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In this interview video animator Eva Munich shares her journey to re-orienting her artistic route and also discovering her unique method of becoming a 3D character creator. She describes her move to London as well as her experiences during the Pictoplasma conference and how she got employed as director for Greenhouse Animation. The author also discusses details of the X-Files project she developed for Lemonade Insurance, and explains how she created animation, as well as the way she collaborated with sound designer Phil Brookes.
Eva offers tips for visual artists who want to modify their art, such as choosing the appropriate approach that meets their requirements acceptance of their uniqueness as well as taking their "weirdness" very seriously.
HTML0 The search for new challenges and changing the direction of career opportunities
Prior to moving into London in 2017 I was living in a tiny town in Germany and worked as a freelancer in the area of After Effects animator. It wasn't a lot of possibilities for creativity and my capabilities slowed quickly and I became very frustrated.
Making the move from London and meeting everyone that is an excellent animator was a major motivation for me. It's like saying "Damn, I'm running with everyone else and I must put in my best."
Following my experience in the Pictoplasma Conference, I made my choice to enter the ranks of creators who are creative of characters. I realized that my characters work best in 3D which I'm still exploring the process, which can be challenging but rewarding!
My work has been noticed by people from Greenhouse Animation, and now I'm the director for them.
The X-Files project, as well as the mystery of socks disappearing
One of the first projects I created using my new-found design style is the Covered by Lemonade clip.
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Lemonade Insurance approached me to make a piece for their ongoing Instagram collaboration between artists. Since the company is an insurance firm for content, the thought of cute objects from the home in danger immediately was in my thoughts. That's what led to how the X-Files idea came into being.
Last winter, I was on locking down and rewatching the x-files. So, the concept of a classic alien abduction was to be a given. The problem was that the people involved must be in the exact location and remain in the same place in order to end the animation loop which means there is no way for anyone to be taken away. The moment that I had an concept of having the washing machine up and let one of the pink socks fly off toward the UFO.
While creating an UFO and then giving the UFO a few legs, I saw the way that all things can be put on top. The UFO has lost its sock, and is now regaining it!
It is my experience that telling the most compelling story is best done through mixing elements that don't seem to be linked at first. In other words, to allow an event that is unexpected and also to give inanimate objects an identity through the addition of funny faces to them is the most enjoyable for me!
Animation workflow
The process I follow always starts with sketching out sketches of characters and sketching out the story. I changed the animatic into Lemonade to convey the subject and the general timing. Then, I dive into Cinema 4D and model all my characters. This is also where I experiment with different strategies and design frames.
After the animation in Cinema 4D is done, I move onto After Effects for the compositing procedure as well as the finalization. For the light beam that is pink, for instance is possible to do with After Effects.
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regarding sound effects and work in tandem with Phill Brookes
It was the first time I worked with an audio engineer identified as Philip Brookes and he truly was an expert! The contributions he made to elevate the footage to the next level, and let everything flow flawlessly! This was an absolutely remarkable project, and I'm looking forward to work on more projects similar to this one!
We've spoken to Phil about the process of making sound effects for used for The X-Files project. Listen to the whole interview with Phil Brookes.
Right now, I'm trying to learn methods of character rigging and creating gorgeous textures with Cinema 4D and Redshift. I am experimenting with the combination with 2D and 3D animation. I'm interested to see where my concepts for characters will take me in the future!
Guidelines for musicians for altering the direction they take throughout their career
Here are some ideas I'd like offer anybody who is considering making changes in their direction:
- Select the approach that meets your requirements best, and then learn about the process! Motion design may appear as if you need to keep track of every single program there is. This doesn't work.
- Take pride in your eccentricity and don't downplay your eccentricity. Uniqueness of yours is what makes you unique. Your distinctive voice and your unique style are distinctive.
- You have time to think about and take your time to embrace your thoughts. What ever is happening inside your mind, you are able to apply it and make the unique you!
Animator + Illustrator
Eva Munnich
Eva Munnich, an animator and illustrator from London. She is a visual artist who draw cute and adorable characters that are animated in 2D/3D. While a film-student at the time in Germany, she attended institutions of arts in Germany in addition to being involved in a myriad of animation projects. As she began to realize there was not enough space for the creative challenge, Eva actively sought new ways to broaden her wings. A few years ago, she relocated to London to take a peek at its lively and exciting art scene which led her to explore the possibilities in drawing and character designs.
Go to Instagram to find new 3D animated characters and stay up to date with Eva's upcoming project. You can see a larger portfolio of her work on her website.
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