035: Jesse Toves

Born and raised in Guam, Jesse Toves is a two-time Emmy-nominated and Visual Artists Society award-winning previsualization artist and animator based in Los Angeles. Over his career, he has been an integral part of many well-known cinematic productions such as Battlestar Galactica (2009) and numerous Marvel Studios projects such as Loki (2021) and Moon Knight (2022). Most recently, he worked as a lead for Disney’s Star Wars: Ahsoka (2023) series.

For Toves, the definition of art is complex and context-dependent. He views the term as often misunderstood or diluted in different contexts but finds resonance among fellow artists who view it simply as their creative endeavors. This perspective informs his approach, where dedication to the craft and storytelling takes precedence over conventional labels.

Choosing digital mediums early in his career was a pragmatic decision for Toves, driven by employment opportunities. Despite this, he maintains respect for traditional media, occasionally integrating them into his work to explore new dimensions of creativity and tactile expression. His artistic choices are rooted in a desire to authentically capture themes and narratives, drawing from both personal experiences and broader cultural influences.

The influence of Guam's natural beauty and cultural diversity is evident in Toves’ work. A notable example is his approach to animation working on Star Wars: Ahsoka (2023), where childhood memories of the fluid, playful movements of dolphins informed his depiction of creatures in fictional settings. By grounding his creations in reality and the natural world, he is able to create a dynamic sense of realism and vitality. It goes to say that his upbringing in a vibrant, oceanic environment like Guam has left a lasting impression on his artistic vision.

Reflecting on idols, Toves admires figures like Frank Lloyd Wright and J.R.R. Tolkien, as well as filmmakers who inspire him creatively. However, his perspective on idolization has evolved with time, recognizing that true genius often involves a mix of talent, dedication, and sometimes, luck. This nuanced understanding shapes his artistic philosophy, emphasizing resilience and a steadfast commitment to craftsmanship in an ever-changing artistic landscape.

“In a weird way I always try to see if someone is tough enough for the job - if you can’t handle certain kinds of rejection, this isn’t the path for you. Being able to know what you want from your work is important - do you want to make a living, does it matter that much? Just knowing it’s tough out there is one thing, being tough enough to keep going is another thing entirely. Making art for it’s own sake is usually a one way ticket to nowhere in this day and age, so having an actual marketable skill or better, more than one skill is going to create opportunity.

I will never be the guy who buys you a cookie, pats you on the back and says “Just work hard kid, and everything will be fine.” No. I know plenty of people I graduated with who went on to lives in accounting, finance, teaching, IT, and other fields because art for them was just a means for the world to tell them to do something else before it’s too late. There’s only one way to know if you’re going to make it - and it’s the answer to one question “Is your work as good or better than the people you see doing it everyday and making a living?” If the answer is no, then you better get good fast or do something else.”

— Jesse Toves

Toves embodies a multifaceted approach to artistry that merges technical skill with a deep-rooted appreciation for storytelling and cultural resonance. His journey from Guam to Los Angeles underscores the transformative power of environment and experience on creative expression.

To read Jesse Toves’ full interview, continue reading below. Also, check out his Instagram (@zeustoves) and his website to purchase his artwork, including his graphic novel, Encoding Bushido. Thanks again!

Please introduce yourself and describe what you do.

My name is Jesse Toves and I was born and raised on Guam, majored in art and communications, and I currently work in Los Angeles as a previsualization artist and animator. I’ve been nominated for two Emmy Awards and have two Visual Effects society awards for my work on Battlestar Galactica and Caprica.

How would you define art?

I sort of don’t. it‘s become such a loaded word in so many forums, an appropriated one in others, and sometimes just meaningless in others. When I talk to artists, basically around people who share some kind of notion of the word, I think the word art gets easier to use and yet most artists I know use it to mean “work” or “my work.”

Why did you choose your art form?

Depending on what I wanted to work on, that usually defines the medium. But the art form after all these years revolves around stories or at the very least themes. I chose to work almost entirely in digital mediums very early on - pretty much immediately after college, just because I knew I could get work. I’ve gone back to certain natural media over the years just to shake off the rust but also to serve the idea that sometimes art is a singular thing to certain people who want to own an object, not a file.

How does your background (education, culture, etc.) affect the work you make today?

I’ve told this story before, but working as a lead on the Disney series Ahsoka, there was a sequence that featured what look like giant whales in space. Most of the footage showed them flying like spaceships in straight lines and it felt very static. I remembered that my cousins and sometimes my father would go fishing in small boat off the coast of Guam and sometimes, dolphins would follow us out of the harbor. They move very fluidly, leaping, dodging and really being playful, but NEVER swimming in just a straight line, I felt the creatures in the show should do the same thing albeit on a scale and speed that made sense. That’s just one example, but overall just having the experience of living so near the ocean for so long has affected my perspective.

