It was precisely in mid-1999 that he began to redefine his direction. It all began with an illustration workshop taught at Jorge Tadeo Lozano University, where he was studying graphic design. Illustration is the area of graphic design most closely related to the visual arts; hence his interest in training as an illustrator.

Then came his first exhibition; A group exhibition held at Jorge Tadeo Lozano University, in which he participated with four other illustration workshop students and with whom he formed the Bootella Papeee group, which would later give rise to a magazine of the same name. This magazine was launched in October 1999 and its purpose was to be a publication with complete freedom of expression and outside the box, covering topics that would engage people in one way or another.

Now comes 2001, a year that represented a great deal in his life, both artistically and personally. The year begins with a meeting of the Bootella Papeee group, in which it is decided to close the magazine while they rethink their perspectives for the future. And February arrives; Andrés continues taking classes at the Taller Arte academy; his artwork is still in an experimental phase, a transition, if you will, between illustration and artwork. This month is key to his artistic future, as he makes contact with the Próximo Picasso gallery, also dedicated to promoting emerging art, but with a unique characteristic: the works are exhibited online.

Simultaneously, his family has acquired a country house near Tabio, a town near Bogotá. Unexpectedly, the magnificent landscape surrounding the house has presented itself to Andrés as the initial source of inspiration to consolidate his work. He feels that his work is beginning to be framed within a purely artistic context and is beginning to move away from the context of illustration.

Until now, he had only used vinyl and acrylics as materials to conceive his artworks, whether on cardboard, wood, or canvas. Now, in addition to the aforementioned materials, he is beginning to use dry pastel, chalk, sanguine, chinese ink, and ecolin. He finds in these latter materials an inexhaustible source of expression, as they allow him to capture and translate with great fidelity the details he sees while contemplating the landscape. Likewise, another characteristic of his work is his handling of small formats, which has given it unity throughout this time.

It is here, according to what he has seen at the academy, that his artwork begins to be influenced by Impressionism, an artistic movement from the late 19th century, led by Claude Monet. In fact, Monet's work is closely associated with the visions of the landscape he has begun to reproduce. He has also been influenced by Paul Klee, a painter from the early 20th century; the forms he conceives in some of his artworks, as well as his treatment of color, are associated with Klee's work.

At the beginning of May, as part of his curriculum at the academy, he exhibits some of his works before the renowned art critic Germán Rubiano, who is positively impressed. At the end of that month, he graduates as a Graphic Designer; However, his artistic calling grew stronger, and he decided to continue on this path. At the end of that year, he participated in two group exhibitions, one at the Sala de Espera gallery and another organized by the virtual gallery Próximo Picasso at the La Pared gallery.