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The magic of Indian mythology and its epic tales takes people by awe and surprise all throughout the world. They are intrigued by it in a way which makes them believers and followers of the same.

Indian Mythology

Considering Indian mythology as an ontological cosmological model, Giampaolo feels that it describes human sense in a poetic manner expressible by art.

 

Kamala Subramaniam’s colourful version of the Mahabharata, explaining the tragic attempt of humanity to elevate themselves from lower individual consciousness to a universal spiritual liberated condition, inspired Giampaolo to create his illustrative versions of the Mahabharata.

Indian Mythology

Before illustrating characters, Giampaolo does an intense research and study about them. He combines the understandings of the characters and the scenes from the explanations of the Mahabharat, descriptions from Bhaktivedanta and Srimad Bhagavatam’s texts and also the interpretations of a sanyasi as some of the information is purely from oral traditions.

Indian Mythology

To have a better understanding of the Indian culture and mythology, he even visited India in 2011. He spent some time at the School of Drama, New Delhi where he had the opportunity to go through the texts about history of Indian costumes. He returned back to Italy with his mind impregnated with details from the past.

Indian Mythology

Hand-Art: An Exclusivity

The difference between hand-made art and digital art is extremely similar to meeting people in actuality and meeting people over social networking sites. The coming in of digital art has not washed away the other forms of art. In the past, there has been a wide variety of expressions using various techniques and these pieces of art have been more dominant than the present day art pieces, barring a few. The beauty of the hand-made art lies in the human touch it has, which is missing from the digital art. It is exclusive in the way that one can feel the surface and texture of the hand-made painting by touching it and also feel the gestures and the strokes used by the artist to create the master piece.

Indian Mythology
Indian Mythology

The Emotional Attachment With the Illustration

Choosing the scene to illustrate is an emotional process for Giampaolo. When reading the book, he reads it rationally while understanding the plot, the tales, the intricate relations and the feelings that the scene expresses. This helps him visualise the story in his mind simultaneously while reading. He illustrates the scene that moves him the most on an emotional front. For instance, the end of Bhishmadev Pitamah on the bed of arrows was something that Giampaolo did not wish to illustrate, but the emotional sentiment that the incident has, which explains the characteristic of a great warrior that Bhishma was, is what moved the artist and got him visualising this scene.

Indian Mythology

Art is Self-Rewarding

He is immensely submerged in a continuous cycle of art production to create works to be exhibited at the end of a cycle. At present, he is working around the idea of “order and chaos”, which starts from a chaotic distribution of colors, followed by carving figures of women, animals etc to re-establish the lost consciousness on known models to overcome the terror of the unknown. A big fan of Indian mythology, he is soon going to start illustrations on the epic story of Ramayana.

 

He believes that one always learns from their mistakes and that practice is the best teacher!

Indian Mythology
Indian Mythology
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Creative Gaga - Issue 49

 

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People don’t buy products or logos, they buy stories, they buy experiences. Believing this, NH1 Design, an integrated branding consultancy has always kept its focus on making a brand more loveable. Here are some of the recently created stories and experiences have been presented.

Stories

Client: MYSCAPE PROPERTIES PVT. LTD.

Services: Naming, Branding and Editorial Design

The Loft is one majestic building that towers over the vibrant financial district of Hyderabad. Designed to form an iconic residential high-rise in the heart of the city. The views and sunlight orientations are spectacular, no matter which side you’re on, or which apartment you book for that matter.

Stories

The Loft’s Jenga-like structure is also an ingenious architectural device that creates a multi-volume experience throughout. Shooting vertical fins and inner glass capsule elevators gives one a breath-taking view of the city, as one travels upward.

NH1 Design was commissioned to develop a brochure and identity that would enable prospective buyers to experience a taste of life in one of their luxurious residential projects.

The Logotype cleverly hints the unique stacking’ structure of the facade, by stacking L&O together.

