This article is one of a series of short interviews with the keynote speakers at Coláiste Dhúlaigh’s Keyframe event. Over the last five years, we’ve seen a series of animation masterclasses by industry professionals aimed at CD students.

This year the event has expanded to include not just animation experts, but representatives from a variety of media industries, including; sound design, advertising, tv production, photography, and documentary.

Keyframe is a chance for current students to get an insight into the industries they’ll soon be entering. The event is also a chance for Dhúlaigh alumni to return and show what they’ve been doing since they left. We at the college are proud to say that 11 of this year’s speakers are past pupils.

Keyframe Logo Edited 2

Krystal Georgiou, storyboard artist for Gingerbread Animation, worked on the likes of the Mr Bean animated series and BAFTA nominated Sarah and Duck. She spoke at Dhúlaigh’s Coolock campus about her work in animation.

Niall and Mark sat in on the talk in the library and also spoke to her afterwards for some additional inspiration. Here’s what she had to say:


Niall Sweeney: You’re very welcome Krystal. How did you find the talk today?

Krystal Georgiou : It was pretty good, I was watching some of the other talks as well. Pretty fun. Nice to see different perspectives from the industry. I’m new to Ireland so it’s nice to get a taste of whats’s happening here.

NS: And how is your industry changing in the expanding digital age?

KG : I started storyboarding just about when the switch was made from traditional boarding to software, like Toon Boom Storyboard Pro.  That’s made a huge difference because we can get stuff done faster and make it clearer. Though there’s less time to do the boarding, which is not ideal, as the process still needs the same amount of time to be done properly.

NS: Any advice for upcoming storyboard artists looking to break into the industry?

KG: You really have to love it and believe in it. It can be tough in terms of work but very rewarding. Watch everything, observe all sorts of media. Take notice and adapt.

NS: What parts of the job you enjoy the most?

KG: I love thumb nailing, because the world’s your oyster in a way that you’ve got your script, you’re figuring out the characters and their world. It’s really exciting to get into the mind of the writer and piece together what their intentions, and put that into the visuals. It’s fun to take a scenario they’ve cooked up, and get into the psychology of it, because a big part of this making it look as well as sound interesting.

NS: How long is the typical story boarding process?

KG: Depends on the type of project. In pre-school we’re generally given three to four weeks. If it’s a simpler show, it’s just three. For more complicated stories it can be five to six weeks.

NS: You mentioned the ”jump cutting” technique often used in animation. How do you feel about this technique?

KG: Most of the time it shouldn’t be used, but there are moments where it’ll make an impact and be interesting. The show I’m working on at the moment uses a lot of it, and it’s meant to be a fast paced, bouncy, surprising show. Jump cuts work really well in that case.

NS: What’s in the near future for you?

KG: I want to create my own show. I’ve done a couple of pitches and pilots which have been amazing. I just wanna do more of that, tell more stories. I want to tell stories that are personal to me, whether that’s with short films or with series. I’d be happy with either. 

If you want to see more of what Krystal does, check out these links:

Website –

Twitter – @krystalgeorgiou


Have a listen to our audio interview with Krystal here. There’s some popping and mild background chatter, but it’s clear enough. 

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