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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

 

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Imagination is the greatest form of flattery and for a designer; it doubles up as a way to pay homage to legends, icons and inspirations. Illustrator Shesh Kiran created the caricature portrait of flute maestro Pandit Hariprasad Chaurasia. He explains how.

Portrait
Portrait

Step 1

Started the rough sketching with new file of 300 dpi resolution. I used the tablet pen for this sketch with the various brush sizes from 25 to 30.

Step 2

Create a new layer below the sketch layers and filled it with black colour. Kept the fill opacity to 62% which makes the rough sketch partially visual.

Step 3

Added a new layer and started filling the flat skin colour in this layer. Also added another layer for colouring the clothes.

Step 4

Used new traditional texture brushes to detail the hair, eyes and skin tone. Airbrushes were used to bring shades and highlights of skin.

Portrait

Step 5

Further worked on the skin using ‘transform’ from the brush presets to lighten the skin and to create the softer tones using airbrush.

Portrait

Step 6

From the reference image collected the cloth colour palette to bring the real life feel. With the airbrush started detailing the clothes with the selected colour palette.

Portrait

Step 7

Gave a final touch to artwork using various opacity and ‘flow’ on hands, fluet and background as per the requirment to bring the depth and lighting. Hence arrive at the final portrait artwork.

Tools Used:

• Adobe Photoshop

• Wacom Bamboo tablet

• Airbrushes & round brushes for painting.

Published in Issue 21

Branding With Packaging Special! They say not to judge a book by its cover. But they also say that exceptions are always there. There’s no doubt, branding and packaging are the faces of any business and product. They decide the way people will receive the brand; whether they will accept it or reject it. To understand and gain more perspective on this much-unsolved mystery, we invited many branding and packaging experts who throw light on the topic.

 

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The real world is rich in experiences. But the one created by our imagination has greater possibilities. Inspired by the latter, Ishan Trivedi lets his brush loose when he goes on a fantasy drive to create captivating and surprising works.

Imagination
Happy New Year 2020
The Witch

At times, things that don’t exist inspire you the most.

Artists inspired by fantasy usually create a world of their own through their work. It is like the window to the soul and mind. If one wants to create realistic art then photography is the best manifestation of the real world. But beauty lies in showing people what they have never seen before, or rather something they have never even imagined.

Imagination
A pop-up book of adbenture of Hindu's blue God Krishna
Imagination
A pop-up book of adbenture of Hindu's blue God Krishna

It’s about crossing the horizons of imagination each time to discover something untouched and unseen. Artists are lucky today, in that, they don’t belong to the Renaissance, Realism, Romanticism or Classicism era. Now is the era of experimentation.

Ganesha and Mooshak
Ganesha and Mooshak
Ganesha and Mooshak

Imagination has no rules.

Ever wonder why most of us are amazed at a child’s imagination? That’s because it is unrestricted and free, because it follows no rules. In other words, it doesn’t go through a reality check. Same works for a true artist. Because imagination takes you where no one has gone before, it is a strong base that an artist can use to take his work beyond the ordinary.

Imagination
Imagination
Imagination

Imagination has no rules.

Ever wonder why most of us are amazed at a child’s imagination? That’s because it is unrestricted and free, because it follows no rules. In other words, it doesn’t go through a reality check. Same works for a true artist. Because imagination takes you where no one has gone before, it is a strong base that an artist can use to take his work beyond the ordinary.

Imagination
Imagination
Raja & Maharaja's Character Designs

Imagination is something very personal and one can’t design according to the point of view of the audience. Successful art works the other way around. The art must be such that it gives the audience a totally new perspective.

Illustration for a book about Krishna from Scholastic
Illustration for a book about Krishna from Scholastic
Illustration for a book about Krishna from Scholastic

Where there is a character, there is a story.

When you imagine a character, you imagine it in a particular setting and context. Knowing the concept is important as it brings out the right characterisation. How else will you know who is the villain or the hero? Hence, story and character are never mutually exclusive; they are both present to complete each other .

Nimboda (A Magical Tale of India) - A Picture Book
Nimboda (A Magical Tale of India) - A Picture Book
Nimboda (A Magical Tale of India) - A Picture Book

Colours have a language of their own.

We may not realize it too often, but colours have been communicating with us for a long time. The ‘Tiranga’, for example, where each colour stands for something to make the flag meaningful. Colours have natural associations and psychological symbolism. The fact is that people feel comfortable when colours remind them of similar things. Like a shade of blue triggers associations with the sky and a psychological sense of calm and tranquility.