Stories

The Brochure was designed to be perceived as a photo album, a visual representation of memories the future residents will live. The vertical orientation of the brochure also symbolises the high-rise structure of Myscape Loft.

Published in Issue 49

The Design in 2020! Each year starts with many predictions, anticipations and a lot of hope for bad things to go out and good things to come in our life. The year 2020 has already started with eventful initial months and may hold more surprises in coming times. To understand what’s coming from the design perspective, we featured some of the best design projects from last year. Also discussed a few broad questions like how minimalism will affect our designs or what all an illustrator to keep in mind to be successful and much more.

 

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Creative Gaga - Issue 49

 

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Rusbury is a great example of how to brand a sweet and savouries store in today’s contemporary times. Sukkrish AADDS, a Bangalore based creative agency founded by Shreesh Shankar, gives an interesting twist to the branding (visual identity).

Visual Identity

The Brief and Challenges

Rusbury is a sweets and savouries brand operating out of Bangalore. The brand needed a unique visual identity that would help it stand out from the clutter. The identity also needed to appeal to both, the existing customer and their target audience.

Visual Identity
Visual Identity

The Solution

When you think of a sweet and savouries store the image that comes to your mind is a traditional shop with all its aesthetics. Sukkrish AADDS decided to break away from convention to create a unique and contemporary identity for Rusbury.

Visual Identity

The bold yet simple logo and motif itself is a blend of western and Indian culture with the introduction of the Devanagari script. The colour palette is kept at a minimum with red, white and black. The majority usage is that of white and black, with the red colour judiciously added at places.

Visual Identity

The team makes great use of illustrations to create a feel and mood for the brand. The illustrations capture the very Indian vibrant and cheery vibe. Yet the balance of solid white and red keeps the overall branding contemporary and sophisticated.

Visual Identity
Visual Identity

The final visual identity is versatile allowing several possibilities and scope for play.

Published in Issue 48

A Freelancer’s Life in India! Every day, with a dream of ‘Being Your Boss,’ many creative professionals jump into the pool of freelancing. But many are not well prepared for the life of the freelancer, which brings many challenges along with benefits. So to explore further, we interviewed many freelance illustrators and designers to get answers to the question you should ask before taking the final call of becoming your boss! So, if you are planning to or have already become a freelancer then this issue is a must-read for you.

 

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We go through many interesting design projects each day and find them inspiring enough to be shared further. Projects which have the potential to inspire and spark multiple ideas. So, here are few selected one for this week’s design inspiration, enjoy!

Design Inspiration

The Queen and King Illustrations by Ishan Trivedi

Chilly’s Bottles Collaboration by Marco Oggian

Design Inspiration
Design Inspiration

Type Beast, typography collection 2019-2020 by kissmiklos .

Design Inspiration

GIF Fest II by BÜRO UFHO

Design Inspiration
Design Inspiration

Two illustrations for Atlanta Magazine by Tomasz Woźniakowski

Packaging for Lonson Oil by Soyuz ², Danil Da and Slava Vovk

Illustrations for Yakshagana mandali by Satish Gangaiah

Design Inspiration

Web Experiences – 2019 by Rae Zachariah and Ranganath Krishnamani

Les Déferlantes Sud de France 2020 by Kamil Białogrzywy

Rapscallion Soda© by Daniel Freytag and Greig Anderson

Design Inspiration

Culture Trip – Lisbon Through The Seasons by Adamastor Studio

If you have any of your design project or someone else’s, which is equaliy inspiring for fellow creatives, then share it with us on contribute@creativegaga.com

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Creative Gaga - Issue 49

 

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Just like the cosmos, when you see India for the first time everything seems chaotic and yet every Indian person finds his/ her own order in that hustle which all goes in tandem. Pavan Rajurkar a freelance illustrator based out of Mumbai, capture this Indianness perfectly in his illustrations for many different brands and studios. Some of his recent illustrations have been displayed here.

