SAE 3D Animation alumna Inga Teder has enjoyed a successful career working within VFX and the film industry, taking on impressive roles for projects ranging from Guardians of the Galaxy to Disney’s Jungle Book remake.
Inga’s latest project is a debut novel, Cotswold Mist, which draws on her experiences in the film sector.
The book is a cinematic fantasy brought to life with digital illustrations from talented artists in the game and film industries.
The Kickstarter campaign surrounding the project is now live and we caught up with Inga to learn more about her time at SAE, career and hopes for her book.
Fancy following in her footsteps and studying at SAE? Contact our team now.
What led you to study at SAE?
My journey to earning a degree was challenging. Seven years ago, I left Estonia, moved to London, and realised I needed a significant change in my life. While evening art classes kept my dreams alive, I understood that real progress would come from attending university.
Having faced life’s hardships, I viewed my future degree practically – it needed to be creative and provide a sufficient income. SAE’s two-year BA degree was ideal; I wanted to start creating visuals as soon as possible.
At that time, online courses were scarce, and I didn’t think they would have helped me. I had never used Photoshop or owned a personal computer, so my journey felt like a rollercoaster of breaking boundaries. Despite doubts and fears, I always had a vision of where I wanted to go, which kept me motivated.
And how did you find your time with us?
The two years I spent at SAE could fill a book! It’s hard to summarise the invaluable experiences and friendships I gained. I often say that my time there was when I felt most bold creatively. University provides a safe environment to experiment; you receive support and encouragement, even if your ideas don’t succeed right away.
I learned that failure is okay and that success comes with a strong vision and determination to keep trying.
What were the most important things you learned/took away from the course?
Considering I had never used any software before, learning to model, rig, and texture was a monumental achievement. If someone like me – who only tried out basic painting software before – could create a 3D short film that received festival recognition after just two years, it demonstrates the potential for anyone to achieve their creative goals. I learned to embrace self-doubt and the fear of failure while still pushing forward.
Moreover, I learned the importance of collaboration and being a team player. At SAE, there was no choice; you either worked in a group or failed the assignment! I’m grateful to SAE for teaching me the value of appreciation and support in teamwork, which is vital in the film industry. You will definitely get faster alone, but with a team, you get further. Greater goals are a collective effort!
What has been keeping you busy since you completed your studies? It’d be great to hear more about your work as an Environment Artist and the different projects you’ve worked on? Have there been any career highlights through this?
I was fortunate enough to land a role in major films like Guardians of the Galaxy and Disney’s Maleficent just four months after graduating. However, this luck came after relentless hard work – applying, promoting my short film, and navigating numerous rejections. I want to emphasise that good fortune favours those who work hard and persevere.
My career began in the Layout department, and I gradually shifted to Environment and Digital Matte Painting, occasionally returning to Layout for digital camera work and previs. Regardless of the department, a strong understanding of cinematography is essential, as every visual element serves to tell a story.
One of my most memorable projects was Disney’s Jungle Book remake, which won the Academy Award for Best Visual Effects in 2017. I worked on that project for over a year and a half, having the privilege of designing and building a complete sequence on my own. Throughout my career as a VFX artist, I’ve contributed to over 17 films. While some projects stand out more than others, each one presented new challenges and learning opportunities.
Could you talk a little about the process? How long has it taken to put together and how did you source the collaborators?
There is a lot going on behind the scenes in creating this unique book. What sets it apart from a traditional illustrated novel is that the locations are real-world sites described in the text, allowing readers to envision travelling through the Cotswolds.
Once I completed the first draft, we began contacting all the locations to secure agreements. These places are not only mentioned in the narrative but will also be illustrated, reimagined while still being recognisable. After obtaining permissions, we took photographs and often performed 3D scans of the locations. Then we jumped into the art creation process. Some illustrators are comfortable using 3D scans; for example, the image featuring an octopus at Blenheim Palace was created in 3D, modelled, textured, and lit. Other illustrations were digitally hand-painted, using a photo of the location through a Digital Matte Painting (DMP) method, like the ghost of Chastleton House standing at the open gate. Each illustration takes a couple of weeks to a month to complete, considering feedback and the availability of the artist.
We have been working on this project for over two years now, and I have dedicated my full time to it. Our collaborators are friends and industry contacts; some we approached after falling in love with their work on ArtStation or Instagram, and they were happy to join us. I am truly grateful to them and proud of the collective work we have achieved.
What are your aims for the project?
Our main aim for Cotswold Mist is to create an engaging experience that blends storytelling with real-world locations while showcasing the incredible talent of the artists involved. We want to highlight their unique styles and perspectives, emphasising how art can enhance narrative.
Additionally, our mission is to raise awareness of cultural heritage and stress the importance of preserving these marvellous historical sites for future generations. By doing so, we ensure that there will always be stories to tell and learn from.
Ultimately, I hope to inspire others to see how art and storytelling can come together in exciting ways. I want readers to feel as if they’re exploring the beautiful Cotswolds as they journey through the narrative.
Do you have any advice for any aspiring creatives looking to follow in your footsteps?
Absolutely! For those who are pushing their limits, remember to take breaks. It’s essential to step back and appreciate the work you’ve done and the contributions of your collaborators. Slowing down and resting is important; neglecting your health can have long-term consequences. I learned this the hard way, having to restore my health after overextending myself.
For those struggling with motivation or feeling overwhelmed by doubts and fears, the key is to take action. Just go out there and create! Failing, as cliché as it sounds, is a part of the process.
What other projects have been keeping you busy/do you have lined up?
Cotswold Mist is an incredibly complex project, and my primary focus is on producing the book to the highest quality. I will continue collaborating with my editor on the text and working closely with our talented artists to complete the planned artwork. However, the plot for the second book is already forming in my head – I just can’t help it!
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