Wednesday, September 17, 2014

A Russian interlude

What's all this then? Well, I was recently contacted by Dave Hone, well-known palaeontologist, blogger, and exuberant fellow. Dave and I have met a few times, and he even lent me a pile of his old books on one such occasion. This time, Dr Dave had another treat for me. In a letter sealed with wax and carefully delivered by a dashing man in a hat, he had written:
"Dearest Marc,

I do hope this letter finds you well. On a recent field trip to the badlands of somewhere-or-other, one of my students mentioned a glorious 1990s dinosaur book filled with brightly coloured, haphazardly proportioned and occasionally obviously plagiarised dinosaurs, and I had to think of you. Please find a series of photographs enclosed.

Cordially yours,

Dr David Hone."
 Or he might have just sent me an e-mail. But check it out - Russian vintageish dinosaur art! Hurrah.

Wednesday, September 10, 2014

Vintage Dinosaur Art: The Doctor Who Dinosaur Book - Part 2

So it turns out that Doctor Who is quite popular - who'da thought? As such, there was much demand for a second instalment of The Doctor Who Dinosaur Book (1976), featuring everyone's favourite Doctor* - the Fourth Doctor, played by Tom Baker - wandering around and posing like a prat among dinosaur art faithfully traced from the pages of earlier books. I do hope you enjoy.

Monday, September 1, 2014

Vintage Dinosaur Art: The Doctor Who Dinosaur Book

It's a very good day for those interested in palaeoart - its history, trends over time, the current consensus on restoring certain animals, and where it might be going. Firstly, there's Mark Witton's article in Palaeontology Online, in addition to one on the 'new' Spinosaurus on his own blog. Secondly, Darren Naish's latest blog post is also a look at the changing appearance of dinosaurs in art (what, again?).

Here at LITC, we like to think we do our bit in aiding public understanding of the history of palaeoart; in particular, how certain trends are adopted by illustrators perhaps less accustomed to drawing dinosaurs, frequently resulting in grievous errors being repeated ad nauseam. The best palaeoartists will often find that their very particular take on an animal will take on a life of its own, appearing all over the bleedin' shop until it becomes the de facto 'genuine' restoration. This week's book is an exemplar of these tendencies in palaeoart. It also has Tom Baker in it. "You have a woman's bottom, my lady!"

Tuesday, August 19, 2014

Vintage Dinosaur Art: The AMNH's Book of Dinosaurs, Part 2 - James Robins

Over the years of writing these blog posts, I'd like to think that I've matured somewhat - that the vodka-fuelled gratuity of my late university years has mellowed into something more thoughtful and, dare I say it, nuanced. (Oh yes. I went there.) Sure, I'll still point out shonky dinosaur art, but with less savagery, and an acknowledgement that, by contemporary standards, it's often not so bad. Plus, illustrators gotta eat.

On the other hand, one is occasionally reminded that a few - a very few - palaeoartists over the years managed to make their jobbing contemporaries' work look more than a little embarrassing - maybe, even, deserving of the occasional pouring of scorn. One of those artists is James Robins.

Monday, August 11, 2014


Brontësaurus‏. Sepia ink and gouache on Strathmore grey toned paper, 151 x 147mm.

'My literary and palaeo friends and audiences so rarely converge (which is a great pity), but I’m jolly well going to try.'

So I said when I first shared this drawing on my own illustration blog, Twitter, and Facebook page a few weeks ago. It has since gained what was for me quite unprecedented attention for a single piece of work on any of those media platforms.* Why, it's even been spread about on Tumblr without any attribution, which I daresay is about as 'viral' as it gets for me. As usual, I hesitated sharing it here from the first because it offers very little next to the nutritional goodness posted by my Chasmosaurs brethren, but I've been persuaded otherwise. Stay tuned, therefore, for more in this series.

