic designer, director, art director, production studio: all of these labels are accurate at certain moments. None tells the whole story.
I don’t think I’m the only one in this situation. Many creative professions are probably losing their old job titles before they have found new ones. And the timing is not ideal, since working on how you present yourself means choosing the right words to explain what you do.
A name for what comes next.
The website was meant to help me present what I do. So far, it has mainly taught me that I no longer know what to call it.
At least that’s content.