Meet Henry Sharpe – Paleoartist, Future Paleontologist

In one painting, a Daspletosaurus is rubbing its snout against tree bark as a way to clean its skin after eating.  In another, a small velicoraptor simply investigates a much larger hadrosauroid (Plesiohadros djadokhtaensis).  Henry Sharpe focuses his artistic lens a little differently than other paleoartists might; shifting the view from one of naked aggression and survival to one of (potential) everyday moments in prehistoric existence.

These moments, often gentle–evocative of the behavior of extant animals, behavior we may readily recognize and understand—and absent drama, make his artwork perhaps that much more realistic.


 

Screenshots of artwork by Henry Sharpe from his website

He bases them all on the latest research, keeping up with the most current scientific papers.  He also extrapolates known behavior of creatures alive today and applies it to similar extinct animals, an educated guess rather than a flight of pure imaginative fancy.  And in that way, he prompts the viewer to think and question: could this be how that animal truly behaved?  Is this how a snapshot in time might have looked at that moment for those animals?  How much do we know about that animal?  What else do we have yet to discover?

Or such are the thoughts that any good paleoart encourages within me. Good paleoart—in my opinion—invites more questions, inspires more interest, encourages more research.  Because that art opens doors that I didn’t realize were there. It offers a tantalizing glimpse of animals many of us yearn so deeply to actually know and see and understand. Paleontological research is a huge step in that process; paleoart is its creative partner.

Getting that art right—or as much as we can possibly make it ‘right’ in our relatively limited knowledge so far—is extremely important.*

“So much of palaeoart involves dinosaurs roaring and trying to kill each other,” Henry explained in an email, “which is unfortunate because not only are we pretty sure most of them didn’t roar, but also because nature isn’t like that. So much of the lives of modern animals are not represented in palaeoart: things like drinking, sleeping, patrolling, caring for young, resting, etc.

“In fact, when you look at many modern predators, not only does hunting for prey take up a vast minority of time, but most hunting attempts are unsuccessful.  I would love to see a piece showing a beaten and bruised Allosaurus looking longingly in the distance as its Camptosaurus quarry escapes.

“There are also a great deal of unusual behaviours unique to certain animal groups that are pretty likely for dinosaurs. Case in point is my Daspletosaurus, which is based on Komodo Dragons (the largest living lizards in the world, and the largest reptiles with lips, which were likely features for Tyrannosaurs like Daspletosaurus). Komodos, despite their filthy and disgusting reputation, are actually remarkably clean animals, and have been observed cleaning their muzzles of blood on bits of foliage after feeding, and I translated this to Daspletosaurus.”

image of the Royal Ontario Museum (ROM), photo: C.E. Seo from Getty Images

Henry doesn’t just read about paleontology: he is a frequent visitor at the Royal Ontario Museum in Toronto, Canada, discussing paleontology with its experts and volunteering at their Kids’ Camp.  He is a recently published author with a scientific article in Earth Archives and other articles in the works related to Canada’s 150th year anniversary.  He writes about paleontology on his blog; he posts his artwork on his website.

It is very easy to forget that Henry Sharpe is 15 years old.

This couldn’t have been clearer when, after asking him by phone if he sells any of his art, he replied, “I don’t really get any requests now mostly because I haven’t really been around that long to advertise it.”

“But,” he continued, “down the road, I hope I can.”

His passion for art and science seem marvelously balanced by his own thoughtful sensitivity to the world around him, an awareness of the opportunities he’s had in life, a certain graciousness, and a refreshing lack of arrogance despite his considerable talent and intelligence.

When I expressed amazement at his knowledge, his humble response was, “I wouldn’t say I have the greatest breadth of knowledge, as I usually overlook obvious mistakes trying to get the rest of the painting right. For instance, in one piece I spent so much time working on the body shapes of the three protagonists (a mosasaur and two elasmosaurids) that I failed to check whether or not they would have had external ear openings (turns out they didn’t, which I found out a few months later)!”

Screenshot of artwork from his website

 

He credits his family for prompting his interests.  The members of his family, he wrote, “are all very much interested in science, nature, and design. They’ve also impressed the importance of knowing what you’re talking about, especially in preparation for friendly debates around the dining room table. School has also been pretty helpful, not only in its stress on locating and interpreting technical articles, but also in the expansive archive of papers the library provides (I’m pretty lucky with that).”

“They’ve always kind of encouraged critical thinking and exploring careers in science,” he continued by phone when I asked if they shared his love of art and paleontology.  “Both of my parents are kind of illustrators in their own right.  My dad is a scientific illustrator.  My mom is an interior designer, so I kind of get the technical artistic kind of thing from them.

“But, yeah, I think a lot of it is just me dragging them around to places.”

It seems that he stands alone in his passion at school, as well.

“My school is kind of half divided among the kids who want to go into the kind of more money-making fields and kids who want to go into science.  And among those, there are the few kids who want to go into biology.  And among them, there’s me, who wants to do paleontology!”

Which prompted me to ask if his friends love dinosaurs they way he does.

“[I]n terms of dinosaurs,” he replied, “no, I’m completely alone.”

