We were lucky to catch up with Franco Carlesimo recently and have shared our conversation below.
Hi Franco, thanks for joining us today. Can you talk to us about a project that’s meant a lot to you?
To give you some context, I was working on this project during a really tough period. I was struggling to get paid for a work-for-hire job, and the bills were piling up. At that point, I’d already been in the collectibles field for about three years, mostly creating superhero statues. And while superheroes are fun, my real passion has always been movie monsters, fantasy creatures, and horror.
During this frustrating time, I started reflecting on what truly inspired me to become an artist in the first place—what I enjoyed creating the most. The answer became clear: creatures that didn’t exist, beings born purely from imagination. What I wanted was to bring these creatures to life in our world. So, as a way to manage my stress and reconnect with my love for art, I decided to create one unique creature per month.
The first was ‘The General,’ an alien creature designed with the idea that it could be a practical suit for a performer. It was a personal project that reignited my creative spark, even though my financial situation hadn’t improved yet. Another month passed without payment, and the pressure was building again, which led me to create ‘The Hunter’—a creature embodying the relentless pursuit of survival, much like what I was experiencing. Freelancing for over 10 years, I was no stranger to the hustle of finding the next paycheck. So, I channeled that struggle into ‘The Hunter.’
Just as things were starting to feel overwhelming, the client finally paid me, which gave me some much-needed breathing room. After I posted ‘The Hunter’ on social media, it unexpectedly went viral. It got shared across various artistic forums and Instagram pages, which was a thrilling surprise. I decided to produce it as a limited-run garage kit—30 copies as collectibles. That experience taught me a lot about the industry and gave me a new perspective on the art I was making.
But the real magic happened when Greg Nicotero, the owner of KNB EFX Group and a legend in the world of special effects, reached out. He told me he was working on a new project and thought ‘The Hunter’ would be a perfect fit. After a call and a few design tweaks to keep the integrity of the original while making it fit his project, I delivered a redesigned version that ended up being featured in Creepshow as a practical creature.
A dream come true.
Looking back, ‘The Hunter’ started as a way for me to cope with financial stress and creative burnout, but it became something much bigger. It reignited my passion, opened doors I hadn’t imagined, and reminded me why I became an artist in the first place.
Franco, before we move on to more of these sorts of questions, can you take some time to bring our readers up to speed on you and what you do?
I’m originally from Mar del Plata, Argentina. Currently, I’m based in Barcelona, Spain, where I primarily work on modeling collectible figures for companies such as PCS Collectibles, Iron Kite Studios, Legendary Beast Studios, Semic, and Figurama, among others. And also do some creature concept design for the Film industry.
My journey into this industry as a professional started painting backgrounds for children’s books at 18 years old. While that was a valuable experience, my heart has always been with comics, creatures, and monsters. I grew up fascinated by movies like Alien, Predator, Gremlins, and Labyrinth, with their incredible creature designs. But the pivotal moment for me was watching Jurassic Park in the cinema in 1993. That was when I discovered the dinosaurs were brought to life using computer graphics, and I knew right then that this was the path I wanted to pursue. From that moment on, I was determined to learn everything I could about digital art and CG modeling.
Today, I’m fortunate to do what I love for a living, but I never stop pushing myself. I constantly work on personal projects that challenge me to improve and stay ahead of the curve. This industry evolves rapidly, with new tools and techniques emerging all the time, and I thrive on diving into these new challenges.
What sets me apart is my ability to blend technical expertise with a deep passion for creature design. I don’t just aim to meet my clients’ needs; I strive to bring something unique and imaginative to every piece. Whether it’s creating an iconic superhero or a nightmarish monster, I focus on making each character feel alive.
I’m proud of the work I’ve done in the collectibles industry, but what I’m most proud of is staying true to my roots as an artist. I want my clients, followers, and fans to know that every project I take on is personal to me. I pour my heart into my work, whether it’s a client commission or a creature that exists only in my imagination
How about pivoting – can you share the story of a time you’ve had to pivot?
Of course. In my early years as a CG artist living in Mar del Plata, a coastal city in Buenos Aires, I had to tailor my portfolio to the opportunities available to me at the time. Back home, the primary market for CG work was in commercials, so that’s what I focused on. I spent many years working as a 3D generalist, taking on all kinds of roles—modeler, rigger, animator, VFX artist. Essentially, I could do a bit of everything, which was useful for getting work, but it also meant I was spreading myself thin. I was good at many things, but never truly great at one.
Even though I could take a CG commercial from concept to completion, and clients were happy, I wasn’t really satisfied. Part of it was the time pressure, but more than that, it felt like my work didn’t have a lasting impact. No one really watches commercials, and even my friends and family would skip over them.
Then, I got the chance to work on something different—a project for the 2014 Rio Olympics. I modeled 10 athletes in 3D, which were then printed and used in a physical marketing campaign. Seeing my digital work take on a real-world form was a game-changer for me. I realized that what I really wanted was to create things that exist in the physical world, not just on a screen.
This experience led me to explore the world of collectibles, and that’s when I decided to focus solely on 3D modeling and sculpting. I left behind the generalist approach and specialized, working to become truly great at one thing. I’m still striving for that level of mastery—constantly learning anatomy, composition, and body mechanics—but that pursuit is what keeps things interesting.
The shift to specializing in sculpting made all the difference. I became much better at my craft, and the work started flowing in. While small studios often look for generalists because of budget constraints, bigger studios prefer specialists who excel at one thing. This transition not only brought me more fulfillment but also better-paying opportunities.
What’s the most rewarding aspect of being a creative in your experience?
For me, the most rewarding aspect of being an artist isn’t just that I get to do what I love, but also the flexibility that comes with being a freelancer. Like everything, freelancing has its pros and cons, but I appreciate that most of my work is project-based, which allows me to manage my time as I see fit. As long as I meet deadlines, I have control over my schedule. This means I’ve never missed an important moment in my daughter’s life, and I can spend time with my wife whenever I choose. This balance has been key to maintaining what I perceive as a healthy work-life balance.
Of course, I still spend a lot of time working, but I’d say about 30% of that time is dedicated to personal projects. It’s taken years to reach this point. Early on, it was tough—there were a lot of sleepless nights and late work sessions. But being an artist isn’t just a job for me; it’s a lifestyle. Most of my day is spent engaging with art in one way or another. Even when I’m watching a movie, I’m analyzing it—learning from the art direction, storytelling, or even the creature designs that might inspire my own work.
In the end, it all comes down to what you consider an artist to be. For me, it’s about expressing myself through a medium, and it’s much easier for me to communicate through statues and images than with words. That’s why I’m not a writer, and why it’s taken me so long to finish this interview!
Contact Info:
- Website: https://francocarlesimo.com/
- Instagram: https://www.instagram.com/francocarlesimo/?hl=es
- Facebook: https://www.facebook.com/CarlesimoFranco
- Linkedin: https://www.linkedin.com/in/franco-carlesimo-8bb8a019/
- Twitter: https://x.com/FCarlesimo
- Youtube: https://www.youtube.com/@FrancoCarlesimoArt
- Other: https://www.artstation.com/carlesimo
