Archive for the 'Palaeoart' Category

Interview with Andrey Atuchin

Xenoceratops

Today’s palaeoart interview is with Andrey Atuchin. He has rather stormed onto the scene recently with a string of beautiful artworks, especially with some of the recent new discoveries coming out of Utah. As forever, the works here are his and used with permission so please to do not reuse them or take them without his express permission.

Lythronax

How long have you been an artist?

Frankly, I think that I have never been an artist at all. 
I drew from early childhood as far back I can remember. Maybe I had some artistic ability and my classmates often asked me to draw something, they thought that I was cool in drawing. Later I became interested in scientific illustration. The style of scientific illustration attracted me, with attention to details and scientific accuracy. I’m really fond of these books with illustrations, the encyclopedia, the catalogues of animals. I started drawing my own illustrations, just for fun. Being a teenager, I started collecting insects. Also, after reading an antique book of Professor Neumayr «Erdgeschichte» (translated Russian edition of 1903), I was interested in finding and collecting fossils. I painted beetles, which I collected and I loved to paint them as in an encyclopedia. One day I brought my drawings to the art-school and showed to teachers. I wanted them to teach me how to draw well. The teachers took me to art-school without an exam, so now I can boast a pair of years of study at an art school. I also took personal lessons in drawing.
 
Nasutoceratops
How long have you been producing paleoart?
I was interested in dinosaurs as far I can remember from my early childhood, as well as in nature, animals, space, astronomy and science in general. Once, when I was 5 or 6 years old, my older sister brought me from Moscow a set of plastic toy dinosaurs and other ancient animals (made in Poland). I remember that moment, and these animals fascinated me. 
 Lythronax2
What first got you interested in dinosaurs and art?
 In the same years, I drew my first paleoart (if I can call it that). I drew a scene where paleontologists dig a dinosaur skeleton and then lifted by helicopter. I guess I saw it on the news on TV. After that, rare books and articles in popular science magazines fueled my interest in this theme. Articles about Soviet paleontological expeditions to Mongolia, novels: “Plutonia” by Obruchev and “Lost World” by Conan Doyle. 
As for the paleoart with fleshed-out dinosaurs that I remember, the first drawings I made in 1994-95 under the influence of the film “Jurassic Park”, I think it was the Tyrannosaurus that attacks the ornithomimids. 
Translated foreign books about dinosaurs began to pass in our country, probably on a wave of popularity of dinosaurs after the movie. As I said, I loved the encyclopedias but Russian books about dinosaurs were a rarity, especially in provincial regions and in my town, I did not even know that there is such a wonderful book with pictures of Zdenek Burian somewhere. One day in the book-store I saw an amazing and terrific book – an illustrated encyclopedia of dinosaurs by Dougal Dixon. I had never seen such book: many different dinosaurs with their Latin names, colorful images, description, and most importantly – the figures of a skeletons and skulls. This book has been read so much by me that it is falling apart. So you could understand my feelings when someday I have received the offer to illustrate Dougal Dixon’s new illustrated encyclopedia of dinosaurs in 2004 . I didn’t believe it … such amazing coincidence.
The lack of books with good illustrations also prompted me to start drawing illustrations by myself. I just wanted to read a good book about dinosaurs and started drawing dinosaurs how I wanted to see them in a book. I really liked the style and technique of illustrations by Denys Ovenden and I put this style as the basis of my own artworks.
 Leninia
What is your favorite piece of paleoart that you have produced?
 I do not really like my own artworks. My trouble is that I’m a perfectionist, I am always not happy with the result. I am very self-critical yet and I would never put on the wall most of my artworks. But occasionally I like something, for example Nasutoceratops or Lythronax
 
