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Found 9 results

  1. Drawing of Simolestes vorax

    Over the past few days I've been drawing up another paleo-reconstruction. After some time conflicting on which animal to draw, I settled on the rather under-celebrated pliosaur Simolestes vorax. S. vorax is a Jurassic pliosaur related to Liopleurodon, but is estimated to grow up to 10 meters in length, rivaling the size of the more famous pliosaur Kronosaurus. Heck, at one point there were even some theories that Simolestes was the owner of a gigantic lower front jaw dubbed "The NHM Symphysis", which was believed to be from a pliosaur exceeding 15 meters in length! Again, I used a Huion 1060PLUS Drawing Tablet and used Photoshop CS6. This time, drawing was a bit annoying due to constant need of omitting head details depicted on the skull I referenced. It took me a week to finish, and probably 5-6 whole hours in solid time due to the constant drawing/erasing.
  2. T-rex illustration

    Hey everyone! Here's my latest piece of paleoart, T-rex! I used ink and watercolors. I didn't want to color it the traditional green or brown so I looked at vultures for reference. I find it difficult to believe the theory that T-rex was exclusively a scavenger but I thought the vulture colors would make it look nasty. Hope you like it and I'd love to know what you all think! -Mike
  3. Allosaurus Illustration

    Hey everyone, Here is an illustration of an Allosaurus I just finished. I used ink on Bristol board. I plan on doing many more illustrations of other prehistoric animals similar to this and I'll be sure to post those on here too. My two passions are paleontology and art and I strive to learn as much as I can about both. If you want to see some of my other work in the meantime you can visit my website www.mikeosheaart.com. Thanks for looking! -Mike
  4. My work as a paleoartist

    I would like to introduce myself and my work. I grew up on a small farm in southwestern Ohio loaded with great locations for the collection of ordovician fossils. I earned my BA in geology and taught fro approximately 30 years. I retired from education in 2015 and have been working as a sculptor since. I do some animal and wildlife work, some fantasy sculptures and some paleontology themed pieces. I aways try to have my pieces looking and behaving in a lifelike and believable fashion as well as being technically accurate. My sculptures are created in clay, I then make rubber molds, cast a wax in the mold and then have the wax cast in bronze in a foundry. Sculpting in bronze is more expensive than resin but the material is strong and incredibly durable. I am currently working on another sculpture of a heteromorphic ammonite that I also need help with. Let me first attach sample of my sculptures to show you my work. Thank you.
  5. Hi everyone! I hope you all are spending the summer finding some really neat fossils. I am currently working on a commissioned illustration for FossilClaw, and am shooting to have a sketch up soon. However, we would like your opinion on the landscape and fauna... We are definite that there will be both woolly mammoth(s) and woolly rhino(s) in the scene, but we are not sure what other animals may have shared the same territory on a regular basis with these creatures. Initially, we were shooting to have a Cave bear in the scene, but given the different habitats (and altitudes) it has proven a challenge. What other animals would plausibly fit in the scene we are trying to depict? Megaloceros? Sabertooth? Bison? Wild Horses? Any other predators or interesting animals? The landscape will be steppes. Really appreciate your input!! -Lauren
  6. My 3D Extinct Animals

    These are my extinct animals: I made these 3D models made in Maya for fun and i even sold some of them online I'm not sure how accurate they are i just used images as reference maybe some people can give me hints on how to improve them Right now i don't have more rendered images, i will ad more in the future Proetida - i don't know the exact species, i just found some images in google of a trilobite and i made it _______________________________________ Pikaia - From the Cambrian Burgess Shale _______________________________________ Velociraptor - Not finished yet _______________________________________ Dunkleosteus - Just the basic shape yet
  7. Meguskus' Paleoart

    Hello, I'm new to this forum and relatively new to the world of paleontology, so please don't hesitate to comment on any potential anatomical mistakes or the like. I'd love meeting other aspiring and professional paleoartists to exchange knowledge and ideas. I could also do commissions, if anyone is interested.
  8. My Paleoart

