Alright – so today we’ve got the honor of introducing you to Chen Zhang. We think you’ll enjoy our conversation, we’ve shared it below.

Chen, thanks for joining us, excited to have you contributing your stories and insights. Are you happier as a creative? Do you sometimes think about what it would be like to just have a regular job? Can you talk to us about how you think through these emotions?

I think about this almost every day — what it would be like to have a regular job, with a stable salary, paid vacations, and the comfort of not constantly chasing the next project.

For people outside the animation industry, it might be hard to picture what we actually do. I work as a 3D modeler, which means I’m responsible for building the digital characters, environments, and props that appear on screen, giving shape to everything before it’s lit, textured, and animated. It’s a highly collaborative role, but also incredibly detail-driven. We have to think about anatomy, stylization, topology, silhouette, and how our models will move, render, and integrate into the pipeline. It’s both creative and technical, and it’s intense.

Our work is often structured around short-term contracts, based on specific film or series productions. That means a lot of instability — moving from project to project, with gaps in between. Most artists in this field don’t have the luxury of permanent employment. The industry is growing, but also becoming more saturated. And with the rise of AI, there’s a growing uncertainty about where we’re all headed.

But despite that, I’ve never found anything that replaces the feeling of being in this world. Even on the hardest days, when I’m sick and exhausted, when my cat’s whining at me because I’m still working at midnight — I still feel lucky. Because I’m doing what I love. And it hits different.

There’s this one night I remember clearly. I was completely stuck on a character design — nothing felt right. I had this moment where I genuinely thought, Why am I doing this to myself? But then, I realized: I was upset because I loved it and wanted it to be great. That frustration was proof that this path matters to me. And that kind of emotional connection… I don’t think I could feel that in a “regular” job.

So no, I don’t want to leave this industry. But I do want to find ways to make it sustainable — not just financially, but emotionally. I’m learning to build a life around creativity, not just inside of it. That includes sharing, teaching, and supporting others who are walking this same uncertain but beautiful road.

Awesome – so before we get into the rest of our questions, can you briefly introduce yourself to our readers.

Hi! My name is Chen Zhang, and I’m a 3D modeler specializing in stylized and cinematic modeling for animation and visual effects. My journey into the industry started with animation — I originally studied 3D animation before discovering my true passion in the art of modeling and visualization. I was fascinated by the textures, forms, and emotions that can be conveyed through the surface of a model, and eventually transitioned into becoming a full-time 3D modeler.

But if I look further back, I’d say the seed was planted long ago — I’ve loved animation ever since I was a child. It always felt magical to me, and I knew deep down I wanted to be part of that world. I feel incredibly lucky to have turned that childhood love into a real career, and to now be standing steadily in the industry as a working artist.

Over the past few years, I’ve had the privilege of working with world-renowned studios including Pixar, Sony Pictures Imageworks, and Walt Disney Animation Studios. Some of the notable projects I’ve contributed to include Spider-Man: Across the Spider-Verse, Luca, Lightyear, and Moana 2, where I worked on both character and environment modeling.

As a senior organic modeler, my creative work spans from designing original stylized characters to building immersive environments that bring stories to life. I specialize in translating 2D concept art into fully-realized 3D assets that align with the director’s vision, while also ensuring technical precision and pipeline efficiency. Whether it’s sculpting a character full of emotion or crafting a culturally rich environment, I aim to add depth and personality to every asset I build.

What sets my work apart is my background in both animation and modeling, which gives me a strong sense of movement, storytelling, and design. I’m not just creating assets—I’m helping shape how characters feel, how worlds breathe, and how stories unfold.

One of the moments I’m most proud of is when the films I’ve worked on are shown on the big screen — and I get to see my name in the credits. It’s a small moment, but it carries so much meaning. It’s a reminder of all the effort, passion, and love that went into the work, and the fact that my contribution is part of something larger than myself.

I’m also currently mentoring new artists through Women in Animation, where I share my journey and help others break into the industry as CG modelers.

To anyone discovering my work for the first time, I’d love you to know that I care deeply about craft, collaboration, and creativity. My goal is to create work that resonates emotionally, stays visually strong, and contributes to meaningful storytelling. Whether it’s through my commercial work or personal projects, I hope my models always carry a sense of heart and intention.

How can we best help foster a strong, supportive environment for artists and creatives?

I believe the best way to support artists and a thriving creative ecosystem is to start by valuing creativity as a vital part of society — not as something extra, but as something essential. Art shapes how we see the world, how we connect with each other, and how we imagine the future.

For many artists, especially those just starting out, access can be a major barrier — access to education, to opportunities, to mentorship, to resources. I was lucky to have the chance to study, intern, and learn from incredible people at studios like Pixar and Sony. But I know how rare those chances can be. That’s why I think creating more inclusive, accessible pathways into the creative industries is one of the most important things we can do. Programs that support emerging talent — particularly from underrepresented backgrounds — can truly change lives.

I also believe that long-term sustainability for artists needs to be taken seriously. That means fair pay, credit where credit is due, and healthier working conditions — especially in industries like animation and VFX, where crunch time and burnout are often seen as “part of the process.” Artists need environments where they can grow, rest, and create without fear of being undervalued or replaced.

On a cultural level, it helps so much when people support art consistently — not just when it’s trending or award-winning, but in everyday ways: by watching indie films, sharing student work, crediting illustrators, paying fairly for creative services, and recognizing the heart and labor behind every creation.

I’ve loved animation since I was a child, and I know how much it means to feel seen, to feel like your creativity matters. If we want a thriving creative future, we need to build a culture where artists feel supported not just in output, but in identity — where making art is a sustainable life, not a lonely pursuit.

Alright – so here’s a fun one. What do you think about NFTs?

NFTs have been a huge topic in the creative community in recent years, and I think they’ve sparked some really important conversations — about ownership, artist rights, digital authenticity, and how we value creative work in a digital age.

On one hand, I appreciate the idea that NFTs have opened new doors for some artists to gain recognition and direct income, especially independent creators who might not have access to traditional gallery or commercial platforms. The concept of being able to authenticate digital art and support creators directly is something I find exciting in theory.

However, I also think the space has been very messy — flooded with speculation, hype, and projects that aren’t always driven by artistic value. There’s also the question of environmental impact and the lack of clear long-term sustainability in many NFT platforms.

As a 3D artist who works in animation and film, I personally value collaboration, story, and the emotional impact of a piece more than the format it’s delivered in. I believe that technology should serve the art — not the other way around. So I’m more interested in how blockchain technology can evolve to better protect artists’ rights, support collaborative ownership, or even create new creative pipelines, rather than just being used to sell digital collectibles.

In short, I think NFTs brought a lot of important issues to the surface. They might not be the ultimate solution, but they’ve definitely accelerated the conversation around how we treat digital art and artists in a rapidly changing world.

Contact Info:

• Website: https://www.chenzhang3d.com/
• Instagram: https://www.instagram.com/superchen.z/
• Linkedin: https://www.linkedin.com/in/chen-zhang-54622926/
• Other: Artstation: https://www.artstation.com/superchenz