From Clay to Digital: Building a Career in Modern Sculpture.

Recently, a couple of my students asked me two important questions:

1. “What would you have liked to know when starting out?”
2. “What’s the best way to get started in the industry?”

Both students come from traditional sculpting backgrounds, so I thought I’d share some reflections based on my experience over the last 25+ years. Let me begin with the second question, as it’s more straightforward.

How to Get Started in the Industry

First, it’s essential to understand that the creative industry is split into two main fields: traditional (physical) and digital. Since the mid-2000s, digital tools have increasingly taken over aspects of the physical workflow. Back then, I heard many warnings about how computers would change everything—and they were right. ZBrush, Maya, Blender, and other software quickly became central to the production pipeline.

I tried to stay ahead by learning digital tools on my own. I remember getting a pirated copy of ZBrush and forcing myself to learn it. I didn’t love it at first—it felt cold and disconnected compared to clay—but I pushed through, knowing it could be valuable someday.

When I moved to New Zealand in 2013 and joined Weta Workshop, it became immediately clear how much influence the digital side had taken over. At the time, Weta’s digital department was small—just four people tucked away in a small room. Now, it fills one of the largest rooms in the studio, with its own infrastructure and pipelines. This transformation says a lot about the direction the industry has taken.

Big companies like Weta need to stay profitable. They diversify to survive: museum replicas, games, collectibles, immersive tours, educational programs, and, of course, film and television work. From a business point of view, digital methods are far more efficient: there are no material costs, no shipping hassles, and less need for physical space. Most of the costs are in technology and labour—but not tools, storage, or freight. This shift means that most “cool” projects start digitally, and physical builds usually come at the end of the pipeline.

Making something by hand is expensive. You’re paying not just for time and skill, but for materials, space, tooling, shipping—and in New Zealand, you’re shipping from one of the most remote countries in the world. Companies know this, and they’re incentivised to digitise every part of the process they can. That’s why, today, a digital sculptor is more in demand.

That said, traditional skills still matter—and they matter a lot. In fact, many of the best digital sculptors I’ve worked with started with physical materials. The reverse is less common. Why? Because traditional sculpting sharpens your eye and forces you to solve problems without shortcuts like Ctrl+Z, symmetry tools, or brushes that do the work for you. It trains your brain to really see and make decisions intuitively.

Most of the top ZBrush artists I know have a strong background in traditional sculpture. You use your brain differently when sculpting physically, and that training stays with you even when you move to digital.

So, if you’re a traditionally trained sculptor looking to enter the industry, my advice is: learn digital tools, might be really useful in the future, but don’t abandon your roots. Your physical sculpting experience is an asset—use it. And if you’re already good with ZBrush or Blender but haven’t done much with your hands, start doing it. You’ll find it enriches your digital work in surprising ways.

What I Wish I Knew Starting Out

This question invites reflection. If I could speak to my younger self, I’d ask: Where do you see yourself in 10 years?That’s not just a philosophical question—it’s a practical one. What you do today builds toward that future.

In 2013, I left Spain for New Zealand to pursue opportunity and adventure. I told my father, “It’s just a return flight—it’s not forever.” But time passes. You deal with visas, job restrictions, and eventually, a new life. I now have citizenship and a family here. But I also have distance from my family in Spain. That’s a cost I didn’t fully anticipate.

Did I Become the Professional I Wanted to Be? I think so. Today, I run my own studio—something I’m proud of. But the journey came with many sacrifices, and I stumbled over more than a few stones I wish I’d seen coming.

You can’t control everything around you, but you can stay true to the life you want, and keep working toward it. That, more than anything, makes the difference.

When I first arrived, I was invited by Sir Richard Taylor himself to use the Weta studio space. He said, “There’s no work right now, but you’re welcome to use the space.” That kind of opportunity rarely comes around. I saw it as my chance to prove myself—and I did.

In the years that followed, I watched Weta grow and adapt, especially its embrace of digital tools. A friend of mine and a top artists in practical effects, Pepe Mora, with experience working almost in every corner of the world, he used to be part of the team at Legacy Effects in LA (formerly Stan Winston Studio) for many years. He was amazed by Weta’s size—saying it was the largest practical FX company he’d ever seen. Coming from LA, that’s a big statement.

But with size comes structure. And structure means roles. And roles mean repetition. This is where I’d offer a word of caution: the more specialised you become, the less flexible you might be later in your career. Early on, you try everything. But over time, you get pigeonholed: “He’s the foam latex guy,” or “She does armour,” or “He’s the guy who finishes digital sculpts.” If you don’t make time to learn outside that niche, you might wake up one day bored—or worse, replaceable.

That’s why I tell my students: don’t lose your creative cave. That space where you explore, test, fail, play. Keep that alive. It’s what will sustain you when your job doesn’t. Most people want to break away and do their own thing. Few dare. Even fewer succeed. But almost everyone I know dreams of having their own studio one day.

So be strategic. Be practical. Think long-term. Learn multiple things. Diversify your skills. And keep that fire alive.

In Summary

• The industry is split between digital and physical workflows. Know both.
• Traditional sculpting gives you a critical edge—even in digital work.
• Don’t rely on one skill. Stay adaptable.
• Understand that opportunity often requires sacrifice.
• Avoid over-specialisation. Keep your creativity active.
• Plan ahead. What do you want your life to look like in 10 years?

If you’re a student reading this, you’re already ahead of where I was at your age. Keep going, stay humble, and always stay curious. And thank you for asking thoughtful questions—because questions like these push us all forward.