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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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Though we are a country full of festivals all around the year, but this special festivity time of year when not only you change your calendar but also the gifts, family dinners, celebrations and new year resolutions all make it a special time in everyone’s life. Nithin Rao Kumblekar decided to capture this memorable time for the cover of Creative Gaga. Here, he explains his thought process and step by step tutorial.

For any painting, to begin with, sketching is not only the most basic but the most important thing. The whole painting depends on it and can be considered as the backbone of any painting.

 

Here, I have focused on the subject from the top angle with slight fisheye effect. I did some scribbles first and then fine tune the outlines to make the subject clearer for the next stage. For sketching, I use Adobe Photoshop with Wacom Cintiq monitor and several different brushes which give the real feel of sketching with the pencil.

Festivity

I normally use “Hard Round Pressure Size” brush by enabling brush pressure as well as thickness buttons in the top brush control panel. This will serve the purpose of getting the pencil sketch effect. This feature is also useful while colouring.

Festivity

I have kept the main source of light from top hence the play of light and shadows are pretty simple in this illustration. Also, the characters expressions play very well depending on how we choose to place the light source.

Festivity
Festivity

Here, I wanted to get the festivity feel in the entire colour tone. So I chose to get the orange and yellow tone which gives a warm feeling in the environment. The final colour tone can also be achieved even at the last stage by adding just a flat colour layer on top of all layers and then by trying different mode options in the layer pallet. But here, I chose to set the colour tone layer by layer. I did not use any colour filters, as I mostly knew which tone the final illustration should have.

The character colouring steps are shown here:

 

To avoid any spill of colours at this stage, start by creating the characters and the props in different layers. And If you want to colour a specific part without disturbing the nearby object then you need to create each and everything in different layers and then group it under the character or the object name.

 

For example, in this illustration, I’ve created layers for the skin and clothes within the characters. And for the background, there are many layers for all the objects and that is where you may get confused.

When you have multiple layers then the convenient way to work on the desired layer is to hold the control/command key and then click on the part of the illustration that you want to select. The correct layer will be selected and then for colouring, again hold the control/command key and click on the selected layer under the layer panel, this will highlight/select the layer with selection marquee and you can begin the colouring. There won’t be any spill of the colour outside this selection.

After all the characters and objects are coloured it is time for the background light fixes. In these images, you can see the difference as I’ve added slight glow as well as little shadows to make the characters stand out. And finally after completing everything sometimes you might want to change the size of some objects or change few colours. Since we had everything in layers it is easier to do these minor adjustments even at the final stage. I had increased the size of the boy by about 15%. And we have reached the final illustration.

Festivity

I almost forgot to mention one important thing that to always save the file and keep duplicating it. As sometimes, the file might get corrupted due to some system error or something else. But If you have duplicate files then you don’t have to begin the illustration from scratch. So saving is a good habit but duplicating the files is even better. Good Luck!

Published in Issue 35

Festival & Calendar Design! The season of the festival has started and everyone is preparing to have a unique one this time with less cash and more fun. We interview many creatives who create promotional or calendar design each year. As most of the thing around us had shifted to digital, even calendar design and the promotion has shifted. But Yorick Pintos, a strategic consultant at studio Kohl suggests that best option would be to a mix of both, the traditional and digital media. Digital Illustrator Nithin Rao Kumblekar also shared his love for the printed calendars and emphasis on the effectiveness of it. With many unique inspirations, advice and project showcase this issue is a must-have if you are interested in print design & want to understand the future of the same.

 

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Gal Shir is an Israel based self-taught digital artist who creates digital illustrations on iPad Pro using Procreate App and Apple Pencil. He has been freelancing since the age of 16 and later worked with many creative studios/ startups including Promo.

 

He founded Color Hunt, which provides colour palettes with several combinations to make life easy for the creatives. He leads the design at Lemonade, along with consulting and helping entrepreneurs to establish design thinking. Gal has collaborated with brands like Apple, Adobe, LG, Procreate, Affinity, Dribbble, 9GAG, UNILAD, The Bright Side, and more.

 

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