Who do you idolize?

If we're talking about creatives, I would say Frank Lloyd Wright, Eddie Van Halen, J.R.R Tolkien, and a few filmmakers come to mind. My parents are a cut above all of them of course. But lately idols are hard to come by and harder to hold in esteem for the simple reason that I’ve gotten older and more easily see less genius or ingenuity than luck in many people’s successes.

Where do you get your inspiration?

I don’t depend on that word, I just rest. There’s an author named Steven Pressfield who says inspiration and talent will never lift you higher than just showing up every day and putting in the work. Inspiration is often something that’s enjoyable as an accident and something to watch out for but not something to look for.

What do you do when you're stuck on an artwork or lacking motivation or inspiration?

See above. haha!

What do you like incorporating most into your art?

That depends on the art. In my graphic novels in particular, I love incorporating real world ideas - like my graphic novel, I used actual metallurgical terms to describe making katanas. Or in some of my animation, the real sense of life - particularly in creature animation. In illustrations, I am kind of obsessed with the notion of journalistic perspective - that sense that something important just happened or is about to.

What is something that you add to your art as your signature?

I feel like doing something recognizable as only mine in many of the things I create is antithetical to the statement or the work itself. I’ve worked in journalism and maintaining objectivity was always a challenge. Unless it actually is my signature, there is no “signature.” Make sense?

Take us through your process for making art.

I can’t go through that easily - in animation alone the process is extremely complicated, but everything I do starts with research of some kind. Reviewing past work, asking questions, asking Why, reviewing related materials, talking to people and talking things through. The first part of the process is always pretty simple - gain knowledge.

What do you struggle with the most when making art?

That’s easy - time. Everything I work on - no matter the medium - I know how much time I have and the opportunity cost associated with the work.

What role do artists have in society?

So many people have been far more eloquent at coming up with an answer such that I don’t want to add a bunch of fluff to the discourse. But I really feel like the role, the word and the practice are in constant transition.

What characteristics do you think all artists share?

That I couldn’t say, haven’t met all of them, just kidding. Some artists are my best friends, others I can’t stand to be around for ten seconds. Some of them are the most self aware and benevolent people I know and others are as ignorant and selfish as you’ll ever see. That they are human and did something once that someone, somewhere calls art is probably all that matters in the end.

What’s your favorite place in Guam?

That is HARD to answer. If I had to narrow it down, I would say one of the places that holds more of my fond memories than any other place is the Plaza De Espana and the surrounding areas. I spent so much time running around the Azotea, my mom worked nearby, I used to work at the PDN, Chamoru Village was across the street, Paseo Stadium and the parks nearby - I just spent so much of my life on Guam in those areas it’s enough to make me homesick. But I've seen how much it has changed over the years and it kind of makes me sad.

How has your artwork evolved over time?

Nearly everything these days is so technical - I’ve become as much a technical director as an artist in a lot of ways.

Why did you choose to become an artist?

I actually didn’t initially. I studied journalism in college. I didn’t even call myself an artist for years. Even today I refer to my work more specifically since I don’t just create art for its own sake any more or at all. But the label is convenient for people who have to categorize roles and compensation. I like the work, not the title.

Is your art geared towards a specific audience?

My work in animation is definitely genre based and has a huge demographic and often a rabid and vocal audience. Literally millions of people view the work I do in animation and previz. But my graphic novel, comics etc. - I like to think these are aimed at people who don’t like being treated like children.

Do you have any tips for aspiring artists?

In a weird way I always try to see if someone is tough enough for the job - if you can’t handle certain kinds of rejection, this isn’t the path for you. Being able to know what you want from your work is important - do you want to make a living, does it matter that much? Just knowing it’s tough out there is one thing, being tough enough to keep going is another thing entirely. Making art for it’s own sake is usually a one way ticket to nowhere in this day and age, so having an actual marketable skill or better, more than one skill is going to create opportunity.

I will never be the guy who buys you a cookie, pats you on the back and says “Just work hard kid, and everything will be fine.” No. I know plenty of people I graduated with who went on to lives in accounting, finance, teaching, IT, and other fields because art for them was just a means for the world to tell them to do something else before it’s too late. There’s only one way to know if you’re going to make it - and it’s the answer to one question “Is your work as good or better than the people you see doing it everyday and making a living?” If the answer is no, then you better get good fast or do something else.

036: Luke Scott

034: Angela Paet