By Carlos Augusto Chamarelli
Hi everybody! PK here and it’s book-reviewing time! As you probably know by now, Titan Books has released another tome of paleoart earlier this year in May 20, and once again Earthling Nature was offered a chance to get a copy and review it for everyone’s delight. What happened, however, is that the timing was a much unfortunate one with the World Cup messing absolutely everything in Rio, so I haven’t actually received my copy yet (at the time of this writing), but I did receive things that were posted in May these days, so I’m still hopeful.
Fortunately, I have a PDF version which I could read while waiting, so my impressions written here are based on that; it just means I can’t praise the paper and illustration quality and such as much as I did previously, but bear with me anyways.
The new book in question, entitled The Paleoart of Julius Csotonyi, is a little reminiscent of Titan’s previous book on paleoart, Dinosaur Art – The World’s Greatest Paleoart, released in 2012 (and which you can view our critique right here), the difference being that instead of being a collection of works from 10 paleoartists, this time it focuses solely on the art – and some biography – of one of them: the Hungarian-born, Canadian-raised artist Julius Csotonyi. You know, like it’s said in the title.
I’ll start right off the bat saying that Csotonyi’s work is much impressive and definitely was one of the highlights of Dinosaur Art, so I think he is indeed one of the prime choices for a book solely focused on his work, and the text also provide interesting insights on these works as well as rather inspirational accounts of his rise to paleoartistic success. I mean, creating dinosaur murals for a museum? That’s some paleoart-nirvana right there.
Like Dinosaur Art, the book is full with beautiful artworks depicting prehistoric life from many time periods, some small and some spreading though pages as they should be to enjoy the details, plus there are examples of the usual start in childhood at dinosaur drawing in the beginning of it all, but what caught my attention the most was the presence of step-by-step pictures, showing the process of making a bunch of confusing lines like those of sketches become the saurian-masterpiece everyone loves. For those unfamiliar with Csotonyi ‘s style, he uses mostly digital tools, like a good modern paleoartist usually does; sometimes he uses brushes for a more traditional look, sometimes photomanipulation to achieve more realism, but the resulting picture always have that particular look and can be instantly recognized.
Mostly the reconstructed creatures possess striking patterns, but not striking colors; that, to me, is a key difference when dealing with realism with dinosaurs, and usually the more an artist make huge dinosaur colorful the less I’m inclined to judge their work as a reliable window to prehistoric life*. In this respect, Csotonyi achieves a good balance in the tone of colors, so the animals are neither boring nor garish to behold. The scenes depicted throughout the book vary, with some in the school of “dramatic prehistoric conflict”, others are more neutral and peaceful, and there are some which are anatomy and bones studies, so there’s something for every taste. It’s also worth noting that Csotonyi actually revisits older pictures and update their looks, as it was the case of the Anchiornis, which is important as depictions of dinosaurs will invariably change,and editing then as such is a good manner to make your picture still relevant.
I do have one or two points that I personally have mixed feelings about : the pictures where he uses actual photos for the landscape aren’t as good as those where he actually makes the scenery, and I understand it’s easier to do that than making the entire scene, but in some of these cases the shadows of the animals get a little in the eye, and it looks too much like the creature was in fact inserted into the scene rather than being part of it. On another point, some of the skins used in the photo manipulations can be a little jarring; the Edaphosaurus with a tuatara’s scaly skin and face being a good example of this. Then again, those can be regarded as very minor points as they don’t detract of the overall quality, so I’m not one bit bothered, and neither should you, as the book remains a incredible piece.
In closing thoughts, The Paleoart of Julius Csotonyi is yet another excellent book for everyone interested in dinosaurs and prehistoric life, depicted here in an evocative but not in a “dinosaurs are monsters” light, and it’s definitely worth checking. I promise that when (if) I get my copy I’ll update this review. Also, you can click here to go to his website give him a good ol’ Iguanodon thumbs-up.
*And don’t give me the “oh, but birds are dinosaurs, and they’re colorful, so dinosaurs must have been ALL colorful!” BS. It’s just embarrassing.