Illustration for 'The Enchanted Prince'
Illustration for 'The Enchanted Prince'

Owing to such importance that colours have for people, successful design requires an awareness of how and why colours communicate meanings. The point is, colours have acquired the ability to define any mood or contrast. Hence, a good sense of colour is important because it helps to define art physically in terms of shade, saturation, hue, tint etc. by giving it a deeper setting.

Illustration for 'The Enchanted Prince'

Light defines form and texture.

Otherwise, how do we know the difference between metal and glass? That’s why, lighting and shading is an important tool for artists to give definition to objects and bring the differences out. Sometimes, the colours of light and shade help create an illusion too. Such a treatment also gives an overall mystical appeal to the work, making it look dreamy and fantasy-like.

Illustration for 'The Enchanted Prince'

Beauty is the best experience for the senses.

No doubt, an idea is very important for making any painting, sculpture or illustration. However, aesthetics is also as important. Because it is the perfect kind of knowledge that senses can experience. It is what people first take notice of. In order to captivate the audience, an artist must beautifully present its final work. For that, an artist must ensure a lot many things. There must be a sense of balance, keeping in mind the proportions, colour combinations and arrangement of elements that give art its final aesthetic appeal.

Imagination

Published in Issue 05

With some of the best illustrators to political cartoonists, this issue covered independent Indian Design language.

 

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Digital and Ball-point artist, Shital Verma, tells us about his process and idea behind creating portraits of renowned individuals from various fields and what exactly it takes to bring out what they symbolise or stand for as personalities. In other words, highlighting their unique stories which make them a recognizable face.

Stories
John Hurt
Wolverine
Amitabh Bachchan

CG. How do you conceptualise the use of lines and textures in your works and how do you execute them?

Shital. To begin with any drawing or artwork, I look at the character first and what kind of lines or textures justify the artwork; whether it’s a ballpoint pen drawing or digital drawing, and such other aspects. Lines and strokes, in particular, are my priority. All this helps me gain a clear picture of how I want to further proceed with the conceptualisation and execution.

Capturing the Stories Behind Every Face!
Clint Eastwood
Bob Marley
Shahrukh Khan

CG. What fascinates you most about the stories behind every face while creating portraits?

Shital. I choose some distinguished characters for portrait paintings, such as Salvador DALI, Zohra Sehgal, John Hurt, Ranbeer and many more. Their expressions with which they get naturally or symbolically associated with over a period of time are what tell their on-screen and real-life stories to the audience. I mostly try to represent and portray their charisma in my works, in the best possible way. In Virat Kohli’s portrait (on page 38), for example, I tried to bring out his toughness and determination through lines.

Haruki Murakami
Stories
Tiger Shroff
Ecstatic
Stories
Lata Mangeshkar

CG. Which software and tools do you mainly use and how do you apply them to achieve the desired effects?

Shital. I mostly use a digital pen tablet (Wacom Cintiq), as well as pencil and ballpoint pen, as my favourite tools. For digital artworks, in particular, I use Photoshop and Painter. Today, there are a great number and variety of tools with diverse functions that are easily accessible and available, so it all depends on what needs to be executed and in which manner.

Virat Kohli
Zohra Sehgal
Stories
Joaquin Phonix
Stories
Old Lady

CG. What is the main intention you wish to achieve through your work?

Shital. Being an artist, I mostly do it for my own satisfaction, while sometimes I get the opportunity to create something for the newspaper or for a friend request. Subjectivity is what essentially lies at the crux of any form of art, which is why there is no ‘right’ or standard answer to why we do it. The process itself is as gratifying as the result, if not more. So, in my case, the idea is to attain fulfilment within myself through my work.

Portrait of Ranveer Singh
Portrait for Rajnikanth
For Geet Chaturvedi's book

CG. What according to you are the most essential elements of creating portraits and how can one master them?

Shital. In my opinion, the eyes are the most essential part of the portrait and 70% to 80% of a portrait’s character comes out right when the eyes are drawn accurately. Yet, it does not mean that mastering the skill of drawing the eyes allows one to compromise on the other aspects as they too are equally important to add to and complete the character.

Deepika Padukone
Tom Alter

CG. What would you advice others young designers who practice a similar line of work?

Shital. My advice to young artists is to do more and more sketching and life study, structures, nature study apart from your digital work. Sketching is like ‘Riyaaz’ – the more you sketch, the finer the artist you become. The scope to create is wide open, much like the horizon; all one needs to do is stretch and deepen their vision, for the sky is the limit.

