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Brice Chaplet aka Mr.Xerty from France shares his journey and insights as to what it takes to start out and establish oneself as a freelance digital artist and illustrator and create some surreal artwork.

Build Your Own Style to be a Successful Digital Artist!

CG. What according to you are the secrets to becoming a successful self-learning freelance digital artist?

Brice. No secret, it is all about ‘work, work, work!’ You have to practice yourself all the time and concentrate on what you do. In another way, you have to take some risks and explore new ways of creation. But you mainly have to build your own style day after day and stick to it!

Mr.Xerty-Ms-Majestic_Xerty

CG. Where do you feel the digital artist is heading in 2018 as a profession?

Brice. It’s been 10 years since I’m doing this and, to be honest, I at times find it more difficult today than when I started to work and get new clients. We (illustrators, creatives) are probably a bit too many in the market and freelancers don’t get the recognition and exposure they deserve.

 

This may be because people believe that it’s easy to produce artworks since it’s computer-assisted. Also, I think digital related jobs are not so well-highlighted. 10 years ago, Graphic-designer or Illustrator was the thing to do to have a cool job (In my point of view, as a French digital-artist).

CG. What kind of a digital impact do you feel digital design and platforms will have on the next generation and its society?

Brice. We can already be said it’s everywhere around us and it will continue in this way. Youth are born with it and they will see this as a totally assimilated thing and continue to develop it more and more. But we have to keep in my mind that it is important to inject poetry and bring our souls and a bit of ourselves into the pieces we create, else it will lead us to a cold and boring world.

CG. What is the main idea you behind your works and how do you conceptualise the composition?

Brice. It depends on the subject and the style I want to show. My style is very surrealistic and dreamy, with a worldwide cultural touch. I try to tell the story and illustrate my thoughts. I start writing some keywords on paper and a little story like “A little girl flying over flowers on a bird”.

 

Then I’ll draw a basic sketch, after which I’ll begin to work on the composition – first with Photoshop, using pictures I find on the stock website like Adobe-Stock or Deviant-Art or pictures I’ve already taken myself. It could also start from a cool picture (like a portrait) that inspires me and then I let my imagination flow – it’s more unconscious in this case and that’s how I can experiment some new techniques.

CG. Also, what are the main software and tools you specifically use and for what purpose?

Brice. I use a Wacom pen tablet (to draw light and shadows for example) in Photoshop (since the 10th!), which is the main software I’m using to create my artworks. I also use a bit of Maxon Cinema 4D and Adobe Illustrator to create shapes and abstract elements and writings.

CG. How do you suggest other young designers can attain efficiency in their skills and ideas?

Brice. Be open; collaborate; read a lot of books and watch tutorials! Get feedback from friends and also from strangers who don’t know you personally and will be more honest in their critics! This is one way to grow as a person and even as a designer – it all then very naturally reflects and shows in your work.

With the stakes of digital art soaring high in the market, have a look at some of the best Indian digital artists and get-going to be one!

Wanting to give life to your imagination? What are you waiting for! This is just the right time to start out and the right environment to be inspired from!

 

Be it replicating an image of a famous personality or creating other-worldly characters, anything and everything is possible with digital art using a simple pen-tab and digital software.

 

Follow these brilliant Indian Digital Artists and hop onto a journey of unplanned surprises and master-piece outcomes!

1. Aashit Singh

Aashit Singh is a Mumbai-based visionary artist specialising in creating visual representations of the intangible and other-worldly imagery. He feels that realism in psychedelic art is important to be able to relate to these psychedelic visions. Read the detailed article on Constructing Psychedelic Experience! featuring Aashit’s deep insights.

 


Digital Art

2. Ankur Patar

Ankur Patar, a national and international award winner, has had over 13 years of experience in the advertising industry. Accredited with being chosen as one of the best digital artists of India in 2012, he has brands like Adidas, Nike, Adobe and the likes associating him for years.

 

His recent collaboration with Adobe to recreate lost masterpieces got him into the limelight once again. He was one of the only 4 digital artists chosen from throughout the world to recreate paintings using only Adobe stock imagery.  Ankur also shared how does Digital Art help to exceed your imagination!

 


3. Archan Nair

A firm believer of creating what the heart says, Archan shifted from being a fashion major and an entrepreneur to a self-taught digital and visual artist and illustrator specialising in mixed media and digital art. He is now a Germany-based independent Indian Digital Artist with cultural roots from India. Archan calls this artwork as Psymbionic – a digital Illustration of human and the subtler elements of being human.

 


4. Jithin Roda

Jithin Roda is a freelance concept artist and illustrator based in Kerala. His passion for art got him specializing in a wide spectrum of the illustration world like pre-visualisation, concept designing, cover designing and illustrating for posters and topics in general.

 


5. Medha Srivastava

Attracted towards art depicting metaphors and thought-provoking subjects, Medha, previously a gaming artist has been fascinated by conceptualisation, ideation and realism. Concepts and character building have always aligned with the intent of her artwork.