Natural Ice Cream

Ice Cream from Colaba

Illustrations

Title: Natural Ice Cream

Studio: Drink Water Design, Mumbai

 

The Illustration was created for Natural ice cream, Colaba, Mumbai. As they wanted to capture the feel of Mumbai’s famous place Colaba. For that, the Colaba Causeway has been kept at the centre of the illustration and around it used other monuments like Gateway of India, Taj hotel, and some vintage jewellery shops with details of the architecture.

Also included some of the element which helped in capturing the feel of Colaba like photographers at the Gateway, Parsi people, tourists, pigeons, cats, ferryboats, painters at Colaba and many more small elements. A limited colour palette with a flat colour style has been chosen to create a harmony between so many elements.


Society Masala Tea

The Masala of Indianness

Illustrations

Title: Society Masala Tea

Studio: Black Swan Life, Mumbai

 

The client asked to capture the cacophony of India in a single visual with a unique style of illustration. The illustration highlights the everyday life of India and the contrasting cultures, landscapes, people, actions, cities, flora & fauna of India.

The illustration has been used for Society Masala Tea’s print & outdoor communications of ‘Masala of Indianness’ campaign. The illustration not only sucks you in to find many relatable elements but also perfectly capture the order in a chaos of Indian life.


Culture Trip

City Scene of Mumbai

Illustrations

Client: Culture Trip, London

 

The Culture Trip, London approached to create a timeless illustration of Mumbai for their location webpage of Mumbai. Being a notable landmark or architecture of Mumbai, chose the Chhatrapati Shivaji Terminus (CST) as the central point of the illustrations. The life movement around is being captured with the help of people from different walk of life doing regular chores, buses and taxis and more. Being the busiest time of the city, the dusk is chosen as the time of the day!

The colour palette has been kept limited as a lot going on in illustration. The tone and style are inspiring, immersive, atmospheric and timeless as the illustration could be displayed for many years.

Latest Issue

Published in Issue 49

The Design in 2020! Each year starts with many predictions, anticipations and a lot of hope for bad things to go out and good things to come in our life. The year 2020 has already started with eventful initial months and may hold more surprises in coming times. To understand what’s coming from the design perspective, we featured some of the best design projects from last year. Also discussed a few broad questions like how minimalism will affect our designs or what all an illustrator to keep in mind to be successful and much more.

 

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CURRENT ISSUE
Creative Gaga - Issue 49

 

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User Interface Design has become a force to reckon with in the last few years. It has completely reshaped how we consume technology and interact with machines in ways that were previously unthinkable. UI design is not just a means to appease a user’s artistic sensibilities but is also used to create sticky digital experiences.

As we go into the next decade, our dependence on digital products and experiences grows, propelling User Interface Design into the league of the most consequential disciplines in current times. Let’s see what we have in store in 2020. Here are 8 UI Design trends by Lollypop Design that every UI designer must stick by in next few years.

1. Bold Oversized Typography/ Variable Typography

One of the primary differentiators of advertising today verses that about a decade or so ago is the use of bold typography. The fonts we use today perform the dual task of attracting customers and conveying brand personality. Bold typography has incredible potential when used appropriately and purposefully in the right place and the right amount. Big typography can be used to define visual hierarchy. Nothing brings out the simplicity of design in a minimalist website like bold typography. It provides a sense of visual demarcation to a particular section in your design and draws users’ attention to the message being delivered. Powerful statements in bold used in website headers quintessentially serve as elevator pitches and give most decision-taking information to the user. 2020 will be the year of reckoning for minimalist design and crisp, attention-grabbing headers in bold typography.

2. 3D/Realism Illustrations and Typography

3d designs in typography have been on a wave in the sphere of dimension design currently. From illustrations to topography to data visualisation techniques in the form of interactive infographics, 3d realism seem deeply embedded in UI design for a variety of products. User interactive design is building experiences through which people are experiencing a variety of personal and professional products and software. Augmented reality is pushing the envelope across industries, finding a variety of use cases pre-emptive healthcare, gaming design as well as e-commerce. Simple geometric shapes in an abstract composition are also trending. UI is balancing creative 3d illustrations with ample white space to emphasize bold colours and brand messaging.

