Monthly Archives: August 2017
While preparing a complex paleo-scene with several animals in their environments, I draw line sketches by the dozen, many of them too rough to show even here. But once the anatomy of the animals and the composition have been solved, the matter of color needs to be dealt with. Some times from the very beginning you have a rather definite idea of the palette you want to use, while in other occasions your concept is more defined regarding shapes than color or atmosphere.
One case where I had a concrete idea from the start was the scene with a herd of indricotheres of the genus Paraceratherium which I painted for the National Geographic Book of Prehistoric Mammals.
I wanted to play with the sober contrast between the grey animals and the orange-colored dry grass, and I wanted to use light grey dust to intermix both elements. The idea seemed clear and simple enough, but for this project I had such tight deadlines that I could hardly leave anything to improvisation. In such cases, “more is less”: a little more time invested in a preliminary color sketch is less time wasted later on in changing your mind about color schemes.
So, based on my preliminary pencil drawing I did a very rough color sketch in oils, only some 20 cm wide. As I was painting the earthy color combination I had imagined, I found it looked rather oppresive. All the colors were a bit too similar and with all that dust dominating the scene it felt clausthrophobic, as if the animals were inside a huge room rather than outdoors. So I decided to bring in the color that most directly contrasts with orange: blue. Incorporating the patch of blue sky in the right upper corner of the painting created a tension between two complementary colors and it further suggested the idea of advance, so that as the herd moves towards the right side of the scene the dust seems to be cornering the blue sky, but it hasn’t totally happened yet.
I solved these issues in an hour or two working on my small sketch. But if I had set to paint directly on the big canvas (shown below) and found these problems along the way, the solution would have taken much more time, a luxury I could not afford in that project.
Digital imaging came to stay a long time ago, and some times it can become a nightmare for artists with traditional training like myself. After many years painting digitally, pencil and paper are still my tools of choice when it comes to sketching, and the digital tablet and pen sometimes feel like ill-fitting gloves. And you know what they say about a cat in gloves…
That said, in many ways digital imaging has provided paleoartists with possibilities that seemed just dreams some years ago. For me, being able to handle an accurate 3D model of a fossil skull is incredibly convenient when it comes to make a faithful reconstruction of the head of an extinct animal.
In a recent book cover commission for Japanese publisher Gakken, I had to illustrate a gaping Smilodon facing the viewer, and it was imperative that the proportions were totally accurate. So I used a digital 3D model of the skull of Smilodon and rotated it in the screen until I got the right pose and angle, then I made a screen capture and used it as a template to anchor my drawing of the living head.
The painting was done digitally, and the flexibility of working in layers was a welcome advantage when it came to make minor adjustments to fit the requirements of the cover layout. Like it or not, most of us scientific artists are now plugged in to the digital world, so we should better look at the bright side of -virtual- things!