    I have been drawing dinosaurs for a long time, and i´m getting better with each drawing, i thought that i would show off some examples of the work i have done, so here it comes: Unexpected Visitor Two Laevisuchus are scared away by a larger Rajasaurus in cretaceous India. Diving Giant A Spinosaurus swims after its favourite prey, Onchopristis (Still need to get a fossil of that one ) in cretaceous North Africa. Evicted! A Velociraptor is scared away from its home by a Therizinosaurus in cretaceous Mongolia. Clash of the Titans A Tyrannosaurus faces off with Triceratops in cretaceous North America (The T.Rex´s leg got a little weird here). Commisions I´ve also done several commisions, most for Keith Olsen´s Dinoworld franchise (here: http://dinoworld.freeforums.net/index.cgi) which aren´t meant to be accurate at all, so here they are, Compsognathus and Kaprosuchus: Please tell me what you think of them, and if there is any particular prehistoric animal that you would like me to draw. /Sebastian
  9. Book Review: I attended the Tucson shows last month and was lucky to be at the Tucson City Center Hotel when Richard Milner was signing and selling copies of his soon-to-be-published book, "Charles R. Knight: The Artist Who Saw Through Time" (Abrams, 2012, $40 retail) - now on sale at the usual outlets. Charles R. Knight (1874-1953) is considered universally to be the father of "paleoart," the art genre focusing on depictions of extinct organisms and their environments. As a child, he loved to sketch animals and later attended art school. He was not satisfied sketching from photos or drawings. He enjoyed the experience of creating portraits of live animals, visiting zoos at a time when there was a movement underway to trade four-cornered, metal cages for free-form, more spacious enclosures that mimicked natural habitats. Knight's father worked for J.P. Morgan, banker and treasurer for the American Museum of Natural History, and as a perk of that connection, he was able to visit the museum even when it was closed to the public. He saw work done behind-the-scenes: animal carcasses skinned and prepared for display mounts. He sketched musculatures and skeletons, gaining experience that would prove valuable in his future career. By the age of sixteen, he was supporting himself as an artist. In 1894, paleontologist Jacob Wortman was looking for someone to do a rendering of an extinct mammal known as Elotherium. Knight was suggested to him and after studying the available remains of the animal and consulting further with Wortman, Knight delivered a scientifically-accurate watercolor which was well-received and led to his meeting with Henry Fairfield Osborn, a professor at Columbia who became the president of the AMNH not long afterward. Osborn saw great potential in the young artist, envisioning him as the creator of huge, scientifically-accurate murals to hang above the museum's fossil displays. He wanted giant visual aids to help increase public interest in science. Funding would be a problem especially during the Depression but Knight would end up executing a number of murals and other artworks for the AMNH and other institutions - each painted with a strict, self-driven adherence to anatomical accuracy according to the latest research. Knight accomplished a great deal (painting, sculpting, writing) even with failing eyesight across much of his life and he was well-respected in that lifetime and beyond. Milner chose not to number the chapters of this book. The first chapter, preceded by an introduction by Knight's granddaughter, offers an overview of the artist's life with family photos and some of his sketches. The following chapters cover a variety of subjects and include photos of his paintings, preliminary sketches, and sculptures, some being previously-unpublished and/or lesser-known works unrelated to paleoart. Milner provides brief text and captions for some of the illustrations but others are accompanied by relevant excerpts from Knight's own various enthusiastic writings (private letters, unpublished autobiography, published letters, and books). Artists reading this book would empathize with Knight's insistence on maintaining his freelance status with the museum despite Osborn's numerous offers of steady employment. He allowed Osborn to supervise the scientific details but it was often an uneasy collaboration as Knight declined any input regarding his artistic style. Knight was his own taskmaster, sculpting models of his subjects and placing them in sunlight at different times of the day to see how the shadows fell each time. He duplicated the effects in his painting, striving for realism with sabercats at the tar pits just as he had with lions at the zoo. I enjoyed this book. As a kid, I soon knew the name, Charles R. Knight, and was fascinated by his depictions of prehistoric animals. I could see when other paleoart didn't work for the same level of realism. He brought to life not just the crowd-pleasing giants of the dinosaur world but also numerous less-heralded animals, capturing them in action, whether Eocene mammals approaching a waterhole or a mosasaur closing in for the kill. For me the photos of pieces I hadn't seen before were well worth the price alone. Milner, perhaps mindful of fans like me, lets the artwork do much of the talking. His informative biography chapter avoids over-analysis. The reader sees the man at the easel as he matured across the turn of the century while the United States was growing to be a world power, soon tested by economic upheaval and world wars. Anyone interested in Knight and his work should look for a another similarly-structured book, "Dinosaurs, Mammoths, and Cavemen: The Art of Charles R. Knight" (E.P. Dutton, Inc., 1982) by Sylvia Massey Czerkas and Donald F. Glut. As with Milner's book, which presents some works previously unpublished, Czerkas and Glut's book not only showcases many of the same works with an efficient text, but also offers a few not in Milner's book. Jess
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