3. Augmented / Virtual Reality/ Mixed Reality

A few prophecies around UI design suggest that in 2020 screens will become obsolete. Users will interact with SmartWare and will have experience all around them in the form of Augmented/ Virtual/ Mixed Reality. Immersive user experience without physical device hindrances. Users in this digital age don’t want to just see things— they want to actually live them. Augmented Reality or AR is a set of computer-generated information that can be experienced through tactile movements in wearable devices, which is slowly blurring the lines between virtual and reality. 2019 witnessed virality in the adoption of a plethora of VR & AR experiences ranging from Occulus Rift to Fitbit to Pokemon Go. This is why 2020 is the year in which lifeless and flat experiences are not going to truly make the cut.

4. Low Key Gradients

Too bright and flashy gradients are no longer in trend. Most designers prefer to use very simple and subtle gradients. Minimalism is key. The trend for low-key gradients came from the web along with flat-design. However, gradients are needed in graphic design to give the image volume and “depth”, so you just have to refuse “screaming” colours. Sensibilities of the user have changed in the last decade. Experiences online are a mere experience of our physical existence, which is why technology and art often ape each other.

5. Broken Grids, asymmetrical layouts

Thousands of web pages are accessed by millions of users every day. In order to truly create something that catches the user’s imagination, eCommerce companies have introduced the concept of grid views and asymmetrical layouts. The grid is made of imaginary lines that help layout elements on the page stay in order. The website owners who want to be unique will start implementing a broken grid technique and placing design elements chaotically. Grid views instantly fragmentise the user’s attention and divert it strategic real estate on the web pages. This technique makes websites look more creative and will be the top web design trend for 2020.

6. Micro Interactions

While design solves universal problems, micro-interactions are the delightful moments your users have while using the product. Micro-interactions are critical moments for a product to offer a truly human experience. A micro-interaction can be an animation based tool to collect feedback, assist in the navigation of the site or just create a moment of pure delight for the user. Micro-interactions are tiny enticing moments built into the application, which stimulates a feeling of well-being once it is discovered by users. It is one of the best techniques for giving instant delightful feedback, improve customer satisfaction and increase retention. Micro-interactions are important not from a utility or ROI perspective, rather they increase the stickiness of the product and service and help generate positive word-of-mouth for the company.

7. Hand-drawn Illustrations

There is something really beautiful about hand-drawn illustrations, with all of its imperfections. It always stands out and leaves an impression on the visitors. Maybe it evokes more natural and human-centric feel about the brand. In 2019, we have noticed a repeating pattern in style preferences from clients. They seem to be more attracted to designs/illustrations that have a more organic and human feel.

8. Sound (Google Pay, Paytm)

UI design in 2020 will also see (or rather, hear) sound layers. This refers to a variety of sounds that will be incorporated with UI design, so users will be able to hear them when they are using a website or a mobile app. UI design with sound can add to the experience the user has and can make their journey on the website or mobile app much more enjoyable and pleasant. This trending UI design, however, is currently limited on desktop applications, as it can be quite distracting, but is quite prominent on mobile interfaces.

Conclusion

These UI Design trends for 2020 are not only for satisfying users’ aesthetics requirements. They are highly optimised to provide a greater degree of usability and accessibility to the end-users. A subtle combination of these trends backed with detailed user research will lead to a enriched user experience.

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Creative Gaga - Issue 49

 

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We go through many interesting design projects each day and find them inspiring enough to be shared further. Projects which have the potential to inspire and spark multiple ideas. So, here are few selected one for this week’s design inspiration, enjoy!

