Your friendly
Eastern European

designer.

János Nyujtó

I’ve been working in the creative industry since 2014. I started with logo and brand design, then gradually moved into animation—because motion gives far more room for storytelling, rhythm, and atmosphere. Since 2016, I’ve been producing digital work where 3D illustration or 3D motion isn’t a decoration, but a core part of the concept.

In 2022, I made a deliberate shift: I realized that pushing both UI/UX and high-end 3D to a top level as a solo creator spreads focus too thin, so I committed fully to 3D animation. That’s also when I went deep into Houdini to handle more complex challenges—simulation-driven work, procedural approaches, and systems-based animation with production-level control.

I create 3D advertising animation for agencies, with a strong interest in tech and premium products—projects where visual quality and creativity directly translate into value. My workflow is high-intensity: I ramp up quickly at the start and keep a steady pace through delivery, so timelines stay reliable.

What I do

I create high-end 3D advertising animation focused on strong motion, clean product storytelling, and premium finishing. Most of my work lives in that sweet spot where design, realism, and VFX meet—product launches, brand films, tech visuals, abstract sequences, and “make it feel expensive” shots.

How I see my strengths

I try to be a true generalist — a one-person team when needed. I wouldn’t say I have one single “signature superpower.” I’m probably a bit stronger on motion and animation than on color decisions, but my main strength is that I can take a project from idea to a high-end final result on my own: design, build, animate, light, render, and deliver.

That doesn’t mean I prefer working alone. I actually enjoy teamwork — and I’m always happy when specialists take ownership (especially in areas like color, compositing, or sound). The difference is: even in a team setup, I’m comfortable carrying responsibility and making sure the final output is finished at a high level.

How I work

I ramp up fast, but I don’t rush blindly. I like to lock the direction early (look, references, key frames), so the rest of production becomes predictable instead of chaotic.

My view on AI

I’ll embrace AI as a primary tool once it offers the same level of control as modern 3D pipelines. For now, I see generative AI as a partial tool, not a fully controllable production workflow.