He added, “I tried to start a dinosaur club and,” his emphasis here was tinged with humour, “it failed SPECTACULARLY.”

“The truth about the digital stuff that I do, most of it is just practice. There’s a great arts program at my school, but it’s kind of evenly distributed between sculpting and drawing and film studies.  So, a lot of the stuff that I’ve been doing on the computer is a lot of just me doodling away for hours on end.”

“My preferred medium is probably still pencil, for the sole reason that I can doodle inconspicuously in class when things get slow.”

This made me smile when we discussed this by phone, as I could certainly relate, thinking back to when I was in school. (How often had my friends and I done the same thing for the same reason!)

“It’s easy to pretend you’re writing something down when you have a pencil and a piece of paper, when in reality you’re just drawing a dinosaur.

“[T]his year we had a new teacher and on the first day, they caught me drawing a dinosaur on a sheet of paper.  [The teacher’s response was:] ‘Oh yeah, you’re the dinosaur kid everyone told me about!’”

But regarding his preference for pencil, Henry continued, “It’s also a great portable medium for museums and wildlife. Outside of that, I’d say it’s a tie between acrylic and digital; digital for most research projects as I can change it due to a change in research or noticing something I accidentally ignored earlier in the process, and acrylic for more landscapes, although space and time have been an issue for this.”

Screenshot of a drawing from his website

 

“In terms of dinosaurs, I gotta say coelurosaurs are my favourite, mostly because their feathers are somewhat easier to paint than scales. Besides them, I would love to be able to study spinosaurs; I’ve been smitten with them since seeing ‘Jurassic Park 3’,” he wrote in an email.

“Outside of dinosaurs, my biggest love is mosasaurs, which despite extensive media coverage still don’t really have the palaeontological recognition that other marine reptiles like ichthyosaurs and plesiosaurs do. There’s so much about them that no one has really explored, and I am looking forward to being able to study them in university.

“In terms of other interests, I’ve always sort of had a fascination for the arthropods of the Cambrian, Ordovician, and Carboniferous (thanks mostly to Nigel Marven in Prehistoric Park), and I would given the opportunity love to do some research regarding the pleistocene faunas of Canada.

“The biggest challenge I find is probably in the composition stage. There is a great deal of palaeoart which completely disregards aesthetics overall and opts for a more ‘dinosaur with an environment in the background’ look. There are many amazing paleoartists however that master composition and placement, ensuring that dinosaurs look not only a part of their environment, but are interacting with it as well.”

Examples he gave of such artists include James Gurney, Douglas Henderson, Danielle Dufault and Julius Csotonyi.

Partial screenshot of a beautiful painting on his website; the caption reads “Fanart based on the survival game “Saurian”, to be released in early 2017. Three Ornithomimids explore a dust hollow in a Hell Creek forest, with one speculatively (though plausibly) bathing in it, much like modern birds.”

 

“This is something that I’ve been trying to work on as I progress, but I still have a long way to go. The biggest reward is being done, and being able to look at the finished piece without cringing. My finishing process usually involves me getting too tired with the piece to try adding more, so if that matches up with me feeling good about it, it’s pretty great!”

Henry attributes two things for prompting his interest in paleontology: the movie “Jurassic Park” and the Royal Ontario Museum (the ROM).

“While in ‘Jurassic Park’ I could see real dinosaurs from afar, I was always kind of fascinated with how they worked from the inside, and the ROM gave me an inside look at them, while also allowing me to get up close and personal with them. The ROM was all the cooler to me when I realized that the dinosaurs of JP weren’t all that accurate anymore, and I think the concept that we knew actually very little about dinosaurs made me want to try to learn as much as I could.”

David Evans is a really great guy,” he continued. “He’s really into scientific communications.  He’s been really easy-going about me going in and trying to learn as much as I can. I’ve probably been a bit–” Here he paused as if trying to find the right word, and then said: “annoying at parts, but he’s put up with it, which is really great.”

Henry will be attending the next Society of Vertebrate Paleontology meeting in Calgary this summer. I recommend striking up a conversation with him if you go!

And be sure to keep an eye on him: there are exciting developments in his near future!

*****

*This statement is not intended to discredit or dismiss the increasingly ENORMOUS body of paleontological knowledge that we have so far.  It is, however, meant to honestly reflect the limitations of that knowledge at this point in time.

 

An enormous and heartfelt THANK YOU to Henry Sharpe for his correspondence, his time speaking with me by phone, and the very generous use of his artwork on this blog!  It was a tremendous pleasure connecting with him!  I have no doubt he will make a great impact on the future of both paleoart and paleontology!

 

  1. Henry Sharpe’s blog: https://bonesharpesite.wordpress.com
  2. Henry Sharpe’s website/artwork: http://henrysharpe.weebly.com
  3. On Twitter: @bone_sharpe
  4. How pug-faced dinosaurs conquered Gondwana, Henry Sharpe, Earth Archives
  5. Get some of Henry’s artwork here at Studio 252MYA: https://252mya.com/collections/shop/henry-sharpe
  6. Manitoba’s marine monsters, Henry Sharpe, Earth Archives

Screenshot of artwork from his website

Bringing the Extinct Back to Life – Montshire Museum, VT

It’s just over the border of New Hampshire, this sweet jewel of a museum tucked amongst the woods in Norwich, Vermont.