Indian Princess Series by Nithin Rao Kumblekar

Branding, Stationery & Website Design for dots&dash by Aditi Dash

12 illustrations for summer Coca-Cola collection by Tania Yakunova

3D Illustration for Mastercard & Changi Airport by Petar Tarka

Illustration for British Council India by Studio Kohl

Website/Animation for IOCO/Biocomputer by Mike

Packaging for Country Chocolates by Muhammed Sajid

Packaging for Säpp by Leta Sobierajski and Wade Jeffree

Illustration for Two Fresh Creative by Prateek Vatash

Actors Illustration by Ricardo Polo

Editorial Illustration for Elle Magazine by Aditi Dash

Packaging for Agua Bendita by Futura .

Illustrations for Dogs for arTTask by Marina Okhromenko

Casual (Character Illustrations IV) by Omar. Aqil

Identity design for Arkom group of the companies by Natli Dreval

If you have any of your design project or someone else’s, which is equaliy inspiring for fellow creatives, then share it with us on contribute@creativegaga.com

CURRENT ISSUE
Creative Gaga - Issue 49

 

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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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Childhood memories and stories are two things we can never let go of. Giving form to characters and shape to fairytale stories, US illustrator Chris Beatrice is the hand behind those wondrous drawings that we read instead of the words themselves. He talks to us about his style and shares his journey.

Feeding Time
Freedom
Moon Path
KooKoo Train Station

CG: We’ve all probably read books that had covers designed by you. What lead to your fascination for fairytales and fictitious characters?

Chris: Really just reading stories as a kid and having them read to me. I still like illustrated stories, even if the only illustration is the cover, because you get a blend of the artist’s vision and your own, both inspired by the actual story. It’s amazing how a great book cover can actually make a mediocre book a bit more enjoyable, because you get some personal identification with the characters and environments in the book.

Down in a Hole
Kolsch Dog
Cicero

With children’s picture books we go a step further and really try to tell the story with the pictures, often adding elements that don’t literally appear in the text, or which hit you more viscerally than the corresponding words.

Lecture at the Swamp
Gulliver
The Skunk

CG: What excites you most about what you do? What homework and brainstorming exercises do you carry out before having a fair idea of what you wish to execute?

Chris: Part of me loves the science of light, form, anatomy, etc. – just using my brain to make something real and tangible on a 2D surface, making real, believable creatures out of a bunch of little marks. The other part that’s fascinating is learning about history, costume, animals, architecture, whatever. I want my pictures to be completely sound in terms of historical accuracy, even if 99% of the audience wouldn’t know the difference. There is so much misinformation out there that I at least want my stuff to be reliable.

Henry
Welcome
Science Room

I also love the feeling of going on a somewhat open ended journey. I never know 100% what I am going to get. I know the kind of feeling I want to evoke, and the story that the picture needs to tell, but it’s not always clear how that’s going to happen. To call it trial and error would be misleading, but it really is like you just need to jump into the picture, try stuff, and respond to what’s happening, what’s working and not working, as well as the entirely new things that happen magically and you’re lucky just to see them and be able to keep them.

Caught
Leaving The Swamp
Gladiator

CG: The stories that you’ve portrayed are famous not just in USA, but worldwide. How do your illustrations and designs cater to the world audience? What elements do you use in order to relate your designs to them?

Chris: I’ve noticed that my work seems to resonate equally in the U.S. and Europe at least. Part of that is as I draw a lot from European folk tales, which is really my favorite source of inspiration. I’m not as into fantasy as I used to be, and though I love reading comics I don’t really want to make them. So my work comes across as kind of classic.

Uncle SamB
Penny waking up late
Penny on the stairs

I just do pictures that I would want to see when reading these stories. But I do very much respect the integrity of different cultures and am extremely sensitive to not simplifying or caricaturing them. If I’m doing an Indian folk tale you can bet I’m going to find out how people in India, at the time and place the story is set, dress, wear their hair, etc., right down to the professions of the characters, their economic status, and so on.

Soccer Girl
Flying Window
Surprise Party

CG: What has your experience been with the advertising industry?

