Contributor Spotlight: Pierre Le Cann
by Adobe Stock Team
posted on 04-05-2018
Pierre Le Cann is a seasoned motion graphics artist whose work can be seen on the web and in person at music festivals and concerts. This year brought a brand new challenge for Pierre – creating a motion graphics template for the first time. We commissioned Pierre to create a custom template to celebrate our visual trend The Fluid Self.
We spoke with Pierre to learn more about his creative journey and his foray into motion graphics templates.
Can you tell us a bit about yourself and your background?
I’ve been a motion graphics designer for about seven years. I’ve always enjoyed drawing. As a teenager I started to get into computers and programming, and I was amazed by the possibilities of creating wide code-based virtual universes. So I studied computer science and software programming, but even after graduating, I felt like I couldn’t really express myself. So I studied at a fine art school for another five years, where I worked on interactive sound and video installations.
How did you get into animation and motion graphics?
I’ve been playing music since I was five years old. When I got to college, I started a band. And then another one. And another one. And I always felt that live shows could be improved. I started to think about scenography. It started with some vertical neon lights on stage, and then video projection on a big screen behind us. To create live visuals, I had to get into software like After Effects and Cinema 4D. I really enjoyed doing this, and what was just a hobby became my full-time job. These days, I’m doing more and more set design and live stage content for concerts and shows.
Can you walk us through your creative process?
Most of the time when I get a new brief, the first thing I do is get away from any screens. I grab a pen and a sketchbook so I can start drawing ideas or write down keywords. When the concept becomes clear in my head, I go to the internet and look for trends or inspiration — matching with the brief — to enhance my proposition.
When the job is about set design for live shows, my inspiration often comes from exhibitions, art installations, and performances. Depending on the project type, I can do a storyboard, still images, or 3D simulations. Then I refine the ideas with the client to deliver the most accurate final render. This is the hard part, because this is where you learn to be as close as possible to what the client needs, without sacrificing your style or vision. It has to be like an arm wrestling match, where no one wins but no one loses either. Tricky, right?
How did you interpret the theme of The Fluid Self?
This is a major subject in our contemporary societies. Finally, we come to understand that everyone can be whoever he wants. Nothing is frozen for life. Many major artists have worked on this question of identity. For me, the one that expresses this theme best is David Bowie. No need to explain why — his work speaks for itself.
Were there any challenges in creating your templates?
The biggest challenge was to understand what a “mogrt” was! Usually in my After Effects projects I set up a lot of expression-based controls to speed up my production process, so I wasn’t completely lost.
Do you have any advice for someone who is looking to create their first motion graphics template?
Don’t focus on the fact that you’re creating a template. Instead, work as if it was a personal project, and then make it customizable. Most importantly, do something that you like. Chances are, others will like it, too!
Products: Stock, After Effects