Who is your favorite paleoartist or piece of paleoart?
 I truly love many artists. Also, now there are many new young artists and sculptors who are very talented. I was also fortunate to have the pleasure of working with some of them on joint projects, such as with Julius Csotonyi, Alain Beneteau or talented 3d artist Vlad Konstantinov. Nevertheless, my most favorite paleoartist is Douglas Henderson. The Real Genius of Paleoart in my opinion. His great works are full with the spirit of ancient landscapes, very atmospheric and always breathtaking. Animals in his paintings are an integral part of the landscape, and the scenery is majestic. This is the windows in the extinct ancient worlds.
 Europelta
What is your favorite dinosaur / archosaur?
 In fact, I do not have a favorite dinosaur or another animal. Rather, I love the groups of dinosaurs. I love hadrosaurs, ceratopsians, and abelisaurs and some others. I often and gladly draw dinosaurs from these groups for publishing.
Also, I think that my favorite dinosaur or archosaur is the one that I’m working on at the time, or one that has not been published yet and it needs to work with professional paleontologists to create the reconstruction together. This is what actually favorite for me. I make my favourite as all that I’m working on (or at least I try to). 
 
Is there any animal you would like to paint but have not?
 All of them, I think, or at least a huge amount. I now have tons of ideas in my head, but I have to admit that I’m just not able to implement them due to time constraints.
Liopleurodon_rossicus
 
What do you think is the most important part of good paleoart?
First of all it needs to study the subject, and many sciences. I know some perfect wildlife artists or scientific natural history illustrators who are professional ornithologists, entomologists or just amateur naturalists. That is the best way to do professional artwork. My biological education helps me in my work as I know the animals, their anatomy, behavior, evolution, ecology, and more. Study science books and original publications about dinosaurs. Consult with paleontologists often, and collaborate and work together with them. Sometimes I study the real bones, take part in expeditions and excavations, and prepare fossils. In fact I was a scientific researcher at first, and I have learned as an artist in the second turn to qualitatively depict animals. 
Insofar as it is an art then also a good technique is important, knowledge of composition and other artistic skills. 
Paleoart shows pictures of the distant past that is available to us only in the form of scarce fossils, so one of the main problems for any paleoartist is to produce a naturalistic depiction of the animals so that they look lively and believable to the audience. Many extinct animals look unlike modern animals, very strange and unusual, but it is above all living organisms and is necessary to represent them appropriately. 
In general the paleoart is unity, interconnection of science, paleontology and art, projected through the paleoartist’s personality.
IMG_6632

Golden book of dinosaurs version 2.0

I don’t think the Golden books were ever quite as big in the UK as they were in the U.S., but we certainly had them over here and I do recall coming across the now classic Golden Book of Dinosaurs as a child. As with many such books it was well illustrated with many pictures and relatively little text, and it certainly had appeal – almost everyone I know who has mentioned it has warm memories of the book.

It is then a tough act to follow, even in the modern age where there are huge numbers of competing titles and this is the route taken by Bob Bakker and Luis Rey. To pay tribute to the old, but make it modern and contemporary, and also keep it ‘competitive’ is no easy task, but I think they have done admirably. The text is crisp and simple and easy to read and is written in a manner that I am absolutely sure will appeal to a great many children with some evocative ideas and explanations. What is also nice is that it doesn’t shay away in places from a little technical language or complex ideas (like fenestra in skulls to separate mammals from reptiles) that help go beyond the mere basics.

There are some annoyances though. Yes, excitement and interesting hypotheses can help draw people in and especially when aimed at a young audience it can be difficult to make things clear and simple but also keep them accurate, but there are places where the text leans on minority or untested hypotheses (sauropods battling with their necks and whip-cracking tails) and some irritating and unnecessary terminology (Bakker’s awful predilection for calling pterosaurs “dactyls”).


The art however is very Luis Rey. I know not everyone likes his style, and if not, well this won’t be for you. But for those who do, it’s a typically wonderful mix of the dramatic, bold and bright with good anatomical details and getting in plenty of feathers and the like in all the right places. There are updated versions of older pictures (like the brooding oviraptorosaur) and plenty of new ones, not least the cover set to mimic the original book.

