Prehistoric Times - 2013 Spring

Writers in This Issue:

Paul McFarland

Mike Fredericks

Allen Debus

Tracy Ford

www.prehistorict

imes.com

S U BS C RIB E  TO D A Y !

Ron Lemery

Phil Hore Artists in this issue: Mike Fredericks

Steve White

Mike Landry

Hanson Wong

David Hicks

Tracy Ford

Fabio Pastori

Tallack Refshaw

Phil Coles

Kevin Hedpeth

Dr Mike Adamson

Sergey Krasovsky

Scott Hartman

Jim Martinez

Alan Barnard

Zubin Erik Dutta

Angel Dominquez

Phil Brownlow

Angie Rodriques

Kevin Sievers

Paul Machabee

Sara Miles

Avery Rylander

Steven DeMarco

Arthur Machabee

Jason Ward

Chris Thomes

Mark Hallett

Frederik Spindler

John Goodier

Ruben Portillo

Russell Hawley

Dan Holland

Nick Spreitzer

Steve Moncuse

Shuhei Tamura

Raul Martin

Joe Choate

John Trotter

Jacek Major

Feng Shan Lu

Paul Passano

Trisha Brumitt

Steve Kieffer

John F Davies

Shu-Yu Hsu

John Sibbick Jerry LoFaro Kevin Hedgpeth

We hope you have been enjoying all the parades across the country celebrating PT’s 20 year anniversary. Why not subscribe today and celebrate the arrival of PT to your home four times a year?!!

Steven DeMarco

Randy Knol

Asier Larramendi Ruben Molina Sante Mazzei Andrey Atuchin

Subscribe Today! Visit our web site and use your credit card (through Paypal only) to

www.prehistorictimes.com Join the Prehistoric Times group for free on Facebook All payments in U.S. funds. Credit card payment through our site only Or mail your check/MO/cash to our address. Subscription Information below: Prehistoric Times • 145 Bayline Circle • Folsom, CA • 95630-8077 Table of Contents Prehistoric Times No. 105 Spring 2013 $30 U.S. Only (one year, 4 issues) third class postage. $35 U. S. first class postage and Canada

subscribe, resubscribe or buy back issues

PT’s Twenty Year History . . . . . . . . . . . . . . . Fredericks. . . . . . . . . . . . . . .10

$45 South of the border & across the Atlantic

Triceratops . . . . . . . . . . . . . . . . . . . . . . . . . . . Hore . . . . . . . . . . . . . . . . . . 14

$50 Across the Pacific

How to Draw Dinosaurs . . . . . . . . . . . . . . . . Ford . . . . . . . . . . . . . . . . . . . 20

Publisher/Editor: Mike Fredericks

Dinosaur Collector . . . . . . . . . . . . . . . . . . . . Knol . . . . . . . . . . . . . . . . . . 26

145 Bayline Circle, Folsom, Ca 95630-8077 (916) 985-7986 between 8-5 PST M-F business hours only please.

FAX (916) 985-2481

Collectors Corner . . . . . . . . . . . . . . . . . . . . . Fredericks . . . . . . . . . . . . . . 29 Dinosaur Rights . . . . . . . . . . . . . . . . . . . . . . . Telleria . . . . . . . . . . . . . . . . 30

[email protected]

Smok, Polish Dragon. . . . . . . . . . . . . . . . . . McFarland. . . . . . . . . . . . . . 33

www.prehistorictimes.com

What’s New in Review . . . . . . . . . . . . . . . . . Fredericks. . . . . . . . . . . . . . 34

Advertising: Full page - $150 b&w - $400 color; 1/2 pg - $100 b&w - $300 color; 1/4 pg - $75 b&w - $200 color

Frozen Moments Diorama Art . . . . . . . . . . . Lemery . . . . . . . . . . . . . . . . 36 Dire Wolf . . . . . . . . . . . . . . . . . . . . . . . . . . . . Hore . . . . . . . . . . . . . . . . . . 38 Neave Parker . . . . . . . . . . . . . . . . . . . . . . . . . Debus . . . . . . . . . . . . . . . . . 42 Remembering Jurassic Park . . . . . . . . . . . . . Hallett . . . . . . . . . . . . . . . . . 47 EoFauna . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 52

PT logo by William Stout Redone above by Thomas Miller Front cover graphic design by Juan Carlos Alonso 4

Mesozoic Media . . . . . . . . . . . . . . . . . . . . . . Fredericks . . . . . . . . . . . . . . 54 Mosa-Jaws. . . . . . . . . . . . . . . . . . . . . . . . . . .Demarco . . . . . . . . . . . . . . . 56

