[1] Yevgeny and his sister Nina were born in Moscow into a family of Tikhon Grigorievich Migunov, a low-ranking official in one of the ministries, and Maria Konstantinovna Migunova.

He also learned a lot from his classmate, close friend and future collaborator Anatoly Sazonov who came from an artistic family and whose talent he highly regarded.

[3] With the start of the Great Patriotic War in 1941 he joined the volunteer corps of the 38th rifle regiment of the 13th Rostokino division along with the fellow students, hiding his disability.

In 1945 Migunov and Sazonov worked as art directors on the first traditionally animated Soviet feature The Lost Letter by the Brumberg sisters.

He basically reinvented the whole production process by designing a device for shooting in statics, with a horizontally moving camera and attachable ball-jointed dolls.

The film turned very successful, and a sequel was in plans when Rumyantsev suddenly filled a complain letter, claiming he wasn't attached to do the voiceover.

[12] In 1957 he directed a traditionally animated short Familiar Pictures based on the sketches by a stand-up comedian Arkady Raikin who also made an appearance.

It became the first radical shift from "realistic" animation towards magazine caricatures due to Raikin's satire which didn't fit the art direction of that time.

His last project based on two poems by Vladimir Mayakovsky led to a scandal: it was presented as a storyboard with the director's screenplay written in the margins which was against the rules.

Among his major achievements are illustrations to Strugatsky Brothers' Monday Begins on Saturday and The Tale of the Troika, Aleksandr Volkov's Emerald City novels, Yevgeny Veltistov's Electronic: A Boy From a Suitcase and — most famously — Kir Bulychov's Alisa Selezneva series.

[4] In 1980 Roman Kachanov invited him to work as an art director on The Mystery of the Third Planet (an adaptation of Alisa Selezneva's adventures), but Migunov rejected and later claimed that some of the cartoon characters were copies of his illustrations.

They utilized many different artistic techniques and featured Misha greeting guests, holding the Olympic torch and taking part in various sport disciplines.

[19] He was survived by his wife Nina Romanovna Karavaeva (married since 1945), also an animator at Soyuzmultfilm who left the studio along with him, and her daughter from the first marriage Elena Nikolaevna Zarubina.