Overall though this book is aimed at children and needs to be judged with that in mind. With that forefront the book is great – I’m sure young children will devour it and it will generate both interest and understanding of dinosaurs. As a way to excite those who are already keen or draw in those who have yet to experience dinosaurs I am sure this will do a great job and that’s exactly something I can’t say for too many kids books on dinosaurs. Great job guys.

Interview with Scott Hartman

Deinonychus4articleWell it’s been quite a while but this was never forgotten, so I’m delighted to get the palaeoart interviews rumbling to life again by bringing you a one on one with Scott Hartman, most famous for his dinosaur skeletals but also well into the more ‘traditional’ branches of life reconstructions. There’s plenty on his website and DeviantArt pages, but Scott has also been good enough to share some new and upcoming stuff too. As ever, everything is copyright to Scott so play nice and no sharing without asking him first, it’s his work not mine.

How long have you been an artist?

I’m afraid I don’t have a straightforward answer to that – while I drew a bit growing up I never really kept up with it. For a long time I approached technical illustration as a tool rather than art; even my life reconstructions were originally little more than a way to show off anatomy for quite a while. I guess the transition probably occurred when I started to do artwork regularly to help supply the Wyoming Dinosaur Center with imagery for displays; since I was doing “arty” things on a regular basis I started to learn new techniques, began to think more about composition, lighting, etc. So in terms of when I felt I had personally become an artist then it’s been a decade or so.

Stan_rex4article

How long have you been producing palaeoart?

Based on my previous answer I have to say that it’s been for longer than I’ve been an artist! The first paleoart pieces I produced that were shown in art shows was back in 1995, but they were…well, let’s just say I still had much to learn. The first skeletal reconstructions I produced that I would consider sufficiently professional so as to stand on their own was 1997, while the first life reconstructions that I would still want to take responsibility for probably date to around 2001-2002.

scelidosaurus WIP

What first got you interested in dinosaurs and art?

I have always been interested in dinosaurs – some of my earliest memories include having the Little Golden Book of Dinosaurs read to me (often several times a day). I guess from there I never really grew up. Art, on the other hand, was really just a re-occuring fancy until my work with dinosaurs demanded I take it more seriously, and from there it has grown into its own interest rather later than I imagine occurs from other artists. I expect this put me at something of a disadvantage compared to the many talented young artists I see out there that dedicate far more time to honing their craft, but luckily I’ve play a bit of catch-up later in life.

Dawn_Fisher4article

What is your favourite piece of palaeo art that you have produced?

I guess it would be Dawn Fisher (above), which depicts Unenlagia fishing in the early morning hours. It’s not really a complicated painting, but it’s one of the few pieces where I truly approached it as a compositional piece rather than a technical reconstruction, and lo and behold it turned out with the tone and feel that I had originally envisioned. I have a few others pieces that I’ve also been working on from an “art-first” perspective, but alas they are also more complex and I haven’t had time to finish them (so far!).

Othnielioaurus rutting sneak peak

Who is your favourite palaeoartist or piece of palaeoart?

There are just so many ways to take (and answer) who my favorite paleoartist is – my favorite as a person? My favorite in terms of technique? In terms of accuracy? I’ve done this long enough to have several paleoartists that I am lucky enough to enjoy as friends, while the internet has also allowed for an even larger influx of new talent to be seen that perhaps would have been missed in previous decades. All of which sounds like I’m wussing out really. I guess if I had to pick one name it would be David Krentz, as I’ve always found his artwork delightful and he’s been a fantastic coworker on a myriad of different projects, from education to film and TV. My favorite piece of paleoart requires no such beating around the bush; it’s Mike Trcic’s Daspletosaurus sculpture that he did back when he was working on the original Jurassic Park dinosaurs. I’m sure a lot of it was timing (I originally laid eyes on it at my first SVP way back in Seattle), that it was one of the first paleo sculptures I’d seen in person, and the way it encapsulated much of the paleoart revolution up until then, but no other piece has made such a strong visceral impression on me. I’m just sad I didn’t have the means to pick one up back when they were available.