 

Starting out with simple digital illustrations, she eventually moved on to the world of concept art. Social issues contribute to a major part of her inspirations. To be true to her style of art, which she defines as realistic with a tint of stylisation and conceptualisation, she picks up on things she sees in her vicinity like shapes, colours, patterns and textures for the visual representation of her digital masterpieces. She insists on thoughtfully mixing Realism with Conceptualisation.

 


6. Mukesh Singh

Mahabharata, the epic of epics, can be told and retold time and again, still feeling fresh and young to the receptor. Dissatisfied with the earlier visual representations of the Mahabharata, Mukesh Singh took on a journey to explore the characters of this epic through his own style of digital art and with the aim of wanting the audience of today to not just identify and accept the character’s inner selves but their outer ones too, which are external manifestations of their inner selves.

 


characters

7. Nikhil Shinde

Nikhil Shinde, an Indian digital illustrator feels that creating a character is similar to assembling the pieces of a puzzle together. He puts in his heart, mind and soul to create out-of-the-box characters and gives them a twist in a way which takes the audience by surprise!

 


advertising

8. Nithin Rao Kumblekar

Starting out in his career as an art director in an advertising agency in 2005 and having gained some experience in the field, Nithin decided to freelance as an illustrator from the year 2010, with a focus on commercial illustrations. Since then there has been no looking back and he has brands like IBM, Lenovo, Brittania, Idea cellular and alike as part of his clientele.

 

He has also collaborated with global advertising agencies like Saldo Disegni Italy, Kassett Norway, JWT Delhi and Bangalore, Leo Burnett Mumbai, Saatchi & Saatchi Bangalore, etc creating pieces of digital art to be used by them for their promotions and in other areas.

 


9. Pavan Rajurkar

Pavan Rajurkar, a young Mumbai-based freelance illustrator believes that traditional and digital art compliment and complete each other. In spite of being in the digital era, he feels that the mind is directly connected to the hand and a hand-drawn doodle is the strongest way to brainstorm, leading to an idea.

 

Pavan has worked for numerous reputed advertisement agencies and was also featured in Lürzer’s Archive’s 200 Best Illustrators worldwide in 2016.

 


Emotions

10. Pratima Unde

Accepting the challenge to create a unique beauty, Pratima Unde leaves no stone unturned to explore her subject of illustration. Specialising in expressing human emotions, she highlights these in her digital portraits through a particular technique called Giggling.

 

Focusing on subjects which are shy, she spends days with them sitting face to face, expressing the unexpressed, only to discover something new every day. This portrait is of a Joyous Rajasthani, as she likes to call it.

 


Versatile Designer

11. Rahul Arora

Rahul Arora is a Mumbai based freelance digital illustrator. Believing in the fact that versatility plays a massive role in the life of an artist, his spectrum of working typologies in the field of design is pretty wide, varying from illustrating for advertising to character designing, story-boarding, environment designing and comic books illustrations.

 

Keeping his clients in the centre of any project, Rahul feels that the designer is responsible for conveying the idea of the client through the creation of styles matching the needs of the clients; thus the style of the designer is a reflection of the clients’ sensibility and vision!

 


12. Raj Khatri

Raj Khatri is a Mumbai-based movie buff, visual designer and a digital artist who believes and lives by the fact that experimentation is the key to self-discovery. This thought has helped him create some brilliant movie posters and other artwork, only using the medium of digital art.

 

Having had more than a decade of an experience in various sectors of the field of design like websites, social media, flash animations, TV series, films and many more, he now heads the creative team at an entertainment design studio known as Marching Arts.

 


Indian thelas

13. Ranganath Krishnamani

Ranganathan Krishnamani is a free-thinker, an obsessive doodler and has a soft corner for architecture. An illustrator driven by passion, he feels that self-developed style is what contributes to the uniqueness of an artist.

 

With a keen eye for observation and a distinct point of view, Ranganathan captures and expresses the unique stories of simple everyday life through his own developed style of minute detailing in his digital illustrations.

 


14. Seerow Unni

Believing that the core idea of an artwork is to convey the message to its readers, Seerow Unni, a digital illustrator says that every artwork should be considered as a scene of a movie, as it helps in adding the missing elements, thus adding life and giving depth to the scene. Fun and witty humour are the key elements to grab peoples’ attention.

 

To be a part of the community, it is important to keep oneself updated with the latest trends and happenings of the digital design market. He feels that this year the trend is shifting to from complexity and elaborations to minimalism. He says the key is to enjoy the process and improvise at every level.

 


Characters Shreya Shetty

15. Shreya Shetty

Balancing fantasy and realism, Shreya Shetty creates characters dictating a sense of otherworldliness, yet being anatomically and functionally viable. Following certain thumb rules like relating the character to its environment and keeping the background subtle, she has mastered the art of creating original, believable fantasy characters on a digital screen.

