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Art is an abstraction of the waking world, says Android Jones, the digital artist. As he explores his consciousness and finds visuals for his fantasies, he dwells between love and fear to create a body of work that is “One unending love story”. Excerpts from a conversation where he talks about his art, ideas and everything in between.

Android Jones - Consciousness
Union
Consciousness
Boom Shiva
DUB FX
Android Jones - Consciousness

CG: How do you perceive the relationship between art, artist and the world they are in?

Android. Human creativity is one of the most precious resources of our consciousness. As we look back at history, great art has always been the fulcrum point from where we measure the value of our humanity and the crucible of our evolution. Art helps us relate and reflect on the relationship between the invisible world of our consciousness and our dreams and makes it visible for the physical world. It acts as a bridge between the inner and outer realities that can share and evolve collectively.

Electric Love
Android Jones - Consciousness
Artumnal
Consciousness
Shambo
Consciousness
Tiger Shopify

CG: How much of this connection exists in your art? How has it evolved over the years?

Android. The creative process is an expression of my love of life and a service to my friends, family, and community. Fear of boredom or lost opportunities of using the gift of creativity keeps me active. This friction between love and fear always inspires my art. I am attracted to images that carry a spiritual or emotional significance to create a landscape that the viewer can form their own narrative around.

Consciousness
RAM
Consciousness
Shiva

Consciousness
Trancendia

CG: Where do these images come from? And how do you make them coexist in your artworks?

Android. Instincts guide the selection of images. I am naturally drawn to certain shapes, colours and patterns. It could be an arrangement of clouds, a unique tapestry on the wall, anything. Often, I look for the visual-fractal relationships between objects. For example, the spirals of the milky way or of a hurricane reflect the spiral seed pattern of a sunflower. I can look at the branches of a tree in wintertime and see the ventricles in the human heart. At the core of our neocortex is one of the most advanced shape and pattern recognition technologies. It’s the duty of an artist to take advantage of this gift of recognising the intrinsic relationship between all things. And art is an amazing medium through which one can express this concept.

Juna Akhara Naga
Android Jones - Consciousness
Dharma Dragon

CG: But do your viewers relate to the connection in the same way you do?

Android. My artworks are not the stuff of galleries or museums, but the interior of human imagination. The works I create are only crude snapshots of other realities, digital seeds that take root through the rich soil of the neocortex in order to inspire dreams, visions, ideas and emotional connections through the viewer. Art is really a visual crystallisation of consciousness. So, the more developed ideas you have, the clearer that idea comes out in the artwork.

Consciousness
Post Primal Scream
Android Jones - Consciousness
Sporeganesha
Consciousness
Pareidolia
Moksha Release

CG: Isn’t it also a mastery of technology that complements the idea?

Android. Human evolution is predicated on the advancement of our mastery of tools. All tools are first born in our imagination. They are essentially only a physical extension of our imagination. The advancement of our creative tools marks a furthering of our creative evolution. It gets really exciting when the tools we use expand our ability to imagine greater things and then give birth to further new techniques and new tools.

Magnus
Android Jones - Consciousness
Save One Planet Poster
Mellow LIB

CG: What role do technology and tools play in your art?

Android. I often dream in the current software that I am using. I don’t dream in brushes or paint anymore. My consciousness has completely embraced my technological counterparts. As we approach a technological singularity, digital hardware and software have the potential of advancing at a rate where it may be impossible for one mind to keep pace. This is going to open up new horizons of potential that no artist has ever anticipated.

Android Jones - Consciousness
Galactivangel
Android Jones - Consciousness
Picaflora
Light Field Rendering
Humming Dragon

CG: Where do you see digital or concept art moving?

Android. I believe that our thoughts and our dreams are electrochemical impulses. I see digital art moving into a space that will eventually bypass our meat fleshy extremities, Artists in the future will be able to ‘paint’ visual images, thoughts, dreams, and emotions directly into each other’s consciousness.

Android Jones - Consciousness
Android Jones - Consciousness
NIiza

Android Jones - Consciousness
Lightening in a Bottle
Android Jones - Consciousness
Deux Machina

CG: Does that imply live art experiences? How is it different from the traditional sit-and-draw ones?

Android. One of the significant differences is when making an image I am encoding my time and my life in a series of strokes and pixels. People ‘experience’ it but it’s a much more isolated series of moments. As an ‘experience designer’ you are not making paintings of people, instead you are making people your paintings. In a studio setting, you have total control over temperature, lighting, sound, silence, atmosphere etc. In live performances, I have to completely surrender control of all of these factors. My solitude is then replaced with thousands of other people. Human transformation is the final creation.