Birthday Gift
Jeff Bridges

Published in Issue 43

With the changing weather comes the season of Interns, with fresh new energy everywhere. With this comes dilemmas like where to intern and how to get selected in your favourite studio. So to bring little more clarity on current market trends of selecting the right interns, we interview some of the well-known studios to find their ‘Secret Process’ of selection.

 

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Gone are the days when Illustrators used to take the back seat in the advertising world. With things today, they’re emerging as the forerunners of some amazing and memorable communication that is being recognized. No doubt, clients, like OLX and Docomo, are exploring this valuable asset with Nithin Rao Kumblekar.

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Namaste India Milk, Agency: ADK Fortune Communications Pvt. Ltd.
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Urbanrise, Agency: One MG, Chennai
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advertising

Contacting an illustrator for a TVC shoot might not be something we hear of everyday, but when OLX got in touch with Nithin Rao, it was a wise decision. The client wanted a campaign that would carry forward in print as well, and thus, saving time and cost, decided to get the shoot illustrated. Simple to look at, but the task was a challenging one for the artist. The OLX team had asked him to create every object separately in the layout so that they could pick each one later, according to their needs. Thus, the illustration required Nithin to create every object completely even if it was overlapped by the objects.

Wall graphic for Sulekha.com
Wall graphic for Sulekha.com

Wall graphic for Sulekha.com
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When Docomo demanded an illustration route for its exciting print campaign ‘The bedtime stories’, Nithin knew it would be storytelling through single visuals. Without over complicating the visual, he worked carefully with shadow and light to establish humor and wit using relatable scenarios. To give the story a setting, subtle placement of props were used, like the placement of a kid’s drawing book, school bag and water bottle with a fish on it.

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Client: Killer dryShampoo, Agency: Makani
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Client: Killer dryShampoo, Agency: Makani
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Client: Killer dryShampoo, Agency: Makani
advertising

Published in Issue 24

Gone are the days when Illustrations would take a back seat. Now, they are becoming more proactive and are evolving the way we communicate. This time, Creative Gaga focuses on how the advertising world is opening its doors to this exciting form of design. Featuring renowned Illustrators like Chris Beatrice, Nasheet Shadani, Vijay Kumar, Gabriel Mareno and much more, this issue promises to leave no page unturned!

 

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Gone are the days of drawing a portrait using pencils and brushes. Digital is the new canvas and Photoshop is the new tool. Digital Illustrator, Vivek Nag is fascinated by ‘Sadhus’ and here he takes us through the making of a portrait using Photoshop.

Portrait

Step 01

The first step is to make a rough patchy sketch of the character. It’s best to do this using a chalk brush or special Photoshop brushes which are meant to replicate a traditional look on the digital canvas. The lines mostly trace the shadows and/or contours of the face as seen in the image.

Portrait

Step 02

Taking the rough sketch as the base, the next step is to start making line art. This is made using the pressure sensitive round hard brush to create thin and to the point lines. Detailing is important in this step. Building upon the rough chalky sketch is beneficial. When satisfied, hide the sketch layer to proceed.

Portrait

Step 03

The next step is to start with the colours. Irrespective of the colours being used in the portrait, it’s best to dim down the background. This offers contrast and a better understanding of how bright the colours that are being used in the painting actually are. The next step is to make a palette of colours using the original image. Depending on the intricacy of colors in a photograph, it’s advisable to make a palette of 5 to 8 colors. In this case, a palette of six colours was used. It’s best to select colours in such a way that for any other shade or tint you require, one’s ability to create that using a combination of the set colours in the palette. As seen above, start filling the composition with patchwork. Using flats helps launch into the fray of the painting.

Portrait

Step 04

Taking the previous step forward, it’s now all about concentrating on detailing. Smaller brush strokes are employed as well as the colours being used are more varied. Notice how the freedoms of the strokes have become a little more restricted here. The line art acts as guiding points and this is the stage where it is put to most use.

Portrait

Step 05

Minute details start from here. The eyes are the most important part of a portrait. A lot can be conveyed from the eyes. For the most natural look, one needs to make the eyes detailed and relatable. The blending of the strokes also starts from this step. As is evident in the image, a certain level of ‘rawness’ is maintained with every stroke rather than applying a smooth blend. Keeping hints of patches provides a natural feel, especially on the skin. Also, one needs to keep the sheen of the eye in mind that is executed with a simple brush stroke, keeping minimal blending. The more striking the sheen, the better the eye tends to look.