I visited Montshire Museum for the first time last summer to see an exhibit featuring a replica of Sue the T. rex from the Field Museum.  Filled with interactive exhibits, it largely centers on children and families.  Its drawers of fossils and fossil casts, however, kept me eagerly occupied.  And–for the first time in my life–I was able to hold parts of a mammoth molar–one of the many fossils people could touch in a class taught by an engaging docent.

My reason for returning this summer was to see the Prehistoric Menagerie–an outdoor exhibit of sculptures.  Life-sized replicas of extinct creatures that lived during the Cenozoic era created by artist Bob Shannahan.

Thanks to a number of people, I knew there was a woolly mammoth among them.

In order to get to the museum itself, one first has to drive down a long, windy path through the forest.  I mention this because this is what I saw on my drive down:

Montshire - mammoth at distance thru trees

Woolly mammoth sculpture by Bob Shannahan as seen through the trees on the way down into the parking lot of the Montshire Museum; image taken by the author

Knowing that it was a sculpture, rather than a living woolly mammoth, did not make it any less exciting for me.  I immediately got goosebumps.

Quickly, I parked the car, got my ticket, and went straight outside to explore.

Montshire-Woolly-Mammoth-3

Sculpture of woolly mammoth by Bob Shannahan at the Montshire Museum; image courtesy of the Montshire Museum

These are no ordinary sculptures.  That’s not actual hair on the mammoth: it’s a shaggy compilation of twigs and other natural plants and fibers.

According to the press release on this exhibit, the artist explained, “Once I choose the animal, I conduct my research, collect skeletal measurements, and make a small model out of wire and foil. Then I make a full-size drawing on cardboard and begin building the animal. The frame, made of steel rebar and aluminum screen, is used to depict the major muscle groups. It turns out that the autumn vegetation is perfect for the animals’ fur.”

Below, for example, is the entelodont–an artiodactyl that lived during the Eocene and Miocene.  You can read more about this animal in this great post by Dr. Darren Naish (TetZoo, Scientific American).

Montshire - enteledont full

Entelodont sculpture at the Montshire Museum; image taken by the author.

Montshire - enteledont detail

Close-up of the entelodont head; notice the plants behind the ear; image taken by the author.

Montshire - enteledont close-up mouth

Close-up of the entelodont mouth; the teeth are made of individual stones; image taken by the author.

Whether one sees them up-close or from a distance, these are impressive replicas.  I marveled at their likenesses, awed that such detail and life could be constructed from plants.

“The vegetation he chooses for each sculpture has connections to that animal’s life,” explained Bob Raiselis, Exhibits Director at the museum, “[H]e’s using the materials of the natural world to create artistic works referencing creatures from that world that we can no longer see.”

Montshire - camel

American camel sculpture at the Montshire Museum; image taken by the author.

Montshire - camel sign

Sign at the museum with details about the sculpture and the plants used to create it; image taken by the author (it was a rainy day when I visited)

“They really do seem to come alive in David Goudy Science Park here at the Montshire,” Bob Raiselis wrote in an email, describing the outdoor area in which the sculptures were placed. “[W]e worked hard to place them in a way that might have made sense for each living creature. The animals in the exhibition wouldn’t all have been in one place at one time in history, but we think that there’s enough space in our outdoor landscape to include the creatures that Bob has created and their own time scales.”

Geologic_time_scale

By United States Geological Survey [Public domain], via Wikimedia Commons

“At the Montshire we like to point out the connections between what artists do and what scientists do – close observation, looking for connections, creative problem-solving, great use of imagination and visualization – and we’re pleased to have been able to show Bob Shannahan’s work here this summer,” wrote Bob Raiselis. “He’s an artist who has a deep interest in learning about the history of the creatures he models, and then he takes that history, the scientific facts available, and places his works in the context of where and how they lived. And he does it with such skill and sensitivity.”

Montshire - bear favorite

Short-faced bear peering out above a hill at the Montshire Museum; image taken by the author.

Montshire - short-faced bear

Close-up of short-faced bear sculpture by Bob Shannahan at the Montshire Museum; courtesy of the Montshire Museum

Montshire - Diatryma

Sculpture of Diatryma, an enormous bird that lived during the Eocene, at the Montshire Museum; the artist employed foam for the beak; image taken by the author.

“It was a long couple of days,” Bob Raiselis continued, “getting them moved onto the Museum grounds, placing them, moving them a bit, looking from different vantage points – but when we were done and that Wooly Mammoth was up on the hill in the middle of Science Park, it really was possible to imagine them living on the North American landscape.”

“It’s a very powerful thing, that kind of realization and engagement with what otherwise might be just a fact you heard somewhere about these creatures.”

————————————

Many thanks to Bob Raiselis and Beth Krusi of the Montshire Museum!

The exhibit is available through September 7th, 2015.

Montshire-Woolly-Mammoth2

Image of woolly mammoth sculpture by Bob Shannahan at the Montshire Museum; image courtesy of the Montshire Museum

EoFauna – Science, Art, Dinosaurs, Mammoths – Bringing the Extinct Back to Life!