 

She believes that the right expressions and poise can create a memorable moment that will stick with the audience even after the story is over.

 


16. Sri Priyatham

Earning his very first commission by turning his bedroom into a studio during his student days motivated and inspired Sri Priyatham to transform his love and passion for illustration into his profession. To have a free-flowing lifestyle and working on his own terms and conditions, he chose to work as a freelance illustrator creating digital art pieces.

 

The social platform of Facebook helped him communicate and promote his artwork and get commissioned. The reach of other social platforms like Instagram, Reddit and Imgur worked wonders for him to get in touch with a global clientele from the continents of America, Europe and Australia.

 


17. Sukanto Debnath

With an experience of living in changing surroundings and different cultures, Sukanto Debnath, a Hungary-based Indian digital artist explores human behaviour and body language through his extensively detailed yet sketchy illustrations.

 

He believes that travelling and exposure to various folk arts and cultures opens up an artist’s mind to think beyond the usual, thus resulting in mature design. The global artist has created this digital painting called ‘People in Groups’ where he expresses the facial features of Hungarian locals and their body language.

 


Illustrations

18. Uday Mohite

Uday Mohite is a digital-caricature specialist and paints characters believing them to be a piece of art! He does a deep research to understand the features that define and describe the subject of his digital illustration and then exaggerates certain components like colours or characteristic features to start a conversation with the viewer.

 


19. Vishnu

With an impeccable passion for drawing and sketching, Vishnu tries to achieve perfection in all of his artworks. With only an experience of a short span of 5 years in the world of art, he has mastered the skills and techniques of digital art in his own way, developing his own personal style.

 

To be the perfectionist he wishes to be, Vishnu puts his mind, body and soul into his work to achieve an intricate level of detailing, which is visible in all his sketches.

 


Vivek_Feature - Amitabh Bachchan

20. Vivek Mandrekar

Currently working as the chief creative designer for movie posters under the banner of Yash Raj Films, Vivek Mandrekar has come a long way from being just a self-taught artist to mastering the art of creating posters for the film industry.

 

Face expressions tell stories and Vivek has captured these different stories of many great legends of the Indian film industry through his digital paintings. One such famous artwork is that of the Bollywood star, Mr Amitabh Bachchan, created using Adobe Photoshop and Wacom pen-tablet.

The transformation in the art styles from hand-made to computerised and digitalised versions is taking the world and people in its wave of craze! This fast-growing art style has its own beauty and charm to capture the viewer, mesmerising him in its aura.

What is Digital Art?

In the era of rapid changes, new solutions and technologies evolving every minute, each higher than the previous, every field and profession is running the rats’ race to grab the new as soon as it can. One such interesting field is the line of art which has been digitalised and is called “Digital Art”.

 

Digital art is nothing but the traditional art form of hand-painting being modified into digital ways and styles of painting. It is an expression of ones’ thoughts, ideas and visions through an explicit medium of digital multi-media.

With a shift in the ticking of the clock from analogue to digital and the advent of computers in the 1990s, artist Sachin Puthran has seen it all, from hand-made tactile paintings and expressions being a physical manifestation of the artist’s vision to the digital paintings now meeting the ever-changing and quick demands of the clients!

Art From Pencil to Stylus

Indian traditional art has been practiced since time immemorial, accredited with famous art pieces. In the present day, with extremely talented artists pervading in every corner of our country, there are various representations of this traditional art in the form of digital art, defined by the individuals’ interpretation of the same.

Ranganath Krishnamani, took on to create a series dedicated to Thelas, the moving supermarket on Indian streets. Using his unique style of digital drawings, he expresses different kinds of thelas, from the ones selling chaat to ganne ka ras and barf ke gole, bringing out the smile and happiness on the readers face, similar to their reaction on seeing an actual thela!

Indian thelas

Inspired by the imbalanced and irregular environments, Satish Gangaiah expresses his interpretation of this traditional world by placing his protagonist in this pandemonium. He uses an urban-influenced illustration style in his digital art and the colours add a realistic touch to the frame.

Wonderfully Chaotic

Read the detailed article on Capturing Wonderfully Chaotic World of Today!

Digital v/s Traditional Art

Switching over to digital art does not mean that the importance of traditional art forms of painting and sketching is lost or being forgotten. In fact, the truth is that the traditional technique of hand painting and sketching is what forms the base for digital artworks. A good command over hand drawings gives an artist the necessary push to explore the hidden treasures of digitalising their illustrations.

Pavan Rajurkar, a freelance Mumbai based illustrator has captured some of the very typical traditional scenes of the Indian culture like a fish market in his digital paintings, yet conveying the essence that a traditional painting would.

Get a clear understanding on Traditional vs. Digital, Sides of The Same Coin

When it comes to the world of contemporary art exhibitions, hand-art has taken a back-seat paving way for the digital art, which has a magical effect on its viewers. It is growing tremendously, in terms of the message it wants to convey and also in terms of the size of the art, ranging from a small screen of a smartphone to being projected on huge walls in museums and art expos and also experiencing it through the medium of virtual reality.