Prehistoric Times No. 105 Spring 2013

FROM THE EDITOR

Ad graphics by Michael Stevens

Happy Twenty year anniversary to PT. I’m super excited and of course thank all of you for making it possible. I am afraid I take up valuable dinosaur art space in this issue to tell you the story of the past 20 years of producing this little mag. I hope you can forgive this self service on my part and enjoy my article. I thank Jerry LoFaro for our front cover art of the legendary battle between T. rex and Triceratops. Jerry tells me that like so many artists that appear in I have stopped accepting subscriptions or Prehistoric Times, the first things he drew as a child renewals from other sources. You can mail were dinosaurs, fueled by the original “King Kong” your new subscription or renewal payments along with the art of C. Knight, Z. Burian and R. to our California address or use Paypal to pay Zallinger that appeared in the Time Life books of the through www.prehistorictimes.com, but only Your little old PT editor with “The Giants.” From the 1960’s. After a long career as an illustrator in publishdirectly through us; no longer through any left that is paleontologist Jack Horner, paleoartist ing and advertising, he has returned to his first love in other company. earnest, in an attempt to recapture the “wow” factor in Michael Skrepnick, paleoartist Douglas Henderson, me, MOVING?? PLEASE let us know your his art that dinosaurs have always represented for him. and paleontologist Phil Currie. What a day. We were all new address the second you plan to move. He likes to portray them in a dramatic and somewhat The magazine is NOT forwarded and it costs at the Philadelphia DinoFest in 1998. The way I’m romanticized way, and this month’s cover image “Face us to resend the magazine a second time to Off ” is a good example of that approach. Jerry’s work leaning into the photo, it looks like I am “photo-bomb- your new “digs.” Thanks so much. ing” but no, I met and talked with all of them. is created in Photoshop, which he also teaches in ARTISTS! PT does not pay for submisAdvanced Digital Illustration classes at The NH sions but many artists whose work is seen in Institute of Art. “Face Off ” was created as a licensing image, and will be Prehistoric Times get paying work from other sources. Please send jpg files available as a t-shirt later this year at jerrylofarodesigns.com, along with all of your artwork scanned at 300 DPI resolution. Send as an approx 4” jpg his existing designs. Jerry says, “For the little kid whose temple growing up with your name in the title of the image--example--Triceratops by John was The Museum of Natural History in NYC, it was pretty cool to learn that Smith.jpg to our e-mail address or send good copies (that you don’t need my shirts are the best selling in their gift shops!” Your PT editor loves the returned and that aren’t too big to fit our 9 x 12 scanner bed) to our mailing Brachiosaurus shirt Jerry sent me. See his full page ad in this issue. address in California. We need your art and info. For #106 T. World famous artist Mark Hallett did not paint our front cover again like rex/Postosuchus (June 10, 2013) #107 Utahraptor/Uintatherium (Sep 10, he did last issue but this issue is still packed with his work. Attorney Robert 2013). Thank you! Telleria tells us artists how we need to protect our paleoart from people who would use it without our permission and uses much of Mark’s art as exam© Steve White ples. Mark Hallett was also kind enough to tell us of his early work on the movie Jurassic Park and shares with us his 1990 production artwork. I asked Mark, what aspect of his work does he feel was most influential in the finished product and he said, “Most definitely the Spitter, which in spite of the subdued colors they chose to go with, is morphologically closest to what I came up with. This in contrast to Disney’s Dinosaur!, in which the finalized Aladar and Bruton characters stayed pretty close to my character concepts.” Mark also supplied several paintings of our two featured prehistoric animals in this issue. In celebration of the twenty year anniversary of the Jurassic Park film this year, we feature Triceratops in this issue (His mother is very proud). I thank you all for sending in far more artwork of this ever popular dinosaur than I could possibly fit in here. Sorry to those whose art did not fit. Please send us more in the future though. Good ole’ Phil Hore discusses Triceratops and also dire wolves. Like me, Phil loves all types of history, especially prehistory of course, but also war history. Phil again manages to squeeze some war history into his dire wolf article but I think you’ll easily understand why. Fans like myself of HBO’s “Game of Thrones” will be familiar with the dire wolves on the show including one named ‘Ghost.’ All of our fantastic, usual writers are here for this special issue including Tracy Ford also discussing Triceratops and Allen Debus telling us about artist Neave Parker and more. I am