Futalognkosaurus4article

What is your favourite dinosaur / archosaur?
I always have a soft-spot for the animals I’ve spent time working with, including Archaeopteryx, Supersaurus, Camarasaurus, and Medusaceratops. I’m also pretty darn fascinated with all things archosaurian in the Triassic (and even the synapsids, but this clearly is neither the time nor place to talk about those one-window wannabees).

Darwin speed painting

Is there any animal you would like to paint but have not?

All of them? I really love coming up with new visions of prehistoric life, but there aren’t enough hours in the day for me to get it done. And I’m about to have a lot less free time this fall.

What do you think is the most important part of good palaeoart?

Obviously good technique is important, but I feel that what makes paleoart fascinating is that it’s always in a state of tension between what constrains an artist (data and plausibility) and the freedom to follow his or her imagination. Being able to navigate that tension to produce something that is simultaneously data-driven yet fresh and imaginative is the intangible “it” that the best paleoart has in my view.

Ceratosaurus vs Allosaurus - juvenile smackdown web-sized

Nasutoceratops art

Well the new ceratopsian Nasutoceratops has been named and the paper is out. If you want to read a bit about it, I have a post up over on the Guardian here. Since that’s already written, I wanted to do something a bit different here and thanks to Mark Loewen, I’ve been supplied with a series of nice images and art of the beastie and it’d be a shame not to use them here.

Nasutoceratops skeletal drawing by Lukas Panzarin
Here’s Lukas Panzarin’s skeletal of the animal (note that most of the skull is known).

Nasutoceratops stipples by Sammantha Zimmerman
Here’s Samantha Zimmerman’s lovely scientific illustration of the skull in two views which really shows off the shape and pattern of the horns well.

Nasutoceratops titusi on black by Lukas Panzarin
Lukas Panzarin is back again with this life reconstruction of the head.

Nasutoceratops titusi by Raul Martin 300 dpi
Next we have a Raul Martin piece of the whole animal, making its way through a swamp.

Nasutoceratops titusi by Andrey Atuchin
And finally Andrey Atuchin’s effort, another life reconstruction, this time with a nice tyrannosaur half hidden in the background.

All in all some beautiful stuff, but I had no room for it on the Lost Worlds, so I’m pleased to get it up somewhere. Thanks to the team for sharing and great stuff from all the artists.

Knight statues

IMG_1682

I’ve found a bit of time to get back to the planned Berlin posts and thought I’d kick off with these. Anyone with an interest in reconstructions of dinosaurs will know the name of Charles R. Knight and his work in books and murals. These however are rather obviously statues, but ones that are apparently identical in all but the number of dimensions to his most famous pieces. I’ve seen things like these before in storage in Munich as was told these were produced alongside his murals, though whether by him or not I don’t know. Still, they are really rather nice and quite literally add another dimension to how these are normally seen.

If you know a bit more about this series (I’ve seen a Stegosaurus too, but unpainted) please let me know. I’m intrigued as to what they are. Did Knight create them as models to work from? Were they sculpted by him or another artist? My suspicion is that they were produced after the murals and then cast and sold onto museums, but I really don’t know.

IMG_1677

My very own Zhuchengtyrannus

As I have noted on here before, the Japanese really do love their toy dinosaurs and produce really high quality models on a regular basis and of all kinds of obscure and wonderful critters. So when a couple of weeks back I got a cryptic e-mail from Matt Lammana of the Carnegie about having a gift for me from China connected with one of ‘my’ dinosaurs, I did have to wonder if, just possibly, there might be a Zhuchengtyrannus out there. Last night I found out that indeed there was. It had arrived through the post while I was away at SVPCA (more to come there) and well, how can I not be more chuffed. There’s a real toy Zhuchengtyrannus!!

It’s tiny (just 10 cm or so) but obviously well modeled and the paint job ain’t too bad either. Rather obviously taking the lead from Yutyrannus, it’s on the fuzzy side of feathering too. Now obviously the holotype is incomplete to say the least, and so we’re left with a rather typical tyrannosaurine for a model really. Still, I *know* it’s a Zhuchengtyrannus as, if you look closely, you can see it’s written on the base.

