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In this interview, animator Eva Munich shares her journey to reorient her artistic track and discovering her distinctive design style as an 3D character designer. Eva describes her journey to London and the experiences she had at the Pictoplasma conference, and the way she landed the position of director at Greenhouse Animation. In addition, she discusses details about the X-Files project she developed to promote Lemonade Insurance, and explains how she created the animation process and the way she worked with sound designer Phil Brookes.
Eva gives tips for visual artists seeking to shift their careers, such as choosing the best method to suit their ideas, embracing their distinctiveness and not taking their "weirdness" very seriously.
HTML0Opportunities to pursue and changing your work direction
Before I moved to London in 2017 I lived in a tiny town in Germany that was working in the field of After Effects animator. It wasn't a lot of creative opportunities. My skills slowed rapidly and I became extremely frustrated.
Transferring to London and getting acquainted with the wonderful animation folks within the city gave me immense motivation. I was like "Damn that I'm one of the cool students . It's time to put on my best."
After attending the 2019 Pictoplasma Event, I made the decision to join the world of quirky character designers. I quickly realized that my characters perform best when they're 3D that's why I'm learning to master, which is hard but also very exciting!
My work has been recognized by the people at Greenhouse Animation, which is now representing me as their director.
about the X-Files project, and the secrets of socks that disappear
One of the very first clients I designed using my new style is the Covered by Lemonade clip.
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Lemonade Insurance approached me to create a work to go with the company's ongoing Instagram collaboration with artists. Since the company is an insurer of content, the idea of cute home items that could be at risk came to my mind. This is how the X-Files concept came to fruition.
I was caught in winter lockdown, watching the x-files. Therefore, the idea of an abduction by aliens of the classic kind seemed to make sense. However, all of the characters needed to remain at the same place to be in the same place to stop the loop of animation to make sure there was no abduction. This is the time I imagined making the washing machine explode and the one pink sock move up to the UFO.
As I was making my UFO as I gave the UFO the legs it needed it became apparent that every thing would end up getting sucked into. The UFO has shed its socks and is returning it!
It is my experience that telling an engaging story is best by combining diverse things that may seem incompatible initially. Making something unimaginable occur and give inanimate objects personality through sticking silly faces on their surfaces is the most effective way to have fun for me!
Details about the animation process
My method always begins with sketching the characters and the creation of an outline of the story. I turned it into an animation for Lemonade to communicate the concept and the timing. Then, I switch on to Cinema 4D and model all my characters. Also, this is where I test out my materials as well as create styles frames.
Once the animation within Cinema 4D is done, I switch into After Effects for final touches and the compositing. To create the pink light beam to illustrate, this could be created using After Effects.
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regarding the audio effects and collaboration together along with Phill Brookes
This was my first project I had the pleasure of working on with sound designernamed the Phil Brookes and he truly did a great job! The work he contributed to raises the video to an entirely new level, and is a perfect fit! This was a great project to finish and I'm looking forward to continue projects similar to it!
We've had a conversation with Phil about the process of recording sound effects for The X-Files project. Listen to the entire interview conducted by Philip Brookes.
In the present I'm trying to learn more methods to build characters and create beautiful textures using Cinema 4D and Redshift. I'm currently trying to integrate 2D as well as 3D animation and am excited to see how far my exploration into character design will be in the future!
Artists may get suggestions to change the direction of their careers
A few tips that I'm willing to share anyone who is looking to change directions:
- Select the approach that best fits your ideas best, and take time to study the method! Designing is a procedure where you're required to know everything in each and every software program available. This is simply not possible.
- Take pride in your uniqueness and do not ignore the importance of your peculiarity. Your uniqueness is yours. Your voice, style and imagination are all unique.
- Take your thoughts into consideration. Whatever it is that's going on in your head, embrace it and make your personal!
Animator + Illustrator
Eva Munnich
Eva Munnich, an animator and illustrator based in London. She is a visual artist. she designs cute, animated 2D/3D characters. The film school she attended was an art school in Germany as well as worked in a variety of animation related assignments. In the wake of a lack of an exciting challenge to create, Eva actively sought new methods of expanding her wings. In the year 2003, she travelled to London to discover its striving and vibrant arts scene. she decided to explore the field of illustration and character design.
Head to Instagram to find additional 3D animated images of characters, and to follow Eva's future work. There is a greater collection of her work available on her site.
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