Chris: Believe it or not advertising is some of my favorite work to do. The process is fast and dynamic, and most importantly perhaps, I feel like I am making an image that is going to be around for a long time, and seen by a lot of eyes. We try things, see what works, and if it doesn’t work we talk about exactly why. Often with books, authors think the image is just supposed to literally represent part of the story, but if that’s the case, it’s really not adding anything. Sometimes it’s hard for certain authors to really home in on what a ‘picture’ should be saying.

Stage Fright
Afternoon

CG: Apart from book covers, gaming and packaging designs, how do you plan to take your skill forward into other dimensions? What is your dream project that’s still waiting to happen?

Chris: That’s a tough one! Maurice’s Valises kind of is my dream project. As a commercial artist there is a wide range of possibilities, from being a small part of a huge team (e.g. a concept artist on an animated movie), to being half of a small team (e.g. illustrating a book). I’ve been doing the latter for quite a while now, but at some point I will probably drift back to a larger more collaborative venue. It’s kind of impossible to mix those two – you can’t, for example, animate a feature film by yourself, and you can’t use a huge team to illustrate a picture book.

Alfred
Swamp Things
After the Snow

Published in Issue 24

Illustration For Advertising Special! 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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Vijaya Laxmi exhibits the power that a woman possesses through her illustration series, ‘Devi’, ‘Shiva-Shakti’ and various other series, all are an exploration of her mythological concepts allowing viewers to see beyond the obvious.

Obsession with drawing and painting is Vijaya Laxmi’s genetic code. Pursuing art as a free-time hobby flowered into a passion of extremes where she could forgo sleep to complete canvasses and thus began her creative journey as a professional artist.

 

Also practicing clay modelling, she credits herself with a substantial part in promoting the concept of ‘Green Ganeshas’.

Vijaya Laxmi - Devata or Devi | Creative Gaga
Shivgami

Themed Concepts of the Modern Divine

Sensing and feeling divinity within her and outside of her, she has explored this divinity through her artwork in a modern and contemporary manner. Her work is mostly figurative created using oil and acrylics on canvas in subtle blues and greys, attempting to convey a story.

Vijaya Laxmi - Devata or Devi | Creative Gaga
Saraswati

According to Vijayalaxmi, the female form has allure, grace and beauty emerging from the gentleness of form, the curves – be it the nose, the neck, the torso, the bosom, the waist; the softness of lines of fingers and toes convey a sense of movement. There is remarkable strength in what to the eye looks merely dainty.

Vijaya Laxmi - Devata or Devi | Creative Gaga
Shivaay

Vijaya Laxmi - Devata or Devi | Creative Gaga
Towards Peace

The Devi Series

To convey the message that each female has a different rupa, she has created a series, Devi, which is a reflection of her unhappiness where people see a woman in goddess but not the other way round. Unlike calendar art, she has depicted the various Devi in a simple manner, without the much elaborate attributes of goddesses with heavy ornamentation.

Vijaya Laxmi - Devata or Devi | Creative Gaga
Kaali
Vijaya Laxmi - Devata or Devi | Creative Gaga
Durga

She says that simplicity is itself the beauty of a message: ‘Here She is – now you draw your own meaning, interpret it, but here are my guidelines.’

 

Laxmi in her work is depicted as smiling – as everyone wishes to be blessed by her bounteous grace. Devi Kali’s face projects the anger or rage at injustice. Like Kali, Durga too has a more chiseled face, emphasising their strength, both destructive and creative.

Vijaya Laxmi - Devata or Devi | Creative Gaga
Shivalankaar

The Shiv-Shakti

The Shiv-Shakti series is where she sees Shiv and Shakti as one – separate and together but spiritually one. It is a glorious representation of souls, their quest for merger and the attainment of the moment when they are immersed into each other.

 

Viajaya Laxmi sees Shiva not just in a male form but also a female – the ardhanarishwar. He manifests himself in a complex dual form; the two forms merged in a manner where it is difficult to point where the male form ends and the female begins.