*Except perhaps for Ol' Salty, which was shared by the Stan Winston School of Character Arts' Facebook page, though as they uploaded the drawing afresh instead of sharing it directly from mine, the figures were not reflected in the latter. *Chagrined mutterings*

Wednesday, August 6, 2014

Vintage Dinosaur Art: The American Museum of Natural History's Book of Dinosaurs

Meeting our Vintage Dinosaur Art criterion by the slimmest of margins, The American Museum of Natural History's Book of Dinosaurs and Other Ancient Creatures (snappier titles are there none) is a mere twenty years old. However - and as I've said numerous times before - it's amazing how much has changed since the early '90s, even when it comes to restorations of dinosaurs that aren't (yet) known to have been feathered. The AMNH book (as I'm sure you won't mind me calling it) is also notable for featuring artists with differing approaches and styles, which only adds further historical interest. Some of our old friends are in there, but there's at least one highly notable contributor who hasn't been featured in a VDA post before...which always makes me So Very Happy.

Friday, July 25, 2014

Interview: Ross Campbell

We here at LITC were pleasantly surprised by Ross Campbell's art in the recent Turtles in Time #1, which depicted all of its prehistoric creatures with various feathery coverings (including, presciently enough, the ornithischians.) When it turned out that Ross Campbell is active on Deviantart, well, that was too tempting an opportunity to resist. I reached out with a few questions, and he was kind of enough to reply.

So how did you end up on the Turtles in Time creative team? Did you have much input on the setting and on which dinosaurs were featured?

My editor Bobby asked if I wanted to draw Turtles in Time #1, I said "of course I do," and that was that! The writer, Paul Allor, and I talked a bit beforehand about the setting and which dinosaurs we were going to use. Paul picked the ones neccessary for his script, though, such as the Tyrannosaurus and the Triceratops, although for some of them it was more of a general type, like something that could fly. The specific species was left to me.

Since my mom saves everything, I pulled out a bunch of old dinosaur books I had as a kid and picked out the ones I liked and which fit the time period and setting. I picked all of the background dinosaurs myself, such as the Therizinosaurus and Pepperoni [the baby Protoceratops Raphael takes as a pet]. When I came on board, I was determined to give the Turtles an adorable dinosaur sidekick, and I wouldn't rest until I'd gotten her into the story! For the flying reptile we needed Mikey to ride, I decided on the Quetzalcoatlus, not just because of the time period but because it seemed the most rid-

Pepperoni is a great little side character. Do you have much of an interest in paleontology? Do you see yourself drawing them again in the future?

I don't have a big, active interest in it, other then that I like dinosaurs. I don't read up on the science or the new discoveries that often, but I still enjoy it. I especially love reading about the weird discoveries that shatter the popular image of what people think dinosaurs are. I used to draw dinosaurs a lot as a kid, and I'd love to draw them again in the future. I'm doing a Ninja-Turtles fan-comic right now that I post online, and some dinosaurs might show up in that.



What was the process you used to do the dinosaur character design? Was it something you had a lot of freedom with?

Paul and I were on the same page before we ever discussed it. I've always loved dinosaurs with feathers since I was a kid, so I knew that was what I was going to do. I wasn't sure how Paul or Nickelodeon would like it, although I was prepared to fight for it. I can get pretty stubborn. But luckily, Paul asked for feathered dinosaurs before I even said anything, so it worked out. Early on I had been planning on coloring the issue myself, so when I did dinosaur sketches I did color schemes for them too. Some of which eventual colorist Bill Crabtree used, like the colors for the Tyrannosaurus and Pepperoni. Nickelodeon didn't like my Triceratops colors, so we had to change that. It was a little too weird, I guess.

I love bright and weird colored dinosaurs, though. I get bored of everything always being shown in grey and brown and single solid colors. I wanted the dinosaurs in the background to be more colorful than they ended up being, but there was a bit of concern over my Valentine's Day/Easter-colored dinosaurs, so it was scaled back.

Another thing was that even though I wanted there to be some accuracy, like the feathers, I also wanted it to be cartoony and cute. I love Jurassic Park and all that, but I get a little tired of dinosaurs always being expected to be "badass" and fearsome and ugly all of the time. So I wanted to do something in the middle, which, to me anyway, makes them seem more believable within the world of the comic. And it just fit the tone better.

