Esteniah Williams
From fringe theatre to stadium tours, CAD designer Esteniah Williams talks creating immersive experiences
Live music, theatrical shows and immersive installations: these events all last way longer than a TikTok reel, but they can leave us just as (if not more) entranced. Esteniah Williams knows what it’s like bringing these spectacles to life. A designer who specialises in computer-aided design (CAD), she’s worked on major shows for artists including Ed Sheeran and Helene Fischer. Here, she shares how she got her start, why she loves getting lost in the process and what she does to overcome creative blocks.
What I do
How would you describe what you do?
I use 2D and 3D modelling programmes to create drawings and visuals for large-scale events. My work helps communicate creative ideas clearly and effectively, usually before anything is physically built.
What are the main influences and inspirations behind your work?
Photography and film definitely inspire me because they’re mediums where you really get lost in the art and the story. I also love immersive theatre (as a student, I was obsessed with The Drowned Man, an immersive drama, and saw it eight times!). That sense of immersion is something I try to bring into my own practice, and I hope that one day people will get lost in the work that I’ve created too.
“What I was taught at drama school only scratched the surface. Most of what I know now, I learnt on the job.”
Would you say you need any specific training for what you do?
A basic understanding of 2D and 3D modelling programs is a good foundation. Have at least one you are comfortable using, and from there, you can learn others if and when you need to. I learnt how to use most of them through trial and error, as well as YouTube tutorials.
The way you present the work is also key: generally, you have to make it easy to understand no matter what the context, so having good communication skills is really important.
A background in art, theatre and design can be helpful too, whether in this field or across the wider creative industries. That said, what I was taught at drama school only scratched the surface. Most of what I know now, I learnt on the job.
What’s been your favourite project to work on from the past year, and why?
From the past year, I loved working on the opening ceremony of the National Medal of Honour Museum. I was doing stage designs and concept creation, which was a really freeing experience for me – I often found myself lost in the creative process.
There were also some memorable projects before that. In 2023, I led the technical side of a project for the first time during Helene Fischer’s Cirque Du Soleil tour. My work on Ed Sheeran’s award-winning Mathematics Tour also came with many firsts, including creating realistic 3D mapping for the large-scale video screen artwork. That was a big confidence boost as it made me realise how essential my visuals and illustrations were to these events.
What does a normal day-to-day look like for you?
My day starts with checking emails to see if I’ve received any feedback from clients on work I sent out the day before. If there’s feedback, I’ll continue developing that project; if not, I’ll jump onto another one while waiting.
If I have downtime, I use it for personal development – experimenting, learning new tools, or improving my skills as a designer. Having space to explore is really important.
“I said yes to most opportunities at the start, which helped me build experience quickly.”
How I got here
What was your journey like when you were first starting out? Did you find your feet quickly?
Straight out of university, I started freelancing as a set and costume designer. It was definitely far from steady, but that’s to be expected. Most of my early work was in fringe theatre, where you’re often doing it all yourself and learning as you go.
How did you go about landing your first few jobs or freelance gigs?
My first few jobs came through a website called The Mandy Network – a platform for cast, crew and creatives in the entertainment industry – as well as cold emails and word of mouth. I also reached out to teachers and peers from my university. I said yes to most opportunities at the start, which helped me build experience quickly.
Image from Vaults Festival, 2019
What has been your biggest challenge along the way?
Wearing multiple hats. When you’re in fringe theatre and just starting out, you’re not solely a designer. You’re also in charge of building the set, transporting it, managing the budget, sourcing props and more. It was a lot to juggle, but it taught me to be resourceful and proactive. That experience gave me a better understanding of the full production process, which I still find useful today.
“Always read your contracts. Make sure you’re getting what you need from the work, or at least understand what you’re signing up for.”
How important are social media and self-promotion to your work? Any advice?
As a freelancer, social media was very important. It's an easy and quick way for people to get to know you and see what you’ve worked on. It’s also the first thing an employer may check if they want to know more about you outside of your CV and portfolio. Now that I’m working in-house, it’s not as essential – but it’s still good to have a presence.
Chillblast workstation for 3D rendering and CAD design
What are three things you’ve found really useful to your career?
- Reading autobiographies by creatives like Viola Davis and Edward Enninful – they’ve helped me rethink how I set goals and approach both career and personal challenges.
- The Dyslexic Advantage – I’d really recommend this book to anyone with dyslexia. It gives a great insight into how our minds work, and how we can use it to our advantage especially in the creative industries.
- The Artist’s Way – this book is a great step-by-step guide to reawakening your creativity and reconnecting with the joy of making. I use it when I feel creatively stuck, whether at work or in my personal life.
What have been your greatest learnings with making money and supporting yourself as a creative?
Now that I’m in a full-time role, this isn’t something I have to think about as much, but I learnt a lot about managing my money when I was freelancing.
The best thing you can do is stay very organised: keep track of your earnings and expenses so that tax returns are a little less daunting – and always read your contracts. Make sure you’re getting what you need from the work, or at least understand what you’re signing up for. Clarity upfront saves a lot of stress later.
“Career paths are not linear. Every experience – good or bad – will influence your steps in the future.”
My Advice
What’s the best career-related advice you’ve ever received?
I haven’t received a lot of career advice, but I do think it’s good to remember that career paths are not linear. Every experience – good or bad – will influence your steps in the future.
What advice would you give to someone looking to get into a similar role?
There are lots of routes into this type of work. If I was starting again, I’d teach myself or take a short course in CAD drafting, 3D rendering and theatre design. Then I’d offer my services as a draftsperson while working on my own design projects on the side.
That way, you can support yourself with the drafting work while building your CV and portfolio in your chosen area of interest. You’re also more likely to meet people in the industry and grow your network while you do it.