(**To see any of these incredible images below in more detail, please click on them!)

Initially, the idea was a dream.

Asier Larramendi, from Donostia-San Sebastian, participated in social media platforms with people who shared his enthusiasm for mammoths and dinosaurs. Discussing and debating scientific details. Reading up on the latest scientific papers.

It was through these discussions on a dinosaur blog in 2007 that he met Rubén Molina: another artist, another person passionate about prehistoric life, and a person who—based in Mexico City—lived on the other side of the world.

They quit their jobs in 2010, and they formed a company in 2012.

Their dream took shape in the form of EoFauna, an international collection of award-winning paleoartists, sculptors, researchers and prehistoric enthusiasts. Their goal: to create scientifically accurate representations of prehistoric fauna, using the most up-to-date research as their guide. In addition, they hope to educate others and help correct any inaccuracies currently within the media and in museums.

eofauna - logo

(Image of the EoFauna Logo, courtesy of EoFauna.com)

The members and collaborators of their company are from all over the world:

Sante Mazzei, an award-winning paleoillustrator from Italy;
Andrey Atuchin, a zoologist and paleoillustrator from Russia;
Shuhei Tamura, a traditional artist from Japan;
Jorge Ortiz, a biologist, sculptor and paleoillustrator from Mexico;
Martha Garcia, a technical expert and painter from Mexico;
Shu-yu Hsu, a sculptor from Taiwan;
Feng Shan Lu, a modeler from Taiwan;
Alejandro Muñoz, a sculptor from Spain;
David Zhou, a sculptor from China;
Heraldo Mussolini, a paleoillustrator from Argentina;
Jimmy Liu, 3D animator from Taiwan.

Perhaps most striking about the people who make up EoFauna is that most are self-taught—if not within the science itself, then within their artistic mediums. Their knowledge stems from reading thousands of scientific papers, all of the related contemporary scientific books, and from a powerful motivation to understand prehistoric life and impart that understanding to other people.

EoFauna - extant proboscideans

(Image of extant proboscidean models, courtesy of EoFauna.com)

EoFana - extinct proboscideans

(Image of extinct proboscidean models, courtesy of EoFauna.com)

Asier Larramendi himself, has just published a paper about the Songhua River Mammoths in the peer-reviewed journal Paläontologische Zeitschrift (http://link.springer.com/article/10.1007/s12542-014-0222-8).

Their artwork is absolutely beautiful, incredibly detailed and so very lifelike.  One could say that this talented group of artists and researchers bring these extinct animals back to life.

Asier and Rubén very graciously took time out of their busy schedules to answer questions–in Spanish AND in English–about their company, their artwork and their research.

———————————————–

1. From the “Prehistoric Times” article you very kindly sent, I can see that you and Rubén met through a blog.  How did you meet the other members of your staff?

De muy diferentes maneras, pero básicamente gracias a Internet. Con algunos de los colaboradores nos pusimos en contacto a través de conocidos sitios web de arte como DeviantArt, otros mediante blogs personales y redes sociales como Facebook, también hemos llegado a acuerdos con gente que contactan directamente con nosotros. Siempre buscamos y elegimos Artistas con gran talento y ganas de trabajar en diferentes proyectos. También hemos contactado con otro tipo de profesionales (Biólogos, Paleontólogos) a través de museos y universidades. Uno de nuestros objetivos es crear y dar servicios de primera calidad basados en la excelencia, rigurosidad científica y belleza artística.

In many different ways, but basically thanks to the Internet. Some of the partners we contacted through art websites known as DeviantArt; others through personal blogs and social networks like Facebook. We have also reached agreements with people who contact us directly. We always look for and chose artists with great talent and desire to work on different projects. We have also contacted other professionals (biologists, paleontologists) through museums and universities. One of our goals is to create and provide quality services based on excellence, scientific stringency and artistic pulchritrude.

EoFauna - Skulls

(Image of various skull sculptures, courtesy of EoFauna.com)

2. What kinds of clients contact you?  Is your artwork found in museums or in universities?

Por ahora la mayoría son particulares y coleccionistas, pero poco a poco nos estamos abriendo mercado en museos y otras instituciones, todavía somos una empresa muy joven. Algunas de nuestras paleo-esculturas se pueden ver en el Museo y Centro de Interpretación Luberri (http://www.luberri.org/eu/). Por otra parte ayudamos a museos que requieren de asesoría bibliográfica, identificación de fósiles fragmentados y apoyo para reconstrucción de organismos extintos.

At the moment, most are individual people and collectors, but gradually we are expanding our market to include museums and other institutions. We are still a very young company. Some of our paleo-sculptures can be seen at the Museum and Interpretation Centre of Luberri (http://www.luberri.org/eu/). On the other hand we help museums requiring bibliographic advice, identification of fragmented fossils, and support for reconstruction of extinct organisms.