 

With the growing awareness of people and the pace at which digital art is sprouting, clients definitely want the latest and original. Working for a wide range of clients demanding diverse typologies, Rahul Arora, a digital artist is a living proof that versatility can definitely up one’s game in the field.

Versatile Designer

Brands like OLX are definitely breaking the traditional stereotypical thought process and moving forward with time by hiring digital artists like Nithin Rao Kumblekar to do a campaign for their advertisements rather than doing an actual shoot!

advertising

The advantage of being digitally artistic is that it opens a lot of doors to try out new things and create versatile outputs, visualise your imagination in different styles and modify all of this instantaneously with just a few clicks.

The Scope of Digital Art in India

The introduction of the pen tab has made life much easier for these artists as it gives the same feel of drawing on paper, but electronically!

 

The variety of styles explored in digital art is tremendous. The styles of digitalising vary from two-dimensional still-drawings on pen-tabs, graphic illustrations, photo-montaging paintings with images and creating image collages to graphics animations for multi-functional uses and are further extended to three-dimensional digital canvases using software like Corel-draw, Cinema-4d and possibilities of virtual reality.

Artist Medha Srivastava defines her style as realistic with a tint of stylization and conceptualization. She picks up on things she sees in her vicinity like shapes, colors, patterns and textures for the visual representation of her digital masterpieces.

An Indian-origin Germany-based illustrator Archan Nair’s digital artwork is influenced by the mysteries of our everyday existence and has also extended out to the realm of virtual reality.

The scope of digital at in India is not just limited to using digital tools to create paintings to be hung on walls, but is reaching out to the everyday life objects used at home. Illustrationists are being hired right at the start of a project to create customised digital designs in tandem with the overall scheme of a project.

For instance, Chumbak as a brand in collaboration with various artists has digitalised India’s environment through colourful and playful illustrations adaptable to various products ranging from home décor items like coasters, mugs, bags, cushion covers and laptop sleeves to personal products like t-shirts, accessories and even footwear! The digital art here gave it a scope to reach out to everyone through its online and offline medium.

Digital Art India

Digital art in India isn’t just a platform for the upcoming generation of artists to reach new horizons with their talent but also gives an opportunity to the tradition established artists to try out new things with the latest digital tools. In a way, it is a medium to revolutionalise the art industry of the country by representing the minds’ visions through a merger of the traditional techniques of art with the digital media.

 

With the digitalisation of everything in the future, this art form will surely go a long way in encouraging talents of all age-groups to expose their creativity. Social platforms like Behance, Instagram and Facebook are motivational and promotional sources for artists to publish their digital work, get noticed and step into the present day market of art and its likes.

 

Digital art today has captured the world in its long and stretched arms of beauty and creativity. The present level will definitely be escalated to newer heights in the future making each and every being its captive.

 

So strap your seat-belts and be ready for an enjoyable roller-coaster ride in this new realm of creations and explorations.

Kevin Roodhorst shows us through the process he adopted to transform a stock image of the Buddha into one that represents the mysticism and divinity the being represents.

Classic Image to Supernatural!

The stock photos that were used were bought on shutterstock.com. Working step by step on the image, aspects of mystical dimensions were slowly developed by adding external elements, colour balance, textures and the likes, thereby providing a supernatural quality to the overall imagery of the enlightened being.

Transforming

Step 1

This was used as the input image for the project. The main idea was to bring forth the underlying aura or vibe of holiness and divinity to the otherwise straightforward imagery that can be seen over here.

Transforming

Step 2

Started with masking the Buddha statue with the brush tool in quick mask mode. Once masked, a hole was created in the middle of the concrete pieces that had to be placed on top. This served as a base for the process that was to follow.

Transforming

Step 3

Here, the concrete pieces were integrated together and some shade was added to it, as well. The shade was made with curves. In the same way, the colour of the concrete was also adjusted with the colour balance and curve layers.

Transforming

Step 4

On top, a nice water stock photo was placed with some rocks on the side. It was then adjusted to tone with a curve layer, further adjusting the colour with a colour balance layer. The layer itself was set to screen mode while, for the central portion, an underwater cave stock photo that had been set to screen mode was used.

Transforming

Step 5

A nice looking coral stock photo was further picked up. For the basic underwater look, a solid colour blue adjustment was used on soft- light. The same solid colour was used for integration of the diver’s layer on soft-light along with some curves for the highlights and shadows.

Transforming

Final

A boat and some fishes were also used around the coral. The most important part was to make it look underwater, which can only be done by making it hazy i.e. brushing soft paint strokes of blue around the Buddha and lowering the opacity by quite a bit. Also, the particles around the Buddha brought a lot of realism. These are just tiny white dots with a lowered opacity and some gaussian blur applied. To make the Buddha look old, a lot of textures was added on top of it. Used cracked ground stock photos, likewise, were set to multiply or darken.