Depending on the intricacy of colours in a photograph, it’s advisable to make a palette of 5 to 8 colours while performing a digital sketch.

Portrait

Step 06

The next step is replicating the previous steps with the lips and beard. Here, treat lips the same way skin near the eyes was treated. The beard however forms a rather tricky part of the portrait. The beard is mainly just brushed strokes with hardly any blending at all. The direction and the thickness of each stroke matters. For example, the brushes below the lip and at the origin of the beard are thick, whereas the strokes in the beard are rather fine.

Portrait

Step 07

The prior two steps are repeated on the remaining parts of face. The sides of the face are left undone because it will add on to the next steps. There are still many strokes on the face which are strongly patchy and look undone. However, this adds to the composition. The parts of any illustration with the most amount of detail and/or contrast attracts attention first; in this case, the eyes.

Portrait

Step 08

Once the face is done, this is where one needs to start working on the background. Against the already set dull gray background, start putting horizontal strokes with fine art brushes. The colours used are part of the portrait itself – reds, yellows and whites. This enables the background to compliment the main subject of the painting and establishes a flow to the composition. But also remember not to steal the focus from the subject by using colors that are too vibrant.

Portrait

Step 09

This step is called ‘The Haze’. This is where the focal points and edges are merged into the background. For example, the yellow ochre on the forehead is transformed into a form of smoke (haze) which drifts away from the head. This is still done using fine art brushes. Along with that, more horizontal strokes have been pulled around the beard and hair. These strokes are pulled in about 30% opacity and serve to blend the edges till the background looks like a part of the subject itself.

Portrait

Step 10

The last and final step is to add a layer mask. This is where curves are applied to the artwork. This is where contrast is also added to the painting. This helps the shades to pop out and there is a lot more depth than there was before.

Published in Issue 22

This issue is dedicated to the talented design graduates who are not just looking to work but seeking experience in order to realise the greater goal of life. The issue features various designers from India and abroad. Kevin Roodhorst from The Netherlands realised his goal so early in life that propelled him to start his career as a designer as young as 13. To name a few talents we have Vivek Nag from Fine Arts from Rachna Sansad Mumbai, Simran Nanda from Pearl Academy New Delhi, Anisha Raj from MAEER MIT Institute of Design Pune, Giby Joseph from Animation and Art School Goa and many more. This issue gives a fresh perspective of talented graduates and their unique approach to design.

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Kevin Roodhorst shows us through the process he adopted to transforming 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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Tapping into a world that’s wonderfully chaotic, digital artist Satish Gangaiah integrates new-age technology with traditional art to bring out the central and common pursuit of his core project – people.

Wonderfully Chaotic
Light Me a Dream
Wonderfully Chaotic

For the series, Urban Contours, Satish steps into the shoes of the personalities, transforming each chosen subject to more approachable characters. Wonderfully Enigmatic people with endless emotions feature in every artwork.

Wonderfully Chaotic

Wonderfully Chaotic

All characters enjoy their own space, their own perspectives in this world. They all stand alone with their own different stories and perceptions.

Wonderfully Chaotic

The urban influenced illustration style paints interpretations of the world while the colours bring honesty to the frame. Gaining inspiration from various imbalanced, irregular environments, the protagonist is always put amidst the middle of this pandemonium.

Stranger

Journey

All characters are made to be expressions of their strong personalities, displaying what they believe in and what they are. With a look and feel that gives credit to the world around us, the common story running through every creation fluctuates between freedom and just being ourselves.

LSD Smile

Published in Issue 13

Coming from a country of stories and storytellers, Indian animation professionals are sitting on a gold reserve. Yet, we are miles behind the Western world. We spoke to few leading names to find out the reason and understand the Indian animator’s sensibilities and practices The house unanimously opined that we need to develop more original ideas and also create exclusive stories for animation, rather than going the other way round…

 

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Finding the modern in the ancient is a matter of vision and desire, to renew the old in such a way that is thoroughly transformed in not only its form and look, but its very fibre and perception. That is what illustrator Omar Gilani prefers to do through his rather fascinating interpretations.

Ancient Future
Desert Warrior Aunty.
Ancient Future

CG. Your range of work bears contemporariness as a trend that seemingly defines or represents your style. What inspired this concept and what is your idea behind it?

OG. I wanted to show what I want to see (more like giving a perspective into one’s outlook, interpretations, and perceptions). Science fiction or fantasy typically falls into very western tropes, and the subcontinent is usually ignored in those regards. That was frustrating, for me – that no one was depicting how this region may look in the future, and so I decided to give it a shot in my spare time just for fun.