EoFauna - Charonosaurus Andrey

(Image of Charonosaurus, courtesy of EoFauna.com)

 

3. Would your artwork be used in movies?

Si, eso es algo que tenemos mente, de hecho en estos momentos estamos trabajando en proyecto de animación 3D sobre un Mammuthus meridionalis para un museo Francés. Contamos con un fantástico modelador y un animador 3D de primer nivel. Colaborar en algún documental acerca de la vida prehistórica con nuestros 3D y asesoría científica, eso sería algo genial y trabajaremos para lograr ese sueño.

Yeah, that’s something that we have in our minds.  In fact, right now we are working on a 3D animation project: a Mammuthus meridionalis (Southern Mammoth) for a French museum. We collaborate with a fantastic 3D modeler and first-rate animator. Participating on a documentary about prehistoric life with our 3D and scientific advice, that would be something great, and we will work to achieve that dream.

EoFauna - Mammuthus meridonionalis

(Image of Mammuthus meridionalis, courtesy of EoFauna.com)

4. Have any of you participated in any fossil digs?

Alguno de nuestros colaboradores como Andrey Atuchin ha participado en trabajos de campo un par de años atrás en Blagoveshchensk (Lejano Oriente, Rusia, Cretácico Superior), y en Sharipovo (SO Siberia, edad Bathonian).

Por otro lado Rubén Molina ha visitado algunas colecciones fósiles tales como: Centro paleontológico Lago Barreales (CEPALB) o el museo de La Plata  a fin de tomar medidas propias de los holotipos de Futalognkosaurus,  Macrogryphosaurus, Argentinosaurus entre otros más. Asier Larramendi por su parte ha realizado trabajos de investigación estudiando algunas colecciones de Mueso de China, Taiwan y Europa. Las más destacadas serían la colección del Inner Mongolian Museum, Zhalainuoer National Mine Museum, National Museum of Natural Science of Taiwan, National natural history museum of Madrid, Mainz Natural history Museum…

Some of our collaborators. For example, Andrey Atuchin, participated in field work a couple of years ago in Blagoveshchensk (Far East, Russia, Late Cretaceous), and in Sharipovo (SW Siberia, Bathonian age).

Furthermore, Rubén Molina visited some fossil collections such as the Lake Barreales Paleontological Center (CEPALB) or the Museum of La Plata in order to make holotypes of Futalognkosaurus, Macrogryphosaurus, Argentinosaurus among others measures. Asier Larramendi, meanwhile, has conducted research studying some museum collections from China, Taiwan and Europe. The most notable would be the Inner Mongolian Museum, Zhalainuoer National Mine Museum, National Museum of Natural Science of Taiwan, National Natural History Museum of Madrid, Mainz Natural history Museum…

5. Your website says that most of your research relies on scientific papers, but that you’ve also been to a number of museums.  Has there been any specific paper or museum that has truly impacted your research?  Or do you have favorites among museums?

Bien, no hay un articulo en concreto, más bien nos fijamos en los trabajos de diferentes autores que nos llaman la atención. A parte de estar muy interesados en la evolución, filogenia, ecología, comportamiento… de las criaturas prehistóricas, uno de los campos más interesante para poder crear nuestras obras y productos, es el de la anatomía y morfología.

Son numerosos los títulos que utilizamos para nuestros trabajos, sin embargo destacan algunos por contener estudios especializados en ciertos temas:

Paleorecontrucción y estimación de pesos (Gregory Paul, Scott Hartman, Jerison)

Icnología  (Tony Thulborn)

Fisiología (Robert  Bakker)

Historia (Spalding &  Sarjeant)

Geografía (Weishampel, Dodson & Osmólska)

Recopilaciones (Matthew Carrano et al en Paleobiology Database)

Anatomía (Mathew Wedel , Mike Taylor, Mickey Mortimer en Theropod Database, Jeheskel Shoshani )

Bibliografía especializada (Tracy Ford en Paleofile)

Etc…

Tratamos siempre de estar actualizados y conseguir el mayor número de artículos científicos, libros relacionados con los dinosaurios y otros animales, temas prehistóricos, zoológicos y todo lo relacionado con el mundo animal. Por supuesto, uno de nuestros objetivos en relación con los dinosaurios es hacernos con todos los artículos descriptivos de todas las especies descritas hasta el día de hoy, por lo que siempre estamos muy encima en todo lo que se publica.

No tenemos un museo favorito, cada uno tiene su encanto. Algunos museos son muy espectaculares de cara al publico pero su colección en ocasiones es escasa, por lo contrario, en otras veces, pese que el museo es pequeño, en las entrañas de su colección puedes descubrir algo maravilloso que ha permanecido oculto e impacte a la comunidad científica. Todos guardan algún pequeño tesoro.

Well, there is no specific article. Rather, we follow the work of various authors who draw our attention.

Apart from being very interested in the evolution, phylogeny, ecology, behavior… of prehistoric creatures, anatomy and morphology are two of the most interesting fields in relation to our products.

