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In this video interview, animator Eva Munich shares her journey to re-orienting her artistic route and discovering her own way of being a 3D character creator. She describes her move to London along with her experiences at the Pictoplasma conference and how she was able to be hired as director at Greenhouse Animation. She also delves into the specifics of her X-Files project that she created for Lemonade Insurance, and explains her process for creating animation as well as the way she collaborated with the sound designer Phil Brookes.
Eva provides tips to visual artists looking to alter their work, like picking the most appropriate method that meets their requirements acceptance of their own individuality and always taking their "weirdness" seriously.
HTML0The search for new challenges and changing creative career direction
Prior to moving to London in 2017 I was in a small town in Germany and worked as a freelancer in the area of After Effects animator. It wasn't a lot of creative opportunities and my skills slowed quickly and I became really annoyed.
Moving from London and meeting everybody who's a great animator here gave me a huge push. It was similar to "Damn, I'm running with all the cool kids and I must put in my best."
Following my experience at this year's Pictoplasma Conference, I made my decision to join the world of creative creators of characters. It became clear that my characters function best within 3D and I'm still learning about, which is hard but also very rewarding!
My work has been noticed by the folks to Greenhouse Animation, and now I'm the director by them.
The X-Files project, and the mystery of socks disappearing
One of the first projects I designed using my brand new-found design style is my Covered by Lemonade clip.
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Lemonade Insurance approached me to create a work for the continuous Instagram artist collaboration. As the business is an insurance provider for content, the thought of cute household objects in danger immediately was in my mind. That's how the X-Files concept came to fruition.
Last winter, I was on locking down and rewatching the x-files. Therefore, the idea of a classic alien abduction was to be a given. The problem was that the characters must remain in the same location to be in the same spot in order to end the animation loop which means that no one would actually be abducted. This is the moment I thought of an idea of having the washing machine pop open and let one pink socks take off towards the UFO.
When I was creating an UFO and giving the UFO a few legs, I saw the way that everything can be placed on top. The UFO has lost its sock, and is now regaining it!
It is my experience that telling the perfect story is best done by mixing different elements that are not connected at first. For instance, to let an event that is unexpected and also to give inanimate objects an identity by adding funny faces to them is the most fun for me!
The workflow for animation
The process I follow always starts by drawing sketches of characters and sketching out the plot. I turned the animatic to Lemonade in order to express the theme as well as the overall timing. After that, I jump into Cinema 4D and model all my characters. Also, this is when I test different strategies and design frames.
Once the animation in Cinema 4D is done, I move onto After Effects for the compositing process as well as finalization. The light beam which is pink, for instance, can be done with After Effects.
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regarding sound effects and working in conjunction with Phill Brookes
This was the first time I had an audio designer named Philip Brookes and he truly was a pro! The work he contributed to elevate the footage to the next level, and lets everything flow perfectly! It was a truly amazing project that I'm eager to do more projects like this one!
We've talked to Phil about the process of producing sound effects to be used in The X-Files project. Watch the entire interview with Phil Brookes.
At the moment I'm working on learning methods for character rigging and creating beautiful textures using Cinema 4D and Redshift. I am experimenting with the combination of 2D and 3D animation. I'm eager to see where my designs for characters take me next!
Guidelines for artists for altering the direction they take in their career
Here are a few suggestions I'd like to provide to anyone who wants to make a change in direction:
- Choose the method that fits your requirements best, and then learn about the process! Motion design could feel as if you have to be aware of every single program there is. It's not practical.
- Be serious about your oddness and don't minimize your weirdness. Your uniqueness is distinctive. Your unique voice and style is distinctive.
- You have time to think about and take your time embracing your ideas. What ever is happening inside your head, you can take it on and create your unique!
Animator + Illustrator
Eva Munnich
Eva Munnich, an animator and illustrator from London. She is a visual artist who draws cute, 2D/3D-animated characters. As a film-student, she was at schools of art in Germany as well as being involved in a myriad of animation projects. When she realized that there was no room for the creative challenge, Eva actively sought new ways to stretch her wings. Three years ago she moved to London for a look at its vibrant and vibrant art scene which led her to explore the possibilities of drawing as well as character designs.
Visit Instagram to discover new 3D animated characters as and keep up to date with Eva's upcoming project. There is a bigger portfolio of her work by visiting her site.
Article was first seen on here
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