Being a 3D artist isn’t enough anymore

A conversation with Jordan McBarnett

The conversation around AI in 3D often focuses on tools. But that’s not where the real shift is happening.

We spoke to Jordan McBarnet (Instagram: @jordan_motion) — a motion designer whose work spans brands and artists like Samsung, Diplo, the National Football League, and Volkswagen — about how he got started, why he didn’t take AI seriously at first, and what’s actually changing in the industry right now.

For him, the shift isn’t about AI replacing 3D. It’s about redefining what makes a creative valuable in the first place.

Let’s start from the top, how did you get into motion design?

I went to Ringling College of Art and Design for Motion Design.After that I got a job but got laid off in 2024, and then I just decided to go all in on freelancing.

At first, things didn’t really work out, until I started being consistent with posting my work.

I posted every day for 30 days, then kept going with four or five times a week.
That’s when I started getting opportunities.

You talk quite openly about AI. What got you into it in the first place?

I wasn’t really into AI at first.

Then I saw this guy, Karsten Winegeart, on Instagram. He originally worked as a videographer / visual creator. He made this Kobe x Nike spec ad using AI, and it was just like — holy shit, you can actually do this.

That’s when it flipped for me. I realized AI doesn’t automatically mean bad work.
You can actually art direct it, tell a story, it’s all about execution.

It’s basically just another form of motion design.

Looking at your work split right now: How much is 3D and how much is AI?

Most of my actual client work this year has been 3D. AI has mostly been for spec ads or experimenting.

But I see where it fits, even in small ways.
Like speeding up parts of the workflow or avoiding repetitive tasks.

And long-term, I know I’ll get hired for that as well — not just as a 3D artist, but for the creative side.

What would you tell someone who wants to get into motion design today?

It depends on what you actually want to do, because motion design is huge.

You need to find creators you like and understand why you like their work.

That’s how I started — copying tutorials, learning the basics.

Use whatever tools you have.
If you don’t have money, use Blender. It doesn’t matter.

And if you want to use AI, integrate it.

But it always starts with what you want to create.

Have clients started approaching projects differently because of AI?

Not really in a big way.

Some are open to it, some aren’t — it depends on the company.

For me, it’s not about pitching AI or 3D.

I pitch a visual that communicates something.
I focus on solving the problem.

If AI helps, great.
If not, we use something else.

What skills are becoming more or less valuable right now?

If you only have one very specific skill, it’s getting harder. Like if you’re just a modeler…good luck.

What matters more now is creative direction. Knowing how to create something and communicate an idea. Not just execution.

Where do you see the industry going?

I think it’s becoming way more creator-based.

There are still going to be big studios, but companies are starting to hire individuals for their ideas.

People with their own creative vision, who can deliver fast and actually convert.

You can already see it happening — creators like Lenny Bartholomäus (@lenny_motion) or James Choe (@jameschoe) are making more than studios right now.

And that’s simply because they’re reliable, they have their own style, and they know how to deliver.

It’s interesting you say that because we’ve been seeing his shift in brands actually tagging and crediting artists now. It feels like that change is becoming more visible and more important than ever for brands to endorse artists in that way.

Yeah, that’s very true.And it makes sense, because at the end of the day, they’re not just buying execution anymore. They’re buying a point of view.

That’s why they tag you, that’s why they credit you. It’s part of the value now.

They’re hiring creators for who they are — their taste, their ideas, how they approach things — not just for the output itself.

So if that’s the direction things are moving in, what does that mean for artists today? How should they position themselves?

Don’t just focus on being a 3D artist.

Focus on creating your own ideas, your own pitches, your own direction.

Because the best projects I’ve had were from people hiring me for me — not to fit into a pipeline.