My thanks of course to Matt for this wonderful little present, made my day to say the least. On a not entirely unrelated note, there’s a palaeoart event going on at the NHM next week in conjunction with the Dino Art book launch. See here for more details. I hope to be in attendance but Luis Rey, Bob Nicholls, John Sibbick and others will be there.

Interview with Julius Csotonyi

The first single-fingered dinosaur, Linhenykus, commissioned to publicize the discovery (2010).

Today I’m delighted to bring you an art interview with Julius Csotonyi. I first came across his art relatively recently after he ended up doing a lovely life reconstruction of Linhenykus and this sent me to discovering his work. I recently got in touch to ask to borrow a bit of that piece for my new blog banner and casually suggested he might like to join the ever-growing list of artists on here and he was most keen. So keen in fact I’m rather buried in his artworks, so enjoy! As usual this art is Julius’ and should not be reproduced etc. without his permission as he retains the copyright. Continue reading ‘Interview with Julius Csotonyi’

Dinosaur Art book review

I’m sure a good number of readers will be well aware that there is a new book on it’s way to the shelves for mid September on palaeoart and more specifically, dinosaur art. I’ve been lucky enough to get an advanced copy in exchange for doing a review, but I’d have been happy to do so anyway. First things first though, I know almost every artist featured (and am friends with several) and even the editor Steve White and indeed have interviewed them myself on the Musings. Obviously I’ll try to be a neutral as possible, but while this review is gushingly positive, it’d be unfair not to point out my obvious connections to many of those involved.

Doug Henderson asteroid piece

Anyway, onto the book. Quite simply it’s superb, and really doubles as covering two very different things in a single volume. Most naturally it’s a book crammed with high quality artworks from a great number of superb artists and features numerous images that will delight. Even with my familiarity with a great deal of palaeoart and having had the chance to browse the collections of my friends, there were plenty of images here I’d not seen before.

A Sinornithosaurus by Todd Marshall

The paper quality and print quality is superb (which is important) and there are even a few fold-outs to give maximum exposure which is significant given that already it’s quite a large format book. This is a seriously nice piece and I can image there will be a good number of sales to people with no great interest or love of dinosaurs because it just looks fantastic. It’s a real coffee table book in that sense (and I mean that as a compliment).

Julius Csotonyi Cretaceous scene.

However, aside from just looking gorgeous, this book also provides some real commentary on pretty much every aspect of palaeoart. Each series of images (grouped by artist) is accompanied by a dialogue / interview between the editor and artist. This covers the artists origins in palaeoart and obvious little questions about their interests and favourite species, but also delves into the creation process, the style and techniques of the artist and the state of play with modern developments and especially the rise of digital media. As part of this we do see drafts and sketches for pieces showing how the artist changed aspects of the work or developed pieces which is truly fascinating. Each section also has a featured taxon with a series of images by that artist on the relevant species and some accompanying text about the animal in particular, giving a bit more depth and study to each of these compared to a lot of the bigger works which are presented largely without comment.

John Sibbick Scleidosaurus sketch and completed work.

If there are any quibbles it’s that I would have liked to have seen more text. What is said is really interesting and while I’m sure the hefty tome wasn’t cheap to produce with all those pages of full colour artworks, I can’t see that a half dozen extra pages of just text would have made much of a difference. My other minor issue would be that there’s really quite a lot of non-dinosaur stuff in here. Now that’s not me being against non-dinosaur palaeoart in any way shape or form, but the book *is* called Dinosaur Art and at least a few readers might be disappointed that there are a few places where a good number of pages can be turned before finding a dinosaur. While the dinos do dominate, it does just seem a little between-two-stools – it’s not 99% dinosaurs (or even Mesozoic reptiles) as one might expect from the title, but then nor is it mix of all kinds of palaeoart (even if that would likely feature more reptiles than anything else). As I say, both very minor things and ones that I doubt will put off anyone who really likes their art, and indeed nor should it.

