Thursday, October 25, 2012

How do you draw dinosaurs? And how the artistic process?

My position on the lost worlds flag adorning Paleolithic art looked good and I have some nice comments on the post as well as on Twitter and comes through the pipes to my e-mail. One person in particular was more interested in how we get in Palaeolithic art and the process between the researcher and artist. Having been involved in at least some parts that are produced and being an avid fan of ancient art in itself, is something that I am more than happy to put you away.

As to how people get into the field, and this naturally varies. I know artists who have worked as a technical illustrator for scientists and were able to try to rebuild the strange life and things went from there, have wildlife illustrators who were recruited because they could not make animals properly, "normal" artists who have found a trick to it, or is on the ground, and those who have just received a call out of the blue and asked him if he liked to try their luck among the dinosaurs.

Increasingly, however, thanks to the Internet, we are seeing more and more people are able to gather information on the animals and prehistoric Paleolithic art, get feedback from researchers and promote their art to those who can not afford. When 10 years ago was probably difficult to find anyone outside the ranks of editors and researchers have heard of you or see what it can do, it is increasingly easy for prospects and messaging send them a link to your online portfolio and people sharing this information.

This is ideal for those who want to enter the field, but, of course, put too much stress. Most researchers have had enough on his plate without having to respond to specific requests for help in the tyrannosaur anatomy or abelisaur and although I know some researchers who transform flat demand, we do sometimes receive most reasonable requests. In addition, there are now dozens, if not hundreds, of young artists working outside their mammoths and dinosaurs and trilobites online and offer their services to researchers and museums just for the opportunity to have some of them use.

As expected, at least a little palaeoartists have felt more than a little trouble trying to earn a living and faces all of a sudden a bunch of competitors offering to work for free. This is a favorable position, but at the same time - as a researcher who has never had the research budget to spend on art - those whose only demand on resources is time are naturally a great attraction and I worked effectively with people to help them in their scientific accuracy and development in exchange for a piece that can be used to promote and illustrate my research.

So the current collaborative process. Again, this can vary greatly depending on the artist and researcher, and even the details of the handpiece. I know colleagues who are quite happy for the artist to do almost anything you want and they will order a part to the exact placement and color models, etc. Unless funds behavior or quirk anatomy you want to show, my general point of view, it is simply trying to provide scientific guidance for the artist, and that will take you wherever you want. Thus, when I suddenly, they want to paint blue and pink with purple spots and yellow stripes jump 20 feet in the air, if he had green faces with black bands black with green stripes vs, or run locally meaning above and so on.

In my case, I want to sit down with the artist and go over the details (preferably in person, by Skype is a blessing) before and advise what can and can not do (might work, way of life, etc..) This saves errors that come later may be difficult or impossible to correct. Once you have a plan of what you want to achieve, then the conversation continues with the verification of details and gaps. More conversations take place and I would like to print drafts and notes on freehand or draw (badly) on how things should look, or at least directly to a specimen showing the property in detail, or even a work of art shows how it might look in real life.

with good people with experience that can take as little as a few notes and verify a single sketch before go ahead and make full. However, my colleagues and I have other horror stories of being lumbered with inexperienced people who had no idea where to start and suggestions are ignored or dismissed which means that the result was something that seemed alive still less as a species is supposed to represent. An editor asked me to stop complaining about errors in the parts I watched, curiously, I felt rather defeats the point of having a scientific advisor first.

These links to the points raised above - the average person probably can not tell the difference between art and precision disastrous correct, but the first is the cost in terms of hiring a professional experience, and again there is a restriction on when publishers palaeoartist known that they can get away with relatively inexpensive illustrations do not necessarily have an impact on sales. From my point of view is obviously unfortunate for my friends and colleagues around the world Paleolithic, but it is also unfortunate that people interested in dinosaurs and prehistoric world may give the wrong impression of how these animals (and makes the plants) and really looked at what is the current scientific understanding.

The rise of the Internet and electronic age has had both good and bad, and it will be very interesting to see how things evolve. Paleolithic impressive and original and will always be about these new results mean that there will always be new things to illustrate. However, I hope that the vast amount of new material appears and new methods of development and sharing of art means that there are more good things instead of just.

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