There are numerous titles we use for our work. However, some are highlighted below as they contain specialized studies in certain subjects:

Paleoreconstruction and body mass estimates (Gregory Paul, Scott Hartman, Jerison)
Ichnology (Tony Thulborn)
Physiology (Robert Bakker)
History (Spalding & Sarjeant)
Geography (Weishampel , Dodson & Osmolska)
Compilations (Matthew Carrano et al in Paleobiology Database)
Anatomy (Mathew Wedel, Mike Taylor, Mickey Mortimer on Theropod Database, Jeheskel Shoshani)
Specialized literature (Tracy Ford on Paleofile)
Etc…

We always try to be up-to-date and get the highest number of scientific papers, books about dinosaurs and other animals, prehistoric and zoological themes, and everything related to the animal world. Of course, one of our objectives regarding dinosaurs, for example, is to get all of the recently published described-species articles, so we are always up on everything that is published.

We do not have a favorite museum; each has its charm. Some museums are spectacular for the general public, but its collection might be limited. In contrast, although the museum may be small, something wonderful might be discovered in the bowels of its collection that has remained hidden and might impact the scientific community. Normally all of them have some little treasure.

EoFauna - Guanlong

(Image of Guanlong, courtesy of EoFauna.com)

6. I notice feedback on your DeviantArt pages: http://EoFauna.deviantart.com/gallery/

Do you have a lot of debate with scientists over the details of your artwork?

Si, con Leonardo Filippi por ejemplo, revisamos el género Pitekunsaurus pues al parecer el occipital no coincidía en proporción con los demás huesos encontrados, que por mala fortuna son pocos. Analizamos y comparamos con otros géneros como son Antarctosaurus, Bonatitan, Rapetosaurus, Malawisaurus, Bonitasaura, Tapuiasaura y encontramos que resulta demasiado pequeño. Esto nos lleva a sugerir dos probabilidades, que el cráneo perteneció a otro ejemplar juvenil o que ese género fue un dinosaurio con la cabeza relativamente pequeña.

Yes. For example, we reviewed the genus of Pitekunsaurus with Leonardo Filippi because the occipital bone apparently did not match the proportion of other bones found. Those are very few. We analyzed and compared it to other genera such as Antarctosaurus, Bonatitan, Rapetosaurus, Malawisaurus, Bonitasaura, Tapuiasaura, and we found it too small. This leads us to suggest two probabilities: that the skull belonged to another juvenile individual, or that it was a dinosaur with a relatively small head.

EoFauna - Psittacosaurus bite force

(Image of Psittacosaurus, courtesy of EoFauna.com)

7. Can you tell me more about the book you’re working on? 

Claro, la obra en la que estamos trabajando trata sobre diferentes tipos de records en dinosaurios. Estos records, no sólo tratarán sobre los más grandes y de menor tamaño, incluirá record históricos, anatómicos y taxonómicos. Revisaremos algunos mitos que se han creado a fin de sustentarlos y descartarlos.

La obra está basada en datos recopilados durante años y cuidadosamente analizados para ofrecer un material confiable, además de que intentaremos aportar nuevas observaciones en diversos temas. Como adelanto decir que  mostraremos que dinosaurios fueron lo más grandes y más pequeños por zonas geográficas, periódicas, familias… Por otra parte, nuestro libro será el primero en mostrar todas las especies descritas hasta el día de hoy con su correspondiente tamaño estimado. Contamos con una base de datos basada en miles de artículos y recopilaciones que se publicará junto con la obra, para que se pueda verificar a fin de darle autenticidad de lo que se mostraremos. El libro será dibujado por los ilustradores Andrey Atuchin, Sante Mazzei, Jorge Ortiz Mendieta y los dos autores: Rubén Molina y Asier Larramendi.

Sure. The book we are working on is about different types of dinosaur records. We will include the largest and the smallest dinosaurs by epoch, geographic location, and families. We will also include historical, anatomical and taxonomic records. We will review some myths that have been created and discard them.

The work  is based on data collected for years and carefully analyzed to offer reliable material. Moreover, we will try to try  to bring new observations on various subjects. We will show which dinosaurs were largest and smallest geographically, by different periods, by families… Furthermore, our book will be the first to show all species described to-date with each species’ corresponding estimated size. We have a database based on thousands of papers and collections that will be published along with the book in order that anyone can verify the authenticity of that which we present. The book will be contain artwork by illustrators Andrey Atuchin, Sante Mazzei, Jorge Ortiz Mendieta, and two authors: Rubén Molina and Asier Larramendi .

EoFauna - Eotriceratops vs Triceratops

(Image of Triceratops horridus and Eotriceratops xerinsularis, courtesy of EoFauna.com)

 

8. Do you attend any paleontological conferences?  Will you be attending the Mammoth Conference in Greece this year? 

Si, Asier Larramendi como especialista en proboscideos estará presente en la sexta conferencia internacional de Mamuts y sus relativos (VI International Conference on Mammoths and their Relatives). Acudirán cerca de 200 científicos de todo el mundo, entre ellos varios de los mayores expertos en proboscídeos como Dick Mol o Adrian Lister. Será una gran oportunidad para estar al día de los nuevos descubrimientos y debatir con diferentes especialistas y poder hablar cara a cara con esos colegas que sólo se tiene contacto vía e-mail. La misma conferencia dará la oportunidad de ver in-situ algunos impresionantes hallazgos de probsocidos como los restos del mastodonte europeo, Mammut borsoni, incluyendo los dos colmillos más largos descubiertos en todo el mundo.