Issue-42-Cover

Published in Issue 42

Every designer wish to be independent and willing to jump into the word of freelance but most of them unaware of the fundamental challenges of the initial phase. So, we dedicated this issue to freelancers and interviewed some established and talented designers to dig deep for the expert advice. Kevin Roodhorst on the other hand, an experienced freelancer from Amsterdam, has recently shifted to be a full-timer with an Agency says “Freelancing is not all roses!” and shared the best way to survive as a freelancer! So, whether you are a freelancer or planning to be one, this issue is a must-read. Go ahead and order your copy here or subscribe to not miss any future issues!

 

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Real is believable. But abstract teases the imagination. You don’t have to choose one of the two while creating. Mixing reality with abstract is the way to go according to digital artist Ankur Singh Patar. Whether it’s creating a portrait or manipulating a photograph, the digital art is capable of going as far as your imagination can take it. He shares what to keep in mind when working on the digital medium.

Digital Art
Digital Art
University of Queensland
Digital Art
University of Queensland

Let your artwork play the guessing game.

Realism, disguised with abstraction, makes for an interesting artwork. Abstract art has no boundaries, no set of protocols and no clear message. The fun part is that even though you’ve created the piece with a certain subject in mind, every viewer will comprehend it according to their thinking and imagination and arrive at different conclusions. Realism is important because it helps to connect with the viewers.

Digital Art
Harp and Rabaab
Digital Art
Pandit Ji
Digital Art
Campaign for Adobe

The challenge is to re-create the already-created.

When a famous personality is your subject, it’s important to think beyond how others have portrayed him/her. It gives you the chance to surprise not only yourself as an artist but also the audience. Doing some research, like going through some of the best creative works on the subject, is always recommended. You’ll notice that most portraits are hand-drawn sketches or paintings. That’s why exploring the digital medium can work wonders as it gives you limitless scope and opportunities to experiment.

Digital Art
Anom
Digital Art
God of Small Things
Digital Art
Femina Illustration
Digital Art
Festival of Colours

Creating digital portraits makes your work stand out. It also allows for the beautiful creation and merging of abstract elements along with unique colours. Now that’s different!

Digital Art
M.S. Dhoni
Digital Art
Rafael Nadal
Digital Art
Roger

Colours are the protagonists.

Our subconscious mind is capable of communicating with colours. After all, they are the expressions of our emotions, feelings, thoughts and moods. That’s why, most of the time, you’ll find that the colours you chose were done without a thought. Sometimes it’s better not to plan them and let them be spontaneous. However, sometimes they need to be monitored with respect to the design. A primary colour is an important ingredient as it sets the mood. Including a splash of contrasting colours supports and emphasizes the message and feeling which are embedded in the design.

Digital Art
Scent of a Woman
Digital Art
Udda
Digital Art
Ghagga

A colour on its own is incomplete.

Colours are like a language. Like certain words hold different meanings when used in different contexts, so do colours. You can use the same colour to represent smile in one artwork and laughter in another. It’s how you combine it with other colours and look at a painting as a whole to tell the complete story.

Digital Art
The Catwoman
Digital Art
Djokovic
Digital Art
Surjit Patar

Photo manipulation is not an easy way out.

Using real photographs in your artwork and building around it is equally challenging. You need the right photographs to begin with. Once you’ve got it, you start planning what effect or things you want to do with it. The best way is to work along the way and alter your design a numerous times before you finish. You add an element and then may be tomorrow when you look at it again, you replace it with something better. That’s how your design grows and a photograph evolves from a subject into a story and finally becomes a piece of art.

Digital Art
Stairs to Heaven
Digital Art
Mad Scientist - Lenovo
Digital Art
Prison Break Fan Art

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. So, go ahead

 

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The world of design is huge and every client’s need is different. As a versatile designer working for a broad spectrum with regards to commercial requirements, Rahul Arora is able to push his boundaries, explore more styles and learn in the process.

The ubiquity of the Internet and digital technology today has opened the door to the myriad of opportunities. As, the online platforms are transparent and great to showcase one’s work while discovering the work of others worldwide.

Versatile Designer
Koi Fish
Versatile Designer
Lazy Sunday Ride
Versatile Designer
Santa
Versatile Designer
Lovers

Style of the designer is a reflection of the client’s sensibility and vision. 

With diverse projects and context, each client has a different agenda and every script has its own requirements. Sometimes, the sensibilities of the clients vary too; some have a clear vision whilst some want to develop by working in tandem with the artist. Therefore, the foremost step is to discuss the script/ project with the art/creative directors to get an understanding of how they visualise the final product. Latching onto their concept, a versatile designer has to create styles portraying the same.

Versatile Designer
Castle on the rock
Versatile Designer
Sneeze

Characterisation is pivotal in a narrative. 

