Steve Wozniak has bought art from him and he’s been published in the digital arts crème de la crème annuals EXPOSÉ 7 and 8. Who is this international artist that lives in the Arizona desert and publishes exceptional future noir and science fiction imagery?
Meet Charles Jacob Dietz in our key interview for this month’s premium edition of the 3D Art Direct magazine, out on the 29th August.
Attached are a few pieces of his work that we’ve quizzed him about during the interview and here are a few free snippets from the interview text:-
3DAD: What first led you into your interest in being an artist and illustrator? Was it an influence at a young age?
JCD: It was definitely at a young age. As a kid I used to drool over the cool role playing games in the window of our local gaming store, so as soon as I was old enough to understand the gameplay I became totally infatuated with them. Aside from actually playing, I loved the drawings like those from the old Star Frontiers game and many others, so before too long I was drawing my own characters, environments and vehicles, all the while trying to emulate the classic style of the great artists who’s work embellished the game modules. Eventually I guess I just stopped playing the games, but continued to draw.
3DAD: What hardware are you using now for your artwork and which software are you using most frequently?
JCD: My main machine is a first generation MacPro – it’s an early 3.0 GHz Dual Xeon model with 16GB of RAM. The best part about it is that it’s a four year old box and nothing makes it break a sweat. I also have a late model MacBook Pro which I used for some precomps, modeling and whatnot, but I leave the rendering and heavy postwork to the MacPro. My primary software pipeline is Poser Pro, Vue 8.5 Infinite and Photoshop CS5 Extended. I also do some basic modeling work which Modo and Cheetah 3D have no problem accommodating. Occasionally I get the opportunity to contribute to an animation project and I get to play in Adobe After Effects – I love making stuff move, but it’s so much more time consuming than working with stills.
Read the full interview in Issue #2 of the premium edition of 3D Art Direct magazine