Yo! ✌️ I’m Adrien, a Creative Developer originally from the South of France and now based in Montreal, Canada. Since 2015, I’ve worked across startups, boutique studios, and agencies, always with the same focus: bringing interfaces to life.

I don’t see a wall between design and dev; for me, code is just a creative medium. I’m a firm believer that a successful interface should provide that tiny, unexpected spark of delight, the kind of moment that makes a site unforgettable.

Projects I’m Proud Of

I’m most proud of the work that pushed me to find a specific “feeling” through code. These projects represent those deep R&D sessions where we didn’t stop until the interaction felt like a living, breathing part of the brand.

Má Sài Gòn Space

This project was a deep dive into an emotional atmosphere. Instead of static backgrounds, we developed a dynamic environment that shifts colors in harmony with the messages and stories being displayed. It reflects the collective emotional pulse of the community.

We wanted to break the linear constraints of the web. Users can choose to drift through the stories without a defined path, making the navigation feel like a stroll through a neighborhood.

To balance “poetic” navigation with usability, we implemented a toggle between the free-roaming mode and a linear navigation mode, ensuring the immersive “messiness” of the exploration didn’t become a barrier to accessing information.

Sandy Shore Farms

A modern B2B platform for a family-owned farm in Ontario. We wanted to ditch the “traditional farm” aesthetic for something vibrant and high-energy that emphasized their core values: healthy practices, forest expansion, and growth.

Studio: Tux Creative House
Collaborators: Louis Paquet
Year: 2024
Tech stack: Nuxt, GSAP, OGL
Recognition: Awwwards Site of the Day, Idéa 2024 – Or & Coup de Coeur

With almost no initial visual assets, this project became a deep “shoulder-to-shoulder” collaboration with a designer at Tux. We worked on a library of illustrations specifically designed to be broken apart and animated, allowing us to build a literal narrative of growth, from a single germinating seed at the landing to a full-scale farm at the finish.

To push the “soil” metaphor, we built a footer that is literally buried; as you reach the bottom, the perspective shifts through an earthy transition into the ground. I spent a lot of time on the R&D of the timing—using those “whooshes and snaps” to ensure the plant-like movements felt organic and energetic rather than mechanical.

Telescope

A promotional landing page for a new platform where tastemakers share real recommendations. Built with the team at KOKI-KIKO, the project was about more than just a website; it was about supporting a vision for an internet driven by inspiration rather than algorithms.

Studio: KOKI-KIKO
Collaborators: Louis Paquet
Year: 2025
Tech stack: Nuxt, GSAP, Lottie
Recognition: Awwwards Site of the Day

The motion language for this site is a literal extension of the brand name. We based the entire animation system on “optical” behaviors: using radial effects and deep-zoom scrolling sections to pull users into different thematic worlds. It creates a sense of focus and discovery that mirrors the act of looking through a lens.

This project was another deep dive into “vocal prototyping.” I spent hours sitting shoulder-to-shoulder with Louis, tweaking animations and refining the feel of every transition. We’d jump into the code to experiment with the perfect easings and timings in real-time, ensuring that the “whoosh” of a zoom felt immersive rather than disorienting.

One of the standout technical moments is a custom slider featuring a “focal effect” created with two overlapping masks.
Combined with Lottie elements and punchy animations, the interface rewards curiosity and makes the act of scrolling feel like an exploration.

Edifis

A robust digital platform for a Canadian industrial real estate developer specializing in high-tech aerospace and automotive spaces. The challenge was to build trust for a new venture by creating an experience that felt as precise, ambitious, and structured as the buildings they construct.

Studio: Tux Creative House
Collaborators: Louis Paquet, Michaël Garcia
Year: 2024
Tech stack: Nuxt, GSAP, Three.js
Recognition: Awwwards Site of the Day

The design language was heavily influenced by architectural floor plans and Swiss-style grids. We took the “top-down” perspective, typical of a site plan, and turned it into a functional logic that dictates every interaction, from the hover effects on buttons to the fluid transitions between pages.

Industrial real estate can easily feel static and dry, so we made it a priority to inject “fun” interactive moments that would break the corporate mold. The centerpiece on the homepage is an interactive WebGL 3D building where hitting “Enter” triggers a sequence of the bay doors opening as a delivery truck pulls in. It’s a playful, tactile gateway that turns a standard B2B introduction into an immersive experience.

By treating the layout like a blueprint, we were able to organize dense technical specs and 3D renders into a seamless flow. It was about finding that balance, using “plan view” motifs and unexpected interactions to make the information feel high-tech and engaging rather than just a boring grid of data.