Mauricio Anton South American mammal assemblage

Overall then this is a real must-have. I can’t recall another book like it either in terms of the volume of art, the production values or the interviews / sketches that add a new level of detail. While I rarely do go out and get volumes like this (and of course was lucky enough to get mine gratis) this is something I’d have gone out of my way to get my hands on and you should too.

Raul Martin Citipati

Oh and finally I should add that all the images here were provided by the publishers who allowed me to use them to promote the work. They and / or the artists retain the copyright on these images.

John Conway’s Tarbosaurus chasing Gallimimus.

A very Brazilian pterosaur

Back in 2010, the Pterosaur.net boys and girls descended on Beijing for the Flugsaurier meeting. A good time was had by all (well, as far as I could tell) and while pterosaur researchers generally get together to argue, one of the things that was sorted out was that the next meeting would be in Brazil in 2013.

The conference fieldtrip in China included many a long drive in a minibus to get between the various localities and museum in Liaoning. On one of these journeys I had (what I thought) was a great idea for Brazil and John Conway was unfortunate enough to be sat next to me and feel the full force of Dave explaining his new concept. However, fortunately for me, John loved it and went with it. We pitched it as a possible logo for the conference and while they have picked their own (which is lovely) they have included our effort (I say ‘our’, John did the whole thing) on their pages, so it seemed an appropriate time to post this to a wider audience.

In my head I had the idea of pterosaur heads being bold and colourful, and that’s very true of the Brazilian flag. Add to that the huge size of some of their crests and at least one Brazilian genus, Tupanadactylys, that was big enough that it could pass for a flag at the right angle and with a bit of imagination. So here it is, a truly Brazilian pterosaur.

Darwinopterus redux

So after the comments both on here and over at Luis’ new blog, Luis has sorted out the trimmed branches problem with a new tree trunk. The result is above.

As a ‘bonus’ here’s my original sketch of the critter that I sent to Luis. I’m no artist and it was done quickly, but hopefully conveyed the essence of what I had in my mind. The psychedelic colours were not a guide for Luis, but to try and make it clear which parts of which wing membranes went where – if just black and white, it was rather a mess and things were a bit confused.

My very own Darwinopterus

As readers will remember, a couple of weeks back I dropped in on Luis Rey to talk over dinosaurs, pterosaurs, classic rock albums and help him get a blog up and running for his new artwork. Inevitably the conversation at one point turned to thinks Luis hadn’t yet done and things I was interested in seeing. I noted that for all the raft of pterosaurs Luis had thrown out in recent year, neither Darwinopterus or any of it’s close relatives had made it into his collection and given the novelty and importance of these taxa, it should surely be high on the priority list.

Luis simply suggested I sketch what I had in mind and he’d have a go. The turn around was rapid and the result was beautiful and here it is already:

I sent Luis some images of the wonderful Darwinopterus robustodens specimen as a source for proportions and general anatomy and produced a sketch of the posture I wanted. I can’t remember ever having seen a picture of a pterosaur about to land on a tree and that’s what I went for. I’ve seen plenty of them in trees, flying between trees and even taking off, but not in the act of landing. I’m also a big fan of unusual image shapes for art and love things that eschew the normal A4-type proportions, so I specifically asked for something very tall and thin to emphasise the height of the tree and the wingstroke. Anything other than that is shackling the artist (especially when it’s Luis) and something I don’t like to do if I can avoid it, so I said nothing about colours, patterns, background etc.

Anyway, here it is (and here it is on Luis’ pages). My massive thanks to him for his work and for crediting me with far too much. Head over there and tell him how awesome it is for me.

Interview with David Krentz

Today we turn to David Krentz and a real shift from the more traditional palaeoart which has mostly been covered here. Until recently, David was best known for his dinosaur sculptures – hardly a rare medium, but one that’s barely made it into the pages of the Musings, but his work with moving pictures means he’s also been heavily involved in documentaries and even movies, not least being the director of the recent Dinotasia. I’m grateful to David for his time and the load of his art. As ever, the copyright stays with him and these images should not be reproduced or used without his permission.

