Andrew jones's personal account.

My parents are painters. I drew a caterpillar in preschool, and the teacher thought it was very special. So he encouraged my parents to give me private lessons and started my career as an artist.

I have been painting, painting a lot of life, which has a great influence on me. I have a lot of time to paint for life, because I live on a farm, and I paint for entertainment. I do have a lot of creative time.

I went to Linlin College of Art and Design in Sarasota, Florida, where I got a bachelor's degree in computer animation. In Linlin, I studied computer animation and Maya, which made me a more efficient concept artist. At Boulder College of Art, I received academic training in classical art from my tutor Elvie Davis, including painting of actors and figures, life painting, eye distance measurement and many theories of colors and shadows.

I spent a semester dissecting corpses in medical school. I spent that time really getting close to these bodies to study anatomy. You really won't forget when you cut the back of the body. This impression is deeply rooted in the hearts of the people.

I came into contact with digital art very early. I remember when I used Painter 1.0, it seemed to be sold in a paint bucket or something. Before Wacom came, I only used the mouse. I remember I tried to use it, but not for satisfaction as a traditional way. At that time, I really integrated markers and pencils, so the original computer program was difficult to compete with it. I remember when the first Wacom graphics card came out, I was still experimenting until 1998 ended. At that moment, I was really troubled by Painter and Wacom. I never really looked back, because at that time I had the desire to use him.

In my school, I found a job with one of my art school classmates, Jason Wen. My job is a personal project called F8. He saw some of my ideas and work and asked me to cooperate. This is my first job as a concept artist, and I am relatively independent in the direction of digital movies. Do a good job of scenery, people, cars and guns-in fact, they are part of the whole universe. "F8" has become a classic school, which originally appeared in the form of SIGGRAPH.

It's really a great experience, because it's the first time I can see my ideas appear in 3D, and I can see the updates and modeling under light waves. I remember that I could draw something and let others imitate it and consider the next level, which was really exciting. Siggraph = Computer Graphics Special Interest Group (American Computer Association), and Painter seems to have some spirit for it. Absolutely the most intuitive program. Another element of a painter is chaos and unpredictability. I just think Painter is more comfortable than other software. In fact, I use this painter to combine with Photoshop most of the time, but if it is painting and sketching, I always use the painter.

Nintendo's Galaxy Warrior has always been my favorite game. I spent a lot of time playing this game in my early years. I moved to Europe because I needed to change my life and work in California. I sold everything, quit my job and became a portrait artist in Europe. I just worked and lived on the streets, traveled like a real gypsy and lived a nomadic life.

This is a wonderful time that lasted for several months. Of course, as the holiday approaches, I am looking forward to going back to see my family. Later, a friend of mine from an art school sent an email. He works in a retro studio. The email said that they were looking for a concept artist for the new Galaxy Warrior game. So I sent my portfolio, and they liked my work and gave me a job. I remember interviewing me on the plane. I drew a picture to show them. I think, you know, they get along well with me, I get along well with them, and I got the job. This is really fast. This is a great job for Nintendo.

I have a lot of real freedom. I am the only conceptual artist in the project, which allows me to control all the fragments very freely. For the whole world, this is an interesting development, establishing a structure between the whole ecosystem and the enemy.

This is also a good job, the internal structure of the predetermined authority. These characters have their own history, and they are all excellent, so I want them to really look like established norms. I also have a job to make it interesting enough for the next generation of players. I think this is a great and creative challenge, and I am really happy to work with them. It was a great experience.

Thanks to Nintendo's project, I won the trust of the creator of the game "Galaxy Warrior" and other artistic directors. I think I got more freedom, because I did. There is indeed more freedom. In "Galaxy Warrior 2" and the final "Galaxy Warrior 3", working with them does have a bigger stage to show themselves. I also participated in the PlayStation version of Galaxy Warrior Hunter.

Conceptual work can make me find more freedom, and creativity will follow.

I came back from Europe and Nintendo offered me a job. I know I have my own position and style. Since then, not only ideas have been constantly, but also work has been going on. The idea is still fresh, and work is a great project and exciting.

Massive Black is an excellent outsourcing studio in the video game industry. There is a big studio in the Bay Area, where there are 15 world-leading concept artists.

I am the creative director there, and I have actively developed many of our own intellectual property rights, including our own video game ideas and other projects. Most of our friends dressed in black are here to pursue their artistic careers. We have created a gallery, displayed and set up seminars. Many of our projects are in the planning or conceptual stage, so I am still very active. When I worked in Southern California, I worked for Nintendo Texas Company. We know many really great artists from each other. Many of these guys also have their own websites, but our idea is to bring the team closer and strengthen communication. So, we began to have more artists. We began to pay attention to the forum system, which is a part of it, but at first, we got a lot of communication. This is the art that we can use to keep in touch and share with each other.

Conceptart is a good place to meet other artists, learn from each other and criticize.

My current plan continues in many directions, but only recently, I bought a brush. I am very active in body painting. I have been painting naked women and other models, circus performers and acrobats. At E3, for a big party like Sony, they hired a group of acrobatic troupes, actors and dancers. This is a kind of conceptual art of making scenes, because you have the conceptual art of structure and brush on real people. So this is the most exciting thing for me recently. I want to engage in body painting in my spare time. It's very similar to the sand painting of Zen, you know, it's the only one that has existed for so long. It's like performing arts. In this regard, I have to take pictures of it with the help of some good photographers.

I have done a lot of traditional work, and now I have done digital work for so long, which is so natural for me. Numbers are great-don't get me wrong. You get light, pixels and energy, which is a beautiful medium, but it makes you want to get more from the tangible world. I really think that painting with liquid and charcoal pen is tactile, which allows you to learn from physical media. I found that the most remarkable thing about body painting is not only that I use real media, such as propellants, brushes and templates, but that I depict life. Everything is so vivid. This really helps to balance all the digital work I do. It really allows you to interact with your friends.

The list of projects I like to do at present is Burning Man and some big festivals, as well as performances. My future plan lies in my project with Massive Black, but I think I have plans to buy some land in the future, and prepare 20 12 outside Costa Rica and the United States. I think I was nearby, and I wanted to retreat alone, away from Maya.