Was there any kind of dinosaur that you wanted to add but couldn't? 

I would have liked to have drawn some swimming dinosaurs, and it would have been fun to draw the Turtles dealing with something really big, like a Mamenchiasaurus. It would be fun to draw something at that scale.

Finally, Ross, what's your favorite prehistoric animal?

I love Glyptodon! And Deinonychus.

Thanks for the interview! OK, Pepperoni, play us out. 

Tuesday, July 22, 2014

Vintage Dinosaur Art: The Mysterious World of Dinosaurs - Part 2

In the first part of our examination of The Mysterious World of Dinosaurs, we came upon chubby, oily-looking tyrannosaurs, alarmingly carnivorous-looking stegosaurs, and Godzilla. However - and as the title implies - this book goes beyond the eponymous archosaur clade, taking a look at various other Mesozoic monstrosities. Bring on the zombie-pterosaurs!

Tuesday, July 15, 2014

The TetZooCon was on

So, TetZooCon 2014 happened, and you won't hear a bad word said of it among those of us who attended. The event was a spin-off of the incredi-popular Tetrapod Zoology blog, authored by fish-hating mega-brain Darren Naish, and also the similarly named podcast, hosted by Darren and partner in tapir in-joke crime, John Conway. I'm sure neither will need an introduction around these parts; suffice it to say, the event reflected the incredibly diverse range of topics discussed on the blog and podcast, ranging from Dougal Dixon future-bats to false azhdarchid head nubbins, and from mermaids made from papier maché and string to having a seabird land on one's head. And there was a quiz. And it was bonkers. But more on that shortly. (All photos by Niroot.)

Darren Naish

Monday, July 14, 2014

Interview: Paleoartist Maija Karala

"Forest Green." A dandy paravian, © Maija Karala and used with her permission.

I'm always excited to see new work pop up in Maija Karala's DeviantArt gallery. A Finnish biologist and writer, her enthusiasm for biology also finds voice through her illustrations, which range from fleshed out scenes to charming sketches. I can't remember exactly when I began following Maija's illustrations, but I do remember being particularly struck by her Tarpan fending off a lion.

"Don't Mess With Tarpans." © Maija Karala and used with her permission.

Maija writes:
Here, a young cave lion is about to learn why one should be careful with tarpans. It's July somewhere close to the edge of the ice and the steppe-tundra is blooming. The plants depicted include Betula nana, Viscaria alpina, Rhododendron lapponicum, Orthilia secunda, Pedicularis sceptrum-carolinum and Dryas octopetala. Yes, the latter is the plant that was so common at the time at gave its name to the Dryas climatic periods.
It's a great example of the qualities I admire in much of her work: a sense of drama, subtle and naturalistic color, dedication to research, all wrapped up in an eminently approachable aesthetic. I was happy when Maija agreed to do an interview for Love in the Time of Chasmosaurs, so I could ask her more about how she works.

What is your background as an artist? Is it your profession or hobby?
For me, art is mostly a hobby. I make my living as a science writer, mostly writing for newspapers and magazines. I do paid illustrations whenever I get a chance, but it's not very often. I'd love to do more of it, but the fact that I always thought it as just a hobby now hinders me a bit. As I haven't really practised my skills systematically, I only became good at the things I like doing.

"Hamipterus." © Maija Karala and used with her permission.

Do you get many opportunities to cover paleontology in your science writing?
I get to cover paleontology fairly often, though not as often as I'd like. A few articles per year or so. On my blog (which is unfortunately in Finnish, but can be found at I do write a lot about paleontology and use my own illustrations as well.

Do you plan on continuing to do illustration as a hobby, or do you have professional aspirations?
I'm working to become a better artist, and I'd love to do more professional illustrations too. Though writing is probably still going to be my main occupation.

