Krtolica has been drawing since he was two years old and obviously hasn’t looked back since. By the time he was eight years old Krtolica had already had two national solo exhibitions – something that many perfectly capable adult artists cannot claim.
The young prodigy clearly has a strong fascination, as the majority of his beautiful drawings are saturated with countless different species of every plant and animal under the sun. Like many boys his age, he is also fascinated by dinosaurs and other extinct species, so he doesn’t just limit his zoological artistic adventures to living creatures – ancient flightless birds and early mammals also populate his beautiful landscapes.
Given his fascination with the natural world, it makes sense that the young Krtolica described an interest in becoming a zoologist. “I would have studied animals and published a book about them, but I’m going to draw all of them,” said the young artist. At the time of the profile, his future interests were still open, but hopefully he will nurture and carry his amazing talent with him for the rest of his life.
Source: Dusan Krtolica, Oddity Central via Why don't you try this
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Many creatures, one composition
The drawings in this archive were introduced through a profile of Krtolica as a child. That age should remain attached to that period, rather than suggesting the artist is still eleven. The interesting question is what the early work shows: a sustained interest in animals and densely populated scenes that invite the eye to move from one form to another.
An imagined scene can include both living and extinct animals without being a reconstruction of an ecosystem that actually existed. Likewise, detailed drawing does not establish that every depicted anatomical feature has been independently checked. The artwork and a scientific illustration have related but distinct purposes.
Observation and arrangement work together
The crowded pages reward a change of viewing distance. From farther away, groups of animals create a larger rhythm of dark and light. Close up, individual bodies, feathers and limbs emerge from that pattern. Keeping both views in mind helps explain how a page can contain many creatures without being only a catalogue of separate studies.
For someone learning to draw animals, the useful example is the relationship between observation and arrangement. A reference can help with a particular beak or joint, while the composition determines where that detail belongs on the page. An imagined gathering can bring species together freely; a scientific illustration has a different obligation to identify them and represent their relationships accurately.
Related reading: Rafael Araujo’s Geometric Nature Drawings and the Golden Ratio.
Superb..
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