Asier por su parte, está preparando un manuscrito sobre la altura, tamaño corporal y morfología de los proboscídeos extintos que será enviado al congreso.

Yes. Asier Larramendi, our proboscideans specialist, will attend the Sixth International Conference on Mammoths and Their Relatives. The conference will be attended by nearly 200 scientists from all around the world, including several of the leading experts in proboscidea, such as Dick Mol and Adrian Lister. It will be a great opportunity to keep abreast of new discoveries and to be able to debate face-to-face with those specialists with whom we have only contacted via e-mail. The same conference will give the opportunity to see in-situ some awesome proboscidean findings, such as the remains of the European mastodon, Mammut borsoni, and the two of the longest tusks ever discovered worldwide.

Asier, meanwhile, is preparing a manuscript on the height, body size, and morphology of extinct proboscidea that will be sent to Congress.

Eofauna - M meridionalis and running paleontologist

(Image of paleontologist running from Mammuthus meridionalis, courtesy of Eofauna.com)

 

9. Can you tell me in what kind of projects or scientific papers are you involved?

Bien, tenemos en mente algunos otros libros relacionados con la vida prehistórica que nos gustaría ir realizando durante los próximos años. Durante esta año por ejemplo, revisaremos algunas colecciones y publicaremos algunos estudios en revistas con revisión científica externa. Asier por ejemplo acaba de publicar un estudio sobre los Mamuts del Río Songhua en la revista Paläontologische Zeitschrift (http://link.springer.com/article/10.1007/s12542-014-0222-8), en el que describe un espécimen completo. Como hemos comentado en la pregunta anterior, Asier está trabajando en un manuscrito acerca del tamaño y morfología de Proboscideos extintos. Rubén por su parte, está realizando diferentes estudios sobre la distribución geográfica de los dinosaurios durante las diferentes periodos y un estudio comparativo entre huesos incompletos de diferentes tipos de dinosaurios en México. Los resultados de estos estudios serán publicados durante el 2014.

Well, we have in mind to publish some other books related to prehistoric life over the next few years. During this year, for example, some collections will be revised, and several studies will be published in peer-reviewed journals. Asier, for example, has just published a study on Songhua River Mammoths in Zeitschrift Paläontologische (http://link.springer.com/article/10.1007/s12542-014-0222-8), which describes a complete specimen. As mentioned in the previous question, Asier is also working on a manuscript about the size and morphology of extinct proboscidea. Rubén, meanwhile, is conducting various studies on the geographical distribution of the dinosaurs during different periods and a comparative study on incomplete bones of different types of dinosaurs in Mexico. The results of these studies will be published in 2014.

EoFauna - Juvenile mastodon

(Image of juvenile mastodon, courtesy of EoFauna.com)

———————————————–

A Mammuthus Columbi-sized thank you to Asier Larramendi and Rubén Molina!  What a great pleasure connecting with them and learning about their exciting company!

¡Muchas, muchas gracias!

Please be sure to check out their website! http://eofauna.com/en/

Asier’s recent paper is here:

Skeleton of a Late Pleistocene steppe mammoth (Mammuthus trogontherii) from Zhalainuoer, Inner Mongolian Autonomous Region, China

Abstract

In 1980, in the Lingquan Strip Mine of Zhalainuoer, Inner Mongolian Autonomous Region, China, two partial skeletons of Mammuthus trogontherii were unearthed and subsequently stored at the Inner Mongolian Museum in Hohhot. In March 1984, an almost complete skeleton of M. trogontherii was recovered in the same coal mine. This third steppe mammoth skeleton (Zhalainuoer III) is now exhibited at the Zhalainuoer Coal Mine Museum. It is the best-preserved skeleton of M. trogontherii ever found. A previously identified dropping and the enclosing sediments where the Zhalainuoer skeletons were found were dated to the Late Pleistocene. The almost complete third skeleton (Zhalainuoer III) is that of a fully grown male. The age at death of this individual was estimated at c. 53 years. It had a shoulder height of 389 cm in the flesh and a body mass of 10.5 tons. The completeness of the Zhalainuoer III skeleton provides new information about the morphology and the osteology of M. trogontherii. Especially noteworthy is the complete preservation of the caudal vertebrae.

 

Kitty and Dino – spotlight on NH artist, Sara Richard

“Mommy! Mommy! Look what I found!”

These are the first—and some of the only—words in Kitty & Dino, a 2012 book by NH artist and sculptor, Sara Richard.

Kitty and Dino front

Two unlikely companions—a cat and a dinosaur—are introduced to each other when a little boy brings the dinosaur egg home to his mother. The cat, with great caution and suspicion, inspects this egg. And within a short period of time, a baby dinosaur emerges.

Kitty and Dino, Dino hatches

This is a picture book, but it follows graphic novel design.

With pastel colors, bold outlines, and vibrant white bursts of energy throughout, Sara Richard tells a story that almost leaps out of the pages.

Panel after panel illustrates the initial conflict between the two species and then their gradual acceptance of and affection for each other.

Whether the two are chasing butterflies, squirrels or a frog,

Kitty and Dino chasing frog

dinokittyfrog2

their gestures and images exude playfulness and joy.

