Luka Tolitch


I was born in 1980 in Zagreb, the capital of the Republic of Croatia, now a member of the European Union.

I graduated from the Academy of Fine Arts at the University of Zagreb
(, at the Department for New Media and Animation, mentored by professors Ivan Ladislav Galeta and Aleksandar Battista Ilic’. Before that, I completed the High School for Applied Arts and Design in Zagreb, the Department for Applied Painting and Design.

I have a somewhat divergent professional experience as an Icon Designer, Illustrator, Computer Animator, 3D Visualizer, and a Graphic Designer for various new media, but my preference had always been 2D vector graphics, both scripted and hand-constructed. I have recently acquired some advanced Python scripting knowledge that allows me to easily generate vectors, and I can also spend hours manually approximating my scanned drawings with vector splines!

I have a strong personal affinity for the formal and constructivist art of the 20th century. During my studies, I was initiated to the secrets and techniques of the famous Zagreb school of reduced, stylized animation by one of it’s pioneers, Pavao Štalter. I was also particularly inspired by the editing and composition techniques of the avantgarde soviet filmmaker
Sergey M. Eisenstein. I currently intensively follow a lot of interesting typographic work, as my own artistic focus is increasingly converging to
type design.

In April 2004 I participated at the international workshop for visual and contemporary arts Speak Up!, organized at Rooseum
( and the Malmö Art Academy
(, in Malmö, Sweden.

The ‘BIODIVERSITY’ artwork presented here was originally created for a graphic design contest in 2010, but never actually completed or published. The theme itself suggested that a systematic formal variation was required to create diverse instances of some basic visual structure. For simplicity, the chosen field of biodiversity was that of abstract phytomorphology, i. e. geometrically and coloristicaly stylized plant forms. The basic idea was to use a simple generative approach: in effect, the graphics were conceived to be just some basic vector drawing elements, combined recursively into more complex, more significant constructions, forming eventually families of similar gestalts, related by the similarities in their parameters: the predictable and unpredictable consequences of a single simple underlying program. The generated outputs were collected into classes, and presented without much further graphical intervention. 



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