How long have you been producing palaeoart?

If you mean how long have I been drawing prehistoric life, than I’d say from around 2 or 3 years old.  I have kept some old books that I drew in the margins of, and they are dated to the early 70s.  By Kindergarten I was in full force already.  I saw the Marx playset and all I wanted to do was make clay dinosaurs.  The teacher realized I was hopeless and did something very innovative.  She took me aside and said “David, for one week you can make a giant display of dinosaurs with clay, and at the end of the week you tell the whole class about it”.  When the week was over and I did my presentation I had found ‘my voice’ and also the power of sharing your knowledge and passions with others.  Of course dinosaurs waxed and waned during my school years, but they were always my first love.  I did know from around third or fourth grade that I wanted to make dinosaur movies though, and that never went away.


What first got you interested in dinosaurs and art?

For a lot of people its the first museum visit.  Growing up in Winnipeg Canada we didn’t have any great skeletons in the museum, I didn’t see a T.rex skeleton until I went to college in California!  For me it was books, movies and toys.  I don’t know about an interest in art, it was never deliberate.  I just wanted to get the images in my head down on paper or in clay (later with super-8 movies) in the best way possible.  It was all self taught and never labored, just executed till it look good.


 
What is your favourite piece of palaeo art that you have produced?

I’m my own worst critic.  A lot of my stuff I can’t stand to look at.  I’d say that my Gorgosaurus sculpture called “Judith” is my favourite (above).  I created it when I was taking many liberties designing characters for the Disney Dinosaur movie.  The piece was therapy.  I’d come home after putting lips on Iguanodons and try my redeem myself with Judith.  It was my first real attempt at a studied and serious sculpture.  I tried to put all of my knowledge of motion and animation in it, because I felt that is one thing I could bring to the world of Paleoart.  I’m also pretty happy with some of the digital models I did for Dinosaur Revolution and feature film Dinotasia (below).

Who is your favourite palaeoartist or piece of palaeoart?

Oh man…I hate this question.  Sin of Omission and all that.  I’d say the most influential would be Bill Stout…his book from the 80′s blew me away.  I was hooked on Doug Henderson‘s work the second I saw it..he is no doubt my favourite artist.  For sculptures I’d have to say Tony McVey.  For all of these artists its hard to name a favourite.
Since I’m also in Dinosaur Movie guy I should name some of the most influential movies as well.  King Kong would be seminal to my imagination. Star Wars ( I know..but there were dinosaurish creatures) for making me yearn to do THAT for a living.  Phil Tippets Prehistoric Beast ( see…he worked on Star Wars!)  completely set me on fire when I seriously considering learning film making.  When Jurassic Park came out I was already a jaded-snob, and I’d still hold Prehistoric Beast against it.  Don’t get me wrong, JP was a game changer, but I was just too critical in my early 20s to really let it move me.

What is your favourite dinosaur / archosaur?

Gorgosaurus, and I also love centrosaurs in general.  Gorgosaurus/Albertosaurus is just plain sexy.  Greg Paul is to blame for that.  He made it look so appealing and athletic to me.

Is there any animal you would like to paint but have not?

Like a lot of PaleoArtists I’d have to say the answer changes daily.  Some days I realize just how amazing a Deinotherium is and then the next a prosauropod takes my fancy.

What do you think is the most important part of good palaeoart?

Getting a personal relationship with the subject matter.  If its a Hendersonian landscape I have a feeling that I’m in the scene hiding under a log an holding my breath.  If its an isolated dinosaur against a white background or a sculpture than I’d say gesture (pose) and character.  Its really important to get a sense of motion and weight and even more so to be drawn to the animals eyes.  I don’t want to know what the animal is as much as I do WHO it is.  I don’t care about the type specimen, I want character.  I understand that maybe is not the most desired answer for a scientific subject yet that my point of view.  I’ve said it before and I’ll say it again – to quote Saint-Exupery – ” If the sculptor has nothing but science his hands will have no art”.


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