The book is remarkably endearing.

One cannot miss the energy in these illustrations. And her artwork displays an expert knowledge of cat (and dinosaur!) movement and anatomy.

But these images also allude to a magical world. One can see this in the white speckling throughout the scenery—whether in the house or outside. Contrasting with pastel colors, the speckling evokes stars, a bit of other-worldliness amongst the otherwise common background.

Kitty and Dino, so beautiful

Sara Richard’s art, as described on the book jacket, is influenced by gestural drawing, art nouveau, and Japanese ink paintings. She paints and sculpts, but her work also includes creating action figures. Among other well-known action figure lines, she has worked on figures for Jurassic Park.

She very graciously took the time to answer some questions about her book and her artwork in general.

Sara Richard, Self-Portrait with Charlie

(image of Self-Portrait with Charlie, courtesy of Sara Richard)

1. What inspired you for the story itself?
The story actually was already in place by the editor of Yen Press, the publisher of the book. I met her partner at a comic convention in Chicago a few years ago and he said that they had a story about a cat and a dinosaur, which coincidentally was what my sketch book had a lot of. So it was a right place right time, planets aligned kind of thing.

2. There is a lot of energy in these drawings. Can you tell me more about that or why you chose the colors and the vibrant lines?

I love the organic line work of Art Nouveau and I’ve adopted characteristics of that line work into my art. I always felt that the lines seemed alive and kinetic. When I paint I feel the white lines are sort of representative of the energy in the piece and it just sort of pops! Also I love bright colors. They’re happy.

3. The movements of both cat and dinosaur are so life-like. What are your models for their gestures and their postures?

Haha thank you! Well I’ve always had cats, not a siamese but I always felt that type of cat was so slinky and sassy, so that was fun to play against a really big clumsy dinosaur, which I likened to maybe a great dane type of dog. I’m really interested in paleo art and dinosaurs in general and have watched most of the dino documentaries on Netflix. So that was very inspirational.

4. The book reads like a comic book; I love how one gets a vivid picture of the personalities of the cat and the dinosaur through each panel. Did you sketch out more drawings than are in the book? Or did you use everything?

This book changed SOOO much from the very first drawing to what you see now. I did probably three sets of all the interior pages in thumbnails. The story was written very loosely and it took a few passes to line up with the vision of the editor. I had a few artistic arguments in there about how I felt the compositions and colors would read but we both came to an understanding and that’s what you see!

5. Did you enjoy the experience of creating a children’s book?

It was very much a learning experience working with a writer. I’ve written little stories myself (nothing I’ve published) but I’m currently working on a ghost story and another kid’s book that I will write and illustrate myself. I’m really looking forward to it!

6. Are there any reactions to the book you want to share?

I love hearing how people who’ve read it can see the big dog influence in the dino and when they tell me the cat has the same attitude as their own. Also when I hear that kids reading it will make up their own words or sound effects as they read it. I think it’s great that people can have their own experiences with the story since there is no set dialogue. (save two word bubbles). That and I love hearing they really like the artwork!

7. Have you always been interested in dinosaurs?

I love dinosaurs! Probably really started getting interested in them my senior year of college though. 

Parasaurolophus: Yell

(Image of Parasaurolophus: Yell, courtesy of Sara Richard)

8. The book jacket mentions that you are an illustrator for Prehistoric Times Magazine, and that—among others—you have sculpted action figures for Jurassic Park (Hasbro). Can I ask which Jurassic Park figures you sculpted?

I did about three full dinosaur sculpts, two of which will hopefully see the light of day soon, one I hear was lost. You can find images of the carnotaurus and Stegosaurus I worked on. Hopefully when the new movie comes out my figures will be on the shelf. I also re sculpted another dino from another sculptors’ interpretation that wasn’t quite up to the standards my managers wanted. That one is pretty cool….wish I could say more!

9. Can I also ask what is involved in creating figures for a toy company? Do they provide the material? Do they tell you specifically what they want or is there a lot of room for creativity?

The figures for Hasbro when I was there were mostly done in wax. Now they are primarily digitally sculpted (in my opinion losing the imperfections and more lifelike qualities that hand sculpting produces). When they were sculpted in wax, the material was very brittle and we sculpted in all the articulation to make the figure move. There was a lot of cursing sometimes, especially when a tiny piece fell on the floor and shattered. There is a design department that creates the design of the figure and the sculptors follow it. I found I could be creative with loose elements like hair and clothing, but for the most part you had to follow what the designer made.

Champsosaurus

(Image of Champsosaurus, courtesy of Sara Richard)

A T-Rex sized THANK YOU to Sara Richard for her time, her responses, and her beautiful artwork!!

You can see more of her artwork and learn more about Sara Richard on her website: http://sararichard.com/

You can buy her work here: http://sararichard.storenvy.com/  or here: http://society6.com/SaraRichardArt

You can order Kitty and Dino from your local independent bookstore! Or you can order it at Amazon.com, Barnes and Noble or your local comic book store.

Dino and Sloth

(Image of Dino and Sloth, courtesy of Sara Richard)