Emergensee
Android Jones - Consciousness
Consciousness
Tiger Durga

CG: With Digital art going through such a dynamic phase right now, what advice will you give to aspiring digital artists?

Android. It is important for all aspiring digital artists to recognize how profound the opportunities are in this moment of time. Never before have artists had access to such a plethora of information and tools. The future of art is not digital painting, but how we develop a creative relationship with the emerging tools around us. The boundaries are begging to crumble around us.

Android Jones - Consciousness
Unify
Android Jones - Consciousness
Fertility 2.0

Published in Issue 14

We dedicated this issue to Digital Art where we explored the connection between our dreams and imagination and how the flexibility of technology can be used to document that. In his exclusive article, Android Jones explains the broader perspective of digital art. Featuring Ankur Singh Patar, Archan Nair, Harshvardhan Kadam and Aamina Shazi Arora, every article discusses how each of them has an individual way of working and yet they all look at life beyond the obvious to appreciate it’s beauty.

 

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Creative Gaga - Issue 49

 

For innovation and originality one needs to break-free from the herd mentality. With design and aesthetics as its core, FutureDeluxe, headed by Andrew Jones & James Callahan, is a design and motion studio that is in constant pursuit of aesthetic innovation with every project it undertakes. Here, they give us an insight into some of the crucial aspects that makes them tick in the industry.

CG. With a wide array of projects from varied industries, what is your creative process like?

FD. Today’s commercial timelines are tight and short, therefore, exploration of new styles and production outside of projects is paramount; to gain knowledge beforehand to bring in a unique approach towards the project. Our creative process is different with every project that we work on, we strive to experiment and innovate every single time.

CG. How do you keep your team updated with the newest technology/ techniques and how does the research enable an innovation in your work for diverse clients?

FD. With a broad spectrum of in-house designers and a bigger community of trusted partners and freelancers, the FutureDeluxe family in itself is the key to our diversity. Our interests within the company remain broad and we are always on the look-out for talented artists to collaborate. It’s that collaboration and mix of styles and techniques which keep it interesting for all of us.

CG. What are the challenges faced when creating moving, live-action narrative?

FD. The approach is very different. When working with CG and digital technology, it gives us an opportunity to approach the project in unconventional ways. It allows us to explore and change direction regularly within the project timeline. We are essentially designing and experimenting all the way through the process which means we often stumble on looks and techniques which are happy accidents. However, working with the latest equipment and technology for experimentation or innovation also means a huge financial outlay on a regular basis!

With live action and more narrative based projects, the planning and scripts are written in advance and the production process follows a strict timeline and storyboard, especially with live shoots. You can’t experiment on set as much as you do in a studio!

CG. How important is aesthetics in story-telling?

FD. We are a design-led studio and aesthetics plays a major role in visual story-telling. However, we are aware of the wide variety of aesthetics prevalent in the industry which seems disposable in today’s age with the limited time span. Therefore, we strive hard to create something challenging, which has never been done or seen before, to make it more memorable.

CG. Apart from motion graphics, which are the other domains that your studio would want to explore?

FD. Emerging technology, films, and digital backgrounds are the key aspects of how we work and the style of work we want to make. Unintentionally, over the last two years, a majority of our commercial work has been CG based. This year we have been working on more data-driven work for a TV Chanel and a digital product brand. We are currently working on large-scale installations for two automotive brands as well.

CG. Experimental design is all about pushing the boundaries of technology. Can you cite one example from your body of work?

FD. We always try to do something new with every project undertaken. We used a great technique in our latest project, OFFF Titles where live action macro footage was used to drive a particle FX system. This gave us incredible results.

Our procedural approach to all of our design work is the same where we create these techniques which are computational with varied results, while a more traditional and linear approach will give you only one outcome. These unexpected and varied outcomes are interesting and what excites us the most.

CG. Apart from stunning imagery, your designs visually connect with the audience and are successful in exciting the mass. What are the key points for consideration to achieve this?

FD. I think when you achieve to create something that’s new and original in today’s saturated content channels, it will always connect. Creating a reaction, good or bad is better than no reaction at all. We put our heart and soul into our projects and hope that it connects and resonates with people.

Published in Issue 40

We all have favourite TV shows and we passionately discuss the stories and characters of it. But sometimes, we tend to ignore the channel and its branding. Now with many different channels to choose from, we are experiencing many new branding overhauls to grab the audience’s attention. In this issue, we focused on Motion Graphics design and people behind some awesome channel rebrandings.


If you are interested in moving design or animated content then this issue is a must-read for you!


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CURRENT ISSUE
Creative Gaga - Issue 49