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In this video , animator Eva Munich shares her journey to find a new direction for her art and discover her unique approach to being a 3D character designer. Eva discusses the reasons she chose of moving to London and her experience at the Pictoplasma conference and the way she was able to secure a representation as director for Greenhouse Animation. She also discusses her X-Files project, developed through the support of Lemonade Insurance, and explains how animation is made and how she collaborated with sound producer Philip Brookes.
Eva provides tips for visual artists looking to change their career by choosing the appropriate technique that is compatible with their vision as well as embracing their own uniqueness and making certain to treat their "weirdness" seriously. fOzWSdRzVBmuAaFDZNX
About seeking possibilities and altering the direction of your career
Before moving to London in 2017, I was in a tiny town in Germany and was a freelancer for about a month in the role of an After Effects animator. The job didn't offer many creative opportunities. My abilities deteriorated rapidly, and I was very unhappy.
The move to London and getting to know the many animators in the city gave me the most significant lift. It was as if I had said "Damn I'm in the company of all the cool kids Now, I must put in my best."
After this year's Pictoplasma Event, I took initiative to join the world of fascinating characters creators. My characters perform best when they're 3D and I'm still learning from scratch, which is hard but very satisfying!
My work got noticed by Greenhouse Animation, which is now my director for the company.
concerning the X-Files project and the mystery surrounding socks disappearing
One of my very initial clients that I created with my new style was my Covered by Lemonade clip.
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Lemonade Insurance approached me to design a piece to accompany their regular Instagram partnership with artist. The company's role is content insurance company, the concept of cute household objects which could be in danger came in my head. That's how the X-Files project came to life.
In the winter of last year, I was on locking down and rewatching the"x-files. The idea of an abduction classic by aliens appeared to be intuitive. It was a problem that every character had to stay on the same place until the moment of conclusion to ensure that there was a chance that the loop could be closed , so that nobody could actually be taken. This is why I was thinking of making the washer pop out and one pink socks fly up towards the UFO.
As I created my UFO and giving it the tiny legs, I noticed how it could be put on its feet. The UFO has shed its footwear and is now working to get it back!
I have found that telling a good story best involves combining different things that seem unconnected initially. Making something interesting take place as well as to give inanimate objects an identity by adding funny faces on their faces is pure fun for me!
The animation process
My process for developing my artwork begins with sketching my characters. After that, I sketch the narrative boards. Then, I transformed it into an animated film for Lemonade to communicate the message and the timing. After that, I dive into Cinema 4D and model all my characters. This is also where I test designs and techniques.
When the animation inside Cinema 4D is done, I transfer it to After Effects to do the composing process, and then finalization. The light beam that is red, for instance, was created in After Effects.
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It's all about sound effects and in tandem together with Phill Brookes
It was the first collaboration I collaborated on with sound engineer Phil Brookes who truly rocked it! The work he did elevates the footage to a new scene and perfectly connects the footage! It was a fantastic task to tackle and I'm eager to make another one as impressive!
We've had a conversation with Phil about the process he uses for making sounds for use in the X-Files project. You can listen to the discussion of Phil Brookes.
Presently, I'm working on learning ways to create rigs for characters along with the ways for creating stunning textures using Cinema 4D and Redshift. I'm currently experimenting with mixing 2D animation with 3D as well, and I'm eager to see where my journey in character design leads my next!
Artists will be able to get advice about how to alter the course of their careers.
A few tips that I'm willing to share for anyone looking to switch directions:
- Select the one that best fits your preferences best. After that, you'll be able to find out more about the method! Motion design might feel like you need to know everything there is. It's not possible.
- Take note of your uniqueness and don't minimize the value of your individuality. Your individuality is the only thing that defines you. Your unique voice and artistic talent are distinctive.
- Start by taking your time, and then take your time and accept the ideas. Whatever is happening within your head, accept it before making the decision!
Animator + Illustrator
Eva Munnich
Eva Munnich is an animator as well as illustrator who is living in London. As a visual artist she creates cute characters using 3D and 2D. The film academy she attended was an art school located in Germany and was involved in a variety of animation-related initiatives. Following an lack of creative challenge, Eva actively sought new possibilities to expand her wings. Three years back, Eva travelled to London to investigate its vibrant and lively art scene, and she decided to explore drawing and creating characters.
Check out Instagram to see other 3D animated characters, and also to see what Eva's next projects are. Explore more of her creations through her site.
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