Silent House

The primary challenge was to build a site that felt premium and high-energy without competing with the legendary assets of the artists themselves. We opted for a clean, cinematic aesthetic where the code acts as a stage, ensuring the projects remain the main event.

To express the connection between the three service divisions, we developed a subtle gradient system and a smooth motion language. These colored elements act as a “sprinkling” of brand identity, visible enough to tie the three pillars together but minimal enough to maintain a sophisticated atmosphere.

Instead of heavy decorative elements, the “feeling” of the interface comes from the effortless navigation. We focused on the fluidity of discovery, ensuring that moving from a stadium tour to a broadcast studio felt like a single, seamless transition. It was an exercise in “invisible” creative development—where the sophistication is felt through the rhythm of the motion rather than the complexity of the visuals.

About Me

Background & Career Highlights

My path started at 16 when I moved to Paris to study Multimedia, eventually graduating from Gobelins. It’s an intense environment, and what makes it special isn’t just the curriculum, it’s the culture of being surrounded by peers who are constantly experimenting and pushing each other. It also plugged me into an incredible network of professionals. Even years later, I’m constantly crossing paths with fellow alumni who are shaping the industry. Since moving to Canada in 2018, I’ve carried that same collaborative spirit, finding that I’m most effective when I’m deeply embedded in the creative process rather than just executing a brief.

The “Vocal” Prototype & Collaboration

I’m a big advocate for being in the office. There’s a specific energy in building bonds in person that directly translates to better projects. I don’t believe in static hand-offs; I prefer sitting shoulder-to-shoulder with a designer, tweaking easings and refining interactions in real-time. Since motion can be hard to describe, I usually rely on hand gestures and a library of mouth sound effects—whooshes, clicks, and snaps—to communicate the “feel” of an animation before the first line of code is even written.

Tools and Techniques

I don’t believe in being married to a specific tech stack. To me, a tool is only as good as the problem it solves, so I stay flexible. I love exploring new libraries and testing different frameworks to find the right fit for each project’s specific character. When it comes to motion, I’m often jumping between native CSS for performance-first transitions, GSAP for complex choreography, and Three.js or OGL when the experience needs to move into the world of WebGL and shaders. The goal isn’t just to use the tool but to push it until the interaction feels “right.”

The Beaux-Arts Experiment

To get closer to the raw process of creating, I took a somewhat unconventional path: I enrolled in evening classes at the Beaux-Arts de Paris. It wasn’t about mastering a new craft but about immersing myself in a different kind of “making.” I saw how art is a tedious, meticulous cycle of trial and error; a reality that mirrored the iterative nature of code. It reinforced the idea that tools aren’t rigid constraints: they are mediums. Just as two artists use the same brush differently, the magic of creative dev isn’t in the documentation, it’s in the personal way you choose to wield the tools to find a solution.

Inspiration

I try to find inspiration outside of other websites. I’ll see a transition in a movie or a specific way a physical object responds to being moved and think, “How would I build that with a shader?” or “How would I handle that easing?” It’s about taking those real-world behaviors and figuring out the technical logic to recreate them digitally.

Because of this, I’m constantly in a state of “mini-R&D.” I like to build small chunks of code, prototyping a specific effect, physics concepts or a weird layout idea; away from the constraints of a client brief. These experiments aren’t just about learning technical limitations, they’re about building a personal library of inspirations that I can pull from when a brand needs something truly unique.

Future Goals

I want to continue blurring the lines between the “how” and the “feel.” My goal is to stay involved in projects where the developer is a creative partner from day one, helping to find the “soul” of an interface through experimentation and prototypes that people can actually feel.

Final Thoughts

If I’ve learned one thing, it’s that you shouldn’t be afraid to be “messy” in your process. We often feel pressured to have the perfectly clean, optimized solution immediately but the best interactions usually come from a weird experiment or a micro-interaction no one actually asked for.

Build things for no reason. Those small, “useless” chunks of R&D code you write after work hours are often the things that will define your professional work a year from now. Stay curious about how the world moves outside of your browser and try to describe an animation using only sound effects. Learning how to see and feel movement in the real world is what will ultimately make your digital work stand out.

I’m always happy to chat about motion, shaders, or the best way to make a “whoosh” sound. You can find my work on avdp.xyz or reach out on X, LinkedIn or Instagram.

That’s a wrap! A huge thanks to Manoela and the Codrops team for giving me the space to share a bit of my story and my process. It’s been a pleasure.

Merci!