Artist Information
Name: Mervin Ceka
Cards created: 32 - Apatosaurus Ajax, 45 - Giraffatitan Brancai, TS25 - Styracosaurus Albertensis
Primary techniques: Digital painting
Paleo-art period: Modern
Historical period: Late Jurassic
This is your first time collaborating with Tomodachi Press. How did you first get in touch?
“Yes, this was my first collaboration with Tomodachi Press. I had wanted to work with them ever since their first project was released, and I hope there will be more in the future. I had a wonderful time working with them.
This story is funny: like other artists, I had noticed Dario’s post looking for artists for a project. Of course, I applied immediately, but I never thought I would actually receive a response. Later, I received an email, and then Dario wrote to me on Instagram... I was so excited that I couldn’t believe it!”
Release the creatures: Dinosaurs! was created under the artistic supervision of Dario Moccia, as well as the scientific supervision of Zoosparkle. How stimulating was this dual review process?
“It was a truly unique experience, both being able to work under the supervision of Dario and Willy. I learned so much from both of them. Drawing dinosaurs was one of the most difficult challenges I have ever faced, not only in terms of respecting their anatomy, but also from a research perspective.”
For this set, you created three cards, all in the Modern paleo-art period, although one is part of the Timeshifted cards, which I assume was shifted from Postmodern to Modern. The characteristic I feel your cards have in common is the serenity and peace they convey. Was that explicitly one of the requests for their creation?
“Thank you very much! Actually, it wasn’t a request. Let’s say that, in this regard, they gave us — and I believe this applies to all the other artists as well — a great deal of freedom. The only limitation imposed on us, so to speak, was the dinosaur’s anatomy.”
Moving on to the illustrations themselves, card 32 features two Apatosaurus ajax in the foreground that seem to be communicating during a migration, as suggested by the tracks and the presence of other members of the same species in the background. How was this type of representation chosen?
“Exactly, that’s all correct! What I primarily wanted to represent were two elements that are very important to me: the first is the majesty of these dinosaurs, and the second is migration. Since they were not particularly agile creatures, I thought they would fit well in a classic migration scene.
To achieve this result, you essentially start by creating several proposals to present to the art director, who then chooses the one he considers to have the best composition. Finally, that version is refined and developed until the actual final result.”
Let’s continue with card 45, which depicts Giraffatitan brancai in an environment full of different vegetation while it ruminates from a tree. I really appreciate the presence of several elements of varying heights. Was this designed to emphasize its record-breaking height?
“Yes, exactly. This composition was actually originally conceived for the Apatosaurus card, but in the end we decided to set that idea aside. When Dario asked me to choose a dinosaur to illustrate, he asked me to select one that would work well with that type of more classic and decorative composition.”
Finally, we have TS25, featuring Styracosaurus albertensis, which corresponds to card 131 in the regular set. Why was it decided to keep the trees intact in the Timeshifted version compared with its regular counterpart?
“I have a very interesting anecdote about this one: I really didn’t think Dario would ask me to create a third card, especially not a Timeshifted one! When I saw his message about creating the third artwork, I was the happiest child in the world.
As for the composition, since we wanted to differentiate it from the original card by Nicola Saviori, we decided to depict the main dinosaur more in profile and with little perspective. In this case, we left the trees intact to maintain consistency with the Modern period, which is more decorative and sinuous. However, I liked the idea of depicting the dinosaur in the background, which has just begun demolishing the vegetation around it.”
Although you created a Timeshifted card and have therefore already experienced a somewhat unconventional project, if you could choose another dinosaur to reinterpret and a paleo-art period in which to reinterpret it, which would you choose?
“If I had to choose a dinosaur and a period, I would definitely choose the Eoraptor Lunensis illustrated by Riccardo Vignoli, depicted in the Postmodern period. I really liked the idea of challenging myself with a smaller dinosaur, having illustrated mostly giants with majestic builds.”
How has your perspective on the world of dinosaurs evolved after this project?
“I had never had the opportunity to illustrate dinosaurs for a project, and I certainly never dreamed I would illustrate one for a card set of this caliber. I have definitely learned a great deal and had even more opportunity to appreciate these incredible creatures.”
Before we say goodbye, is there any thought you would like to leave with the collectors reading this?
“The only thing I feel I can say to the collectors reading this is not to give up on their passion and to have fun just as I had fun with Dinosaurs!”
Mervin Ceka’s favorites
- Layout: Postmodern
- Paleo-art period: Postmodern
- Historical period: Late Cretaceous
- Favorite card in the set: Styracosaurus Albertensis by Nicola Saviori
- Artists: Nicola Saviori, Giakus, Nicori, Palmen, Maria Luisa Petrarca, Riccardo Vignoli and Simone Peano
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