A characterisation is a gradual process that first involves understanding few pre-requisites before delving into its creation. As, context, appearance, ideology, and age are some of the factors that must be thought out prior to creation. So that, the exaggeration of these features amplifies the ‘key qualities’ which evoke interest. Relating the surrounding with desired detailing to enhance and portray the protagonist’s role conveys the storyline.

Versatile Designer
Minister of Universe
Versatile Designer
The butcher

Tackling different avenues.

Working on comics is like making a movie where you can convey stories through illustrations and words by generating it frame by frame. Studying the human anatomy and expressions is a must for a compelling narrative. Creating arresting illustrations that appeal to the readers, is challenging and a test for artist’s imaginations.

Versatile Designer
Drunken Monkey
Versatile Designer
Lift

Storyboards are the pre-visualisation of a story/film/ad-film. Here much importance is given to the character placements and the angles rather than the colour schemes in the suggested visuals.

 

Advertising, on the other hand, is completely distinct. With tight deadlines, the challenge is to prioritise and achieve the required quality in the given time frame.

Versatile Designer
The imp
Versatile Designer
Vampire

Colour schemes and mediums have their own charm.

They play a major role in bringing a story to life and convey the important aspects in the composition to set a mood of the narrative. Traditional mediums such as oils, poster colours, pastels, watercolours and pencil sketching often allow the designer to hone his skills and learn the intricacies.

 

When working commercially, a digital medium is much easier and straight-forward to execute. As you can easily start with a quick thumbnail that gives a glimpse of the idea which then can be elaborated to form the layouts and finally, pencilling and colouring it in Photoshop can be done post the client’s approval.

Versatile Designer
The Passenger
Versatile Designer
Demento

Published in Issue 39

As the festivity is all around, every brand or business is trying to impress the Indian audience. But what really works for us Indians? What is an Indian design? And how we can make designs for India? To understand it, we interviewed some Indian creatives who are successfully creating designs for the Indian audience. Neha Tulisan, the founder of NH1 design, highlights to understand how we Indians live; how we grew up; and what moves us emotionally. Whereas Mira Malhotra, founder of Studio Khol, emphasises on the difference of Western and Indian Sensibilities.

 

This issue of Creative Gaga is a light read for someone looking for inspirations or insights on Indian design and how the Indian audience can be enticed. So go ahead and order your copy or subscribe if you want to keep receiving a regular dose of inspirations!

 

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Sachin Puthran was there when it all happened. It was 1995; the time of hand-drawn illustrations, airbrushed finished images and cut-paste typesetting. Digital was slowly coming in, bringing with it a generation gap. There was an air of fear in the older Art Directors as the younger generation, fascinated by Mac user interface, was already learning software. Below, he takes us on the journey of an Artist, from then to now.

Art From Pencil to Stylus
The Yakshangana Performer

The Analog Age

The earlier generation was blessed with the passion and experience of using the tactile medium. It gave the true satisfaction of working on various surfaces using different media and styles. Everybody knows art back then was a luxury, a rich passion. “It was larger than life,” says Sachin “where expressions were a physical manifestation of the artist’s vision. People travelled to view art in public spaces. Getting to see and meet the artist was truly an experience of joy and inspiration. Nothing came easy.”

Art From Pencil to Stylus
The Coconut Tree

Art for Art’s Sake

According to Sachin, traditional artists still swear by the smell, the touch and the feel of the traditional medium. That’s because they seemed to have understood the sensitivity and developed a purist approach to Art. They were the ones who stuck to the medium and rejected the so-called ‘digital medium’ that was going to take them by surprise in a few years. But the fear had set in.

Art From Pencil to Stylus
Waiting

 The Advent of Computers

The arrival of first generation computers in the early 90s opened a Pandora’s box for visual artists to explore the slow but responsive medium. Reminiscing about those days. Softwares were slowly heading towards capturing the artist’s imagination. Suddenly the advantages and disadvantages of painting digitally were getting clearer. The needs and demands of clients started changing fast. For the first time, the clock was ticking digitally. Everything that was wanted tomorrow was being delivered today.

Art From Pencil to Stylus
Ramanuj

The Magic of Cinema

This was the time when technology was ahead of its users. Hollywood started using high-end Visual Effects or VFX and changed the art of storytelling. “There was only a thin line of difference between science fiction and realism. Software and hardware could now do magic. The Internet made downloading a popular new phenomenon. Suddenly there was a paradigm shift.” During that period, the world was changing and not everybody was able to keep up with it.

Art From Pencil to Stylus
Work in progress Mumbai

The New Millennium Generation

A creative visualising power was not enough to survive in this era. Art Directors were required to know paint and design software as well. That’s how visual grammar changed over the years, as designers incorporated photo manipulation techniques and digital retouching to create surreal imagery. “Every software upgrade brought in more features and capabilities,” says Sachin, “so much so that one day, artists were lost and filters were in.”