Ancient Future
Pindi Boyz.

CG. What impact or effect do you intend this ‘contemporary’ or ‘modern’ element to have upon your audience?

OG. I just wanted to show that it is possible to create such kind of visuals and interpretations through such representations of everyday objects, many-a-times easily taken for granted. If anyone can look at my work and feel motivated to do something outside the box for themselves, I’d consider that a huge win for myself.

Ancient Future
Sitaar Player.

CG. What inspires you as subjects for your depictions?

OG. Just everyday things I see around me inspires me as subjects, and I easily find them worthy enough to take shape as depictions. We have a pretty rich culture and ancient history, and to wonder, visualise, interpret and finally depict how that would evolve – or not – in the next hundred to two hundred years is a rather interesting and exciting task.

Ancient Future
The Bounty Hunter.

Ancient Future

CG. What role does lighting have in your illustrations, and how do you approach and apply it?

OG. Lighting has a rather significant role in any realistic illustration. I use lighting to determine the initial composition of a piece. Dividing the canvas into simple black and white shapes to see if all the various aspects are harmonious, helps me do that. The lighting in the shot helps guide at this step, and it does go on further to play a huge role throughout the development of the piece as a whole.

Ancient Future
Smog City.

CG. How do you conceptualise what you depict?

OG. I have a fair bit of back-story for the world I’m depicting, and so it is a matter of combining a certain scenario with that back-story. Artistic elements like colours and lighting play a role in conceptualising, composing and finally executing a shot to create the final image. I approach it as thinking I’m creating a screenshot from a movie.

Ancient Future
Inner City Tourists.

CG. What kind of improvisations or changes would you like to intend to bring about in your style?

OG. I’m learning to work with 3D these days, and it’s already hugely improving my flow of work. An essential change that I would like to make is to just get better at showing what’s in my head i.e. depict more clearly and precisely the image that is conceived in the mind, such that it is represented effectively on canvas. Although, it must be noted, that is a lifelong, constantly ongoing and evolving journey.

Ancient Future
Panorama1.
Ancient Future
Departure.

Published in Issue 38

With this issue, we try to explore different views from many well-known studio owners and senior designers. While Anthony Lopez of Lopez Design shared tips on what a studio looks for in a designer, Mohar Ray from Codesign highlights the key aspects that play a significant role and make the difference in whether you are hired or not as a promising designer. Also, this issue has an insightful article on ‘Branding with reason and love’ from Itu Chaudhuri, founder ICD (Itu Chaudhuri Design) along with Siddhi Ranade, explaining his tools of story telling through his unique style of illustrations. This issue is a must read for a talented graduate to a branding expert. Order you copy and enjoy reading it!

 

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CURRENT ISSUE
Creative Gaga - Issue 49

 

Senior art director Vineesh Viswanath explains how music has always influenced him to create the illustrations.

For Vineesh, being in the creative field has been a childhood calling. He has always been obsessed with colours, shapes, lines, strokes and the method of using them together to create illustrations. The different facets of fine arts have fascinated him, and it made sense for him to embark on this journey.

Music plays a huge role in Vineesh’s life, and that is exactly what is depicted in this art series. It inspires him and keeps him going, and this art series is a small way of appreciation towards music. The thought behind this minimal style is to bring focus to the musician, the instrument, the musical language, and the many ways of expression.

In the world of music, it is just about the musician and the expressive vibrations created through the sound, while everything else fades away. Vineesh tries to reflect the same through the simplicity of the art style. The colour palette is carefully selected to tune out the noise, yet show the vibrant emotions that music evokes in us.

Illustrations

Vineesh believes the different softwares used are simply tools that aide in the creative output. For him the objective is to tell a story that touches a chord with the audience. After deciding his story, he tries to find the best way to depict it through various tools.

Illustrations

His career thus far has witnessed numerous changes in trends and styles. Art styles change, and in the process it changes mindsets, lives and emotions, through stories. He feels, lately experimentations have been welcomed in the creative field. If you put your heart into the work, it will always resonate with a certain audience.

The world is constantly evolving, believes Vineesh. He hopes in this age of experimentation artists explore ideas and designs that reflect their own vision, even if it finds a niche audience.

Illustrations
Creative Gaga - Issue 46 - Cover

Published in Issue 46

This issue is focused on, how to design for kids, bundled with articles full of inspirations, advice and unique point-of-views from the veterans of the animation industry, illustrators, photographers, artists and many more. So, order your copy or subscribe, before print copies run out and enjoy reading this issue!

 

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