Was illustrating extinct animals always something you did or did you come to it later in life?
I drew dinosaurs as a kid, like everyone else, but stopped somewhere in my early teen years and only started again when I began my university studies, seven years ago (I studied biology). During the gap, I mostly drew fantasy creatures, dragons and elves and stuff. I think the main reason I started making paleoart was to find sort of a compromise between drawing fantasy creatures and being a science student. Illustrating extinct animals is firmly rooted in science, but also lets you use your imagination in a way not really possible with bioillustration.

"Eye Contact." Anurognathus ammoni, © Maija Karala and used with her permission.

At what point in an illustration do you focus on the eyes? It's often a striking element in your work, whether fantasy or paleoart.
I have never really thought about that. I do tend to think the eyes and expressions as the most important part of my drawings, as that's also what I pay the most attention when looking at live animals (or people, for that matter). Though I have no idea if everyone else does that too. After making a general sketch on what I want there to be and where, the eyes (or the facial areas in general) are usually the first thing I focus on.

You seem to be especially drawn to feathery theropods. Is this due to a bird interest or is there some aspect of their form that is especially fun to draw?
I think it's a bit of both. I like birds, sure. I also like drawing small and pretty animals. And feathers are always fun. Anyway, the main reason is probably that there's plenty of references and easily accessible knowledge available on feathered dinosaurs. It was an easy place to start back when I started making paleoart, and once I was familiar with them, it was also easy to continue.

Lately, I have been moving on to other critters as a part of trying to learn new things. My DeviantArt gallery is now starting to have more things like fossil mammals and non-dinosaurian archosaurs than feathered theropods on the first pages.

When illustrating an animal that has been covered by other illustrators, in what ways do you try to make it your own?
I always try to find other sources of inspiration besides other people's depictions of the same animal, sometimes actively avoiding looking at them when planning to make my own reconstruction. I often look up modern animals with somewhat similar ecology and use their soft tissues and behaviour as inspiration, but try never to directly copy anything. I mostly avoid using the most obvious colour themes or soft tissue ideas. That's not to say I never stumble on paleoart memes, but I do try to avoid it.

"The Feathered Yeti." Xiaotingia zhengi, © Maija Karala and used with her permission.

How much do comments on dA influence your work? For instance on your "Feathered Yeti," the comments get into some serious detail about integument. When posting work do you post with the expectation that you'll receive critique on areas you're not sure about?
To be honest, DeviantArt comments have probably been the most important thing pushing me to get better at making paleoart. These days I usually do my research before drawing, but especially earlier it was a great motivator to make embarrassing mistakes and get someone tell it to me. I'm pretty sure I never made the same mistake twice.

As I have mostly learned paleontology and anatomy on my own (for years, I had no paleontologically oriented friends nor any education on either subject), the criticism has been invaluable. I still greatly appreciate all the experts who go through the trouble to nitpick on amateur drawings.

"I Immediately Regret This Decision." Thalassodromeus attempting to eat Mirischia, © Maija Karala and used with her permission.

So, who are some of your favorite expert paleoartists? Is there a particular piece of advice or critique you received that has stuck with you?
I really like the works of people like Alain Bénéteau, Ville Sinkkonen, Carl Buell and Mauricio Anton, just to mention a few. My favourites are the people who can combine an expert understanding of science with truly beautiful art and get the animals to really come to life. I also really like Niroot's style. And John Conway's. And... ok, I'll stop here before the list becomes ridiculously long.

I don't think there's any particular piece of advice that has been especially memorable. It has been more about the general message that I need to know more. It's something I simply didn't get elsewhere for most of the time. As nobody I knew personally had the expertice to tell me the feet of my Quetzalcoatlus are wrong, most feedback was more like "oh, a nice dinosaur. What do you mean it isn't a dinosaur?".

Thank you to Maija for answering my questions - and patiently waiting for me to have time to put the post together! I hope you'll stop by her DeviantArt gallery and leave some support and constructive criticism on her illustrations. Also check out the recent post at i09 featuring Maija's Protoceratops/ Griffin illustration.

"Go Home, Evolution." Atopodentatus, © Maija Karala and used with her permission.