Art From Pencil to Stylus
JijamataUdyan Mumbai

More Clutter

The designer was engulfed by the software in the next few years, as they relied more on software and less on their skills. “Ideas were driven by styles that were possible quickly on digital. Tactile sensitivity was lost and the rat race had truly begun.” Sachin tells us. “Social media added to the confusion, as it allowed designs to be circulated and critiqued by everybody.”

Art From Pencil to Stylus
Indian Wedding

Art gets Interactive

Slowly, design in digital was opening out and was exploring new ways of touching people. The design didn’t just involve the designer, but his audience as well. New media and installation art were new storytelling techniques. Tagging and annotating gave new dimensions to Art. “Suddenly so much more could be done.” He adds.

Art From Pencil to Stylus
Waiting

The Birth of the New Artist

“Equipped now with the latest gadgets, the artist was truly getting the best.” says Sachin. iPads and ‘apps’ for almost anything you wanted to do; from calligraphy to typography, were a finger click away. Everything was on the ‘cloud’ and the artist was now ‘virtual’.

Art From Pencil to Stylus
Daily Hard Work

So, Where Next?

Now is the time to think beyond. If you can imagine it, you can create it. There are endless possibilities and that should keep us all busy for a long time. But the trick today is to be open to the world and yet always do your own thing.

Published in Issue 20

Pencil or stylus? Paper or touch screen? This is just a start to the long list of questions that are swimming in every designer’s mind today. They say change is the only constant but has digitalisation really taken over the traditional methods? Would there be a time when the pencil will be forgotten forever like writers have forgotten a fountain pen?


We discuss the issue with famous Indian designers and try to understand what they think. This issue also has some very talented and unique designer like Sachin Puthran, Raghava KK, Ramanjeet Kaur and Pavan Rajurkar got featured along with much more. Mr. Xerty and Amrei Hofstatter came with unique interpretation in our MadeIn section.

 

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The enchanting portraits of Anna Dittmann evoke different emotions. It is a right blend of real emotions showcased in a dreamy, whimsical setting using delicate detailing with natural elements. Here, she gives us an insight into her creative process and discusses how one’s passion can be moulded to create striking designs.

Enchanting Natural Portraits
Oil
Enchanting Natural Portraits
Chalice

CG: Your illustrations are mystical portraits with delicate detailing which is heavily influenced by natural elements. What fascinates you to utilise these elements in your illustrations?

AD: I love the beauty and unpredictability of nature – it perfectly complements the human face. Most of my work consists of portraits because I enjoy depicting characters and emotions. I often draw inspiration from movement and organic shapes by fusing abstract natural elements. Environment evokes a sense of mystery which is very appealing. Therefore, I tend to create soft pieces with a combination of graphics and realistic elements.

Enchanting Natural Portraits
Spore
Enchanting Natural Portraits
Ink

CG: As a digital artist, what aspects of the tool attract you the most? Do you like to work in the traditional mediums as well?

AD: Digital art gives you the freedom to make as many studies/mistakes/finished pieces without wasting materials. When it comes to working with traditional mediums, I have recently enjoyed using pastels, watercolours, and oils for personal studies and I try to incorporate the textures of these to bring a spontaneous effect in my art created digitally too.

Enchanting Natural Portraits
Petal
Enchanting Natural Portraits
Camouflage

CG: What are the key points that you take into consideration when developing an idea into a design?

AD: With the portrait as the central aspect of my work, rendering and detailing facial features is the key. I love observing unique features and painting beauty that might not be traditional, but still striking. Through my art, I hope to inspire a sense of otherworldly beauty and mystery. The balance of a realistic figure within decorative surroundings is an aesthetic that I love and often try to apply to my work.

Enchanting Natural Portraits
Myriad
Enchanting Natural Portraits
Orb

CG: Your portraits illustrations are realistic and evoke emotions. How do you manage to do so? Are there any specific tools/ elements that you incorporate?

AD: Many of my portraits deal with liberation, release, and the search for a dream state. Perhaps because that’s what art is to me. Painting is therapeutic. I create my works digitally using Adobe Photoshop CS6 and my trusty Wacom Intuos 3 tablet. Mainly use a chalky brush throughout my process, as well as various watercolour textures that I’ve found and made for a traditional feel. Normally, I start with a vague concept in mind and sketch out my idea in black and white. After tweaking the composition, values, and being generally nitpicky, I start seeking out references and refining my sketch. Next, I start throwing in textures and add colour using layer modes. Toward the end, I detail the piece and call it a day.

Enchanting Natural Portraits
Dawn
Enchanting Natural Portraits
Bauhinia

CG: How has formal education in Art and Design helped your process or creations?

AD: I attended the Savannah College of Art and Design in Georgia and received my Illustration BFA in 2015. I loved being surrounded by creative people with a similar passion for art, who pushed, taught, and inspired me on a daily basis. I think the greatest benefit was learning more about the business side of illustration through my professors who had practical experience and making connections with other artists. However, I find that art school is really what you make of it and not entirely necessary for an artistic career (aside from those majors that require a degree). In the end, I feel that most growth occurs by the time and effort you’re willing to put in for improvement, as well as being driven by self-initiated projects.

Enchanting Natural Portraits
Tigress
Enchanting Natural Portraits
Duo

CG: How important is a colour palette in design?

AD: Over the years, my style has become more muted and monochromatic. I’m drawn to works that have colour restraints and which emphasises the atmosphere. Muted hues can often lead to greater balance and provide cohesion throughout a piece. There’s a delicate vintage quality that can result in limiting a colour palette. The colours I choose are inspired by flora, fauna (particularly insects), and other artworks. Even though I tend to start in black and white and prefer limited palettes, adding hue is my favourite step. After seeing an inspiring colour scheme, there’s nothing I want to do more than paint.

Enchanting Natural Portraits
The-Forgotten-Tale-of-Larsa
Enchanting Natural Portraits
Felis

CG: What aspect of illustrating excites you the most?

AD: I love everything about art and get very excited about every project I undertake. I love all the emotions that art evokes in me; it could be the rush when something is going well or the frustration of working for hours with no fruitful outcome. It is the thrill when I find a beautiful artwork, the overwhelming feeling that turns my frustration into inspiration. I consider myself so lucky that people have given me opportunities to create art both personally and professionally.

Enchanting Natural Portraits
Flood
Enchanting Natural Portraits
Fragment

CG: What is your advice to budding artists?

AD: When you love what you do, the process involved and the experience, it will definitely show in your work! Be disciplined; draw every day even if it is just a little sketch. Introspect and understand the elements that attracts you the most and what you personally enjoy creating. By doing so, your own voice will emerge. Look for possibilities and gain an online presence to showcase your work; never stop making lots of wonderful things (whatever that may mean to you).

Enchanting Natural Portraits
Soul Breather
Enchanting Natural Portraits
Beverley

The realisation of your idea doesn’t have to be technically correct, but it has to look authentic and believable. That’s how your stories find their way to the heart and mind of the audience. Gaming Studio Grafit Studio shares tricks that make learning this art easier.

Fantasy Stories
Official
Fantasy Stories
Dancer

Almost all stories are alike.

That’s the hard truth, however creative you think you might be. Therefore, the challenge is to present them differently, make them special in some new way. One needs to strive to make made-up stories come to life, to make a beholder believe in whatever is happening on the screen. This trick is not the easiest thing in the world, but it’s worth learning. As soon as you have an idea of how the details work, it becomes easier to ride the whirlwind. Understanding the very core of the subject gives an ability to create believable lighting, surfaces, materials, etc.

Fantasy Stories
Asian Varior
Fantasy Stories
Pathfinder

The plot comes first.

No matter how great your character is, with the poor idea, it is a lost cause. Even super-tough attitude and superhero outfit won’t conceal the weakness of a raw plot and poorly written dialogues. A good plot’s purpose is to reveal something about the characters, confront them with thought-provoking choices, throw them in a situation where their personality gets exposed. The appearance, costume and other details follow this core theme established by the overall plot.

Fantasy Stories
Fantasy Stories
Lamia

Good work is all about skill and sense.

With tools evolving, it’s becoming easier and faster to create art. But the availability of improving tools doesn’t cancel the importance of knowing what you’re doing. Without skill and sense, it’s impossible to create good, an eye-catching image with its depth and atmosphere, regardless of what tools you are using. The core idea always comes from inside. No matter which medium you are using, the basic sense of colour, anatomy, perspective and other skills are must-haves. It’s important to be mindful of technology and style while you create. Sometimes you can give your idea a boost with a proper combination of tools and skills, resulting in a better outcome.

Fantasy Stories
Golem
Fantasy Stories
Gladiator

Published in Issue 15

In this issue, we invited leading Gaming professionals to share their inspirations along with their suggestions to improve the Gaming Art in India. Featuring some of the big names of Gaming Art like Vinay Vikram Singh, Sandeep Menon and Neeraj Menon along with Internationally renowned Russian studio, ‘Grafit Studio‘ and many more talented creatives. So, go ahead

 

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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

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

AJ: 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.

Android Jones - Consciousness
Android Jones - Consciousness
Artumnal

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

AJ: 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.

Android Jones - Consciousness
Unify
Android Jones - Consciousness

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

AJ: 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.

Android Jones - Consciousness
Dharma Dragon

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

AJ: 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.

Android Jones - Consciousness
Union
Android Jones - Consciousness
Sporeganesha

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

AJ: 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.

Android Jones - Consciousness
Save One Planet Poster

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

AJ: 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

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

AJ: 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
NIiza
Android Jones - Consciousness
Lightening in a Bottle

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

AJ: 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.

Android Jones - Consciousness
Deux Machina
Android Jones - Consciousness

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

AJ: 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
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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