I'm Jesse van Dijk, living near Amsterdam in the Netherlands. I spend
my time doing lots of digital painting, both for fun and commercial
ends. I currently work at W!Games as a senior concept artist, and I
also do the occasional freelance job. Apart from my family and work
there's little time for anything else, outside the occasional bit of
running in the forest next to my house.
went to university to study Industrial Design and that was fun.
However, I knew fairly soon I wanted to be in entertainment rather than
in engineering, so while I was finishing my studies I was workingon a
portfolio which I hoped would get me hired at a games company.
Thankfully, that worked out.
Yea, I use 3D in
my work whenever I need it. My end result is always 2D, but some things
are just faster or easier or more flexible to do with 3D. What's
important for me is the end result, and the technique I use to achieve
that result is no so important for me, as long as it works. I use
photos, 3Delements, anything that will get the job done, really.
I was really thrilled to learn my work was selected for Expose. I had
really admired the series all the way up to part 5, so to be part of
Expose6 was a real honour for me. There are just so many incredible
artists in there, it feels great my work is in there as well.
Yes, that's a good example of
where I mixed the two techniques. Thelabyrinth is 3D, everything else
is 2D. My idea was that You would have this vast, vast maze, which
would reach as far as the eye could see. Doing it in 3D was faster for
me than to paint all the bits of it by hand, whereas all the other
stuff was easier for me to do in 2D.
good question. My girlfriend is an avid rock climber, and several ofher
friends are geologists, so I get some pretty good feedback on rocks
structures every now and then. I do really find it fascinating to paint
rocks - especially mountains.
It's a matter of a lot of learning practising. There are many online resources for CG education. Personally, I've learned a lot from several Gnomon DVDs. It's also good to know what points you need to improve. I try to force myself outside my comfort zone even when I'm doing personal work as much as I can (and it doesn't always work).
used to, but these days there's hardly any time left for them. I really
grow nostalgic when I remember the times I spent playing hours and
hours of Quake during uni.
In December 2007 I sketched around a single theme for a while as a personal side project. I tried to envision what a huge -vertical- seaside city would look like in a world where dry land is very precious. This city would be situated on a huge pillar in a 'cavity' in the sea; possibly an inactive volcano crater of some sorts.
assumed a level of technology of western European countries around the
seventeenth century... Naturally I had to take some huge liberties with
the actual mechanical possibilities of these constraints to make a city
in a hole in the sea work, not to mention a vertical city.
Initially I made many sketches like the one shown on the right.
My principle idea for this city came down to a (somewhat) harmonious society with huge differences in standards of living. Because flat ground is so expensive, only the super-rich can afford to live on top of the pillar, where the climate is nice and sun-hours are plentiful.
As one descends into the pit, the hours the houses are exposed to direct sunlight daily decrease, making house prices lower, which is why the poorest groups of society live at the bottom of the pit. However, people are not neccessarily unhappy at the bottom, there are still children playing in the water, etc. While there is crime (and more of it in the poorer/lower districts) it's a time of peace, not war.
The sketch on right, based on a landscape study I did in World Machine, shows the colonial-style mansions on top of the pillar in the sunlight. Several dwellings have been built on the edge of the crater as well.
I tried to envision what the whole structure would look like from the sea. In the sketch below I also littered the crater walls with houses to see if that would work. I later abandoned that idea because I wanted to focus all the activity onto the pillar.
Next up: two shots from within the crater, at 100 meters down and 300 meters down, respectively.
At 100 meters down, there is still direct sunlight reasonably often because of the large diameter of the crater. At 300 meters however, things get a bit darker, people have to rely on artificial lightsources (oil lamps and such) more frequently.
The bottom of the crater shows much bounced light from above, children playing on the beaches, and massive amounts of structures on the pillar walls.
I'm currently not working on it, but I might resume some sketches in the future, it was fun to work on, and the response from people online has been rather overwhelming.
As for people looking to break into the industry, keep at it, and persevere. In the end, it's really a matter of "do you want this job more than anyone else does?"
Mostly yes. And when I do personal work, also the mood I'm in.
Project Delta was an ambitious project (a 'next gen FPS') started at my previous employer, Playlogic games. I did about 18 months of fulltime concept art for it, but ultimately it never went into production. I've recently read in an interview with the company CEO that it's still officially on hold, so who knows, we might someday be able to play it.
a few projects lined up for the coming months, but I can't say much
about them as they're all under NDA. Also, I've a few bookcovers coming
out later this year, I'm looking forward to that.
greatly varies. The paintings take anywhere between 30 minutes to three
weeks. How much time I spend on a painting is generally a matter of
context: how much does the image benefit from a rough look or a
polished finish? How much detail do I really need?
generally only use Photoshop. My current hardware is beginning to show
its age, so when CS4 is released, I'll probably upgrade my hardware as
well. I'm really looking forward to having the rotate canvas
functionality in PS.
After what seemed like an eternity of walking in the burning sand, the party halted. There were faint whispers among the tribesmen. When they fell silent, the shaman walked up to him. As he stood close he could smell the potent fragrance of the amber torch clutched in the other's hand.
are here," the shaman said. "You have arrived at Your fourth and final
test: the labyrinth of Tsan-Kamal. As You well know, You will need to
reach the Great Pyramid which lies on the other side. Only there will
You find sanctuary."
A flaming sunset had come, and even in the shade it was still uncomfortably hot. Before him lay the enormous, dead blocks of sandstone that comprised the terrible labyrinth of Tsan-Kamal, flanked on both sides by impassable mountains.
For the first time he felt unsure, relunctant to go forward; he had no idea of the extent of the task that now laid before him. Roughly two times his own height, the walls in the sand blocked the entire horizon from view. He was wholly unable to tell how far he would have to travel into the labyrinth, and once inside his only indication of direction would be the sun, now nearly set. There was no way to perceive the proximity of the fabled Pyramid, either.
All he could see of the labyrinth was the unsettling entrance before him, and several of the ancient wallstones half-buried in the sand.
"It is time," the shaman commanded, "to fulfil Your destiny". He was pointing towards the labyrinth.
He stood facing the entrance. Without turning, he stood and asked "Shaman, how far does the labyrinth reach?". There came no answer. All were silently staring at him. As he started for the entrance, despair took hold of him.
Name: Jesse van Dijk
Education: Masters degree in Industrial Design (Delft University of Technology, 2003)
About my work:
I focus on designing and illustrating environments, scenes, industrial design, vehicles and props for the game and movie industries. Besides this I create artwork for magazine and book covers.
Check out Jesse Webpage
Get more info about Project Indigo
Visit Ballistic Publishing EXPOSÃ‰ 6
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