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In this video interview, animator Eva Munich shares her journey to reversing her creative path and finding her distinct aesthetic as a 3D design artist. She explains her decision to move to London and her experiences at the Pictoplasma conference and how she got a role as a director with Greenhouse Animation. The interview also focuses on her X-Files project, which was created by her to promote Lemonade Insurance, and explains the workflow of her studio for animation and how she worked with the Sound Designer Phil Brookes.
Eva provides tips for visual artists looking to alter their career, including selecting the best technique that fits their style, and taking pride in their individuality and making sure that they are taking their "weirdness" very seriously.
Looking for fresh challenges, and making a shift to the direction of your profession
Prior to moving to London in 2017, I was in a tiny city in Germany and also worked briefly as an After Effects animator. While there weren't many challenges to my imagination and creativity, my skills slowed rapidly and I was very unhappy.
Moving into London and getting acquainted with the wonderful animation folks here gave me a huge boost. It was similar to "Damn it, I'm among the elite now, you better get ready to put the best effort."
In the wake of my trip to the 2019 Pictoplasma conference, I came to an effort to join the group of innovative character designers. I realized quickly that my characters perform most efficiently in 3D - - something that I'm still learning which isn't easy yet very enjoyable!
My work caught the eye at Greenhouse Animation, which is now representing me as Director with Greenhouse Animation.
About the X-Files project as well as the mystery of socks disappearing
One of the initial project for clients I developed with my brand new-found design style was my Covered by Lemonade clip.
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Lemonade Insurance approached me to make a piece of art for their ongoing Instagram artist collaboration. Since the company is a content insurance company, the concept of adorable household objects in danger immediately occurred to me. That's how the X-Files project came to life.
The last winter I was locked down to watch all the"x-files. So, the concept of an alien abduction classic was obvious. However, all of the characters must be in the same spot to be in the same place in order to end the animation loop in order for them to actually get abducted - this is why I an idea of having the washer pop out as well as the single pink sock moving toward the UFO.
When I was creating my UFO as well as giving it little legs, I noticed how everything could fall in place. The UFO has gone missing its sock and is retrieving it!
It is my experience that telling an engaging story can be accomplished by mixing different items that seem unrelated at first. To make something unexpected happen and to give inanimate objects some personality, by adding funny faces onto them , is the best method of having fun for me!
The animation workflow
My work process starts with sketches of characters , and sketching out the plot. I edited the animation of Lemonade in order to communicate the idea and the timing. After that, I jump into Cinema 4D and model all my characters. It is also the place where I experiment with materials and make style frames.
When the animation created within Cinema 4D is done, I transfer it to After Effects for compositing and finishing details. Light beams that are pink for instance it is created using After Effects.
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regarding audio effects, as well as how to work together with Phill Brookes
This was the first time I worked with a sound designer, Phil Brookes who really took it to the highest level! His input takes the footage to an entirely new level and ensures that everything is put together flawlessly! It was a wonderful project to finish and I'm excited to work on many more of these projects!
We've spoken to Phil regarding the process of making sound effects for The X-Files project. Listen to the interview with Phil Brookes.
Right now, I'm learning more techniques for character rigging , and also how to make beautiful textures with Cinema 4D and Redshift. I'm trying to combine 2D with 3D animation and I'm excited to discover what direction my journey with character design will lead for me in the near coming years!
Artists may get advice to change careers
I have some suggestions to those who want to change directions:
- Choose the method that fits your needs best and take time to master it! Motion design may seem like you must know all there is. It's actually not the case.
- Make sure you are serious about the oddness and don't downplay your uniqueness. Your uniqueness is yours. Your distinctive voice and your style are distinctive.
- Be patient and accept your ideas. Whatever's going on in your head , take it in, then create your own!
Animator + Illustrator
Eva Munnich
Eva Munnich works as an animator as well as an illustrator who hails from London. As a visual artist , she draws cute, 2D/3D-animated characters. She studied film in the academy of art in Germany as well as being involved in a variety of projects related to animation. Following an inability to find a new challenge, Eva actively sought new ways to stretch her wings. A few years ago she travelled to London to learn about its growing, vibrant artistic scene. She then determined to explore characters and illustrations.
Go to Instagram to see fresh 3D animated characters, and also follow her future project. You can explore a larger range of her work on her website.
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