By Cansu Waldron

Jesseter Wang is a motion designer based in New York, currently working at BUCK where she focuses on brand and product storytelling through motion and 3D. Her work often sits at the intersection of technology, narrative, and design, translating complex systems into visual experiences that feel clear, intuitive, and human. Outside of client projects, she’s increasingly interested in questions of identity, authorship, and how motion can express ideas and emotions that are difficult to articulate with words alone.

Her path into motion design was anything but direct. Raised in a traditional, high-pressure academic environment in Asia, Jesseter originally studied architecture, a field that shaped her sense of spatial thinking and structural logic. At the same time, she began teaching herself 3D software and animation, gradually discovering a different kind of creative language. What drew her in was the ability to construct not just space, but experience — shaping how ideas unfold through pacing, rhythm, and movement. That shift eventually led her to fully transition into digital design, where she now uses motion as a tool for clarity, transforming abstract or technical concepts into visual narratives that guide viewers through complexity with ease.

We asked Jesseter about her art, creative process, and inspirations.

Can you tell us about your background as a digital artist? How did you get started in this field?

My path into motion design wasn’t linear. I initially studied architecture, largely because it felt like a practical and expected direction in the academic environment I grew up in. Architecture taught me spatial awareness and structural thinking, but I realized I wasn’t fulfilled by the discipline itself. At the same time, I began teaching myself 3D software and animation outside of class. That exploration gradually became more serious. What drew me in was the ability to shape how ideas unfold over time, not just constructing space, but constructing experience. Eventually, I made the decision to pivot fully into digital design. It required rebuilding my skillset independently, but it also strengthened my capacity for self-direction and cross disciplinary thinking. Today I work primarily as a 3D and motion designer, focusing on translating complex systems (often technology driven) into visual narratives that feel clear and human.

What is an event which you consider a milestone or a specific moment when you realized motion design could actually be your path?

I remember working on a project that needed to explain something pretty abstract and technical. At first it felt almost impossible to visualize. But as I started shaping the pacing and movement, I saw how motion could guide attention and make things feel intuitive instead of overwhelming. That was a turning point for me. I realized motion design wasn’t just about making things look dynamic, it was about helping people understand. The idea of translating complexity into clarity through movement just clicked with how I think. That’s when I knew this could really be my path.

You grew up in a very traditional, high-pressure academic environment — how did that shape the way you approach creativity today?

Growing up in that kind of environment definitely made me disciplined. There was a lot of focus on results, structure, and constant evaluation. At the time, it didn’t always leave much room for creative risk. But interestingly, it shaped how I work today. I don’t see creativity as something chaotic or purely emotional. It’s a practice for me, something you research, test, refine, and take responsibility for. In collaborative projects especially, that mindset helps. Creativity isn’t separate from structure or deadlines. It lives inside real systems, and I’ve learned to feel comfortable operating within that balance.

You mentioned thinking about identity and authorship — what questions are you currently wrestling with?

I’ve been thinking about where authorship lives in collaborative and AI-assisted work. As tools become more powerful, the process gets more layered. For me, what remains human is judgment, choosing what to highlight, what to simplify, and what meaning to construct. That tension is something I’m actively exploring.

Have there been any surprising or memorable responses to your work?

I once had someone tell me that after seeing my work, they suddenly felt the urge to start making something themselves. That surprised me in the best way. It reminded me that design isn’t just about communication — it can also activate something in other people. That kind of response feels very special.

Outside of client briefs, what kinds of stories or themes are you curious to explore next?

Lately I’ve been wanting to explore more emotionally driven work — pieces that come from personal experience rather than a brief. Things shaped by my cultural background, or by small everyday moments that carry quiet emotional weight. I’m interested in how movement can hold those feelings without needing to explain them too literally.

What is a dream project you’d like to make one day?

I’d love to make a longer, immersive piece that feels both personal and expansive at the same time. Something that starts from a small human emotion, but gradually unfolds into a bigger system — whether that’s technology, memory, or society. I’m drawn to the idea of creating a work that doesn’t just explain something, but lets people feel their way through it. Something quiet but layered, where abstract motion carries emotional weight.

What else fills your time when you’re not creating art?

I’m naturally curious, so I spend a lot of time exploring new tools and keeping an eye on how technology is shifting the creative landscape. Outside of that, I love observing everyday design — architecture, product details, photography. Even small things, like how light hits a surface or how an object is constructed, quietly influence how I think about structure and movement.

How do you see motion design evolve in the future?

I see motion design becoming more integrated into how we experience technology day to day. As tools get easier to use, what will really matter is how we think, and how we connect design, systems, and human behavior. To me, the future of motion design isn’t just about making things look beautiful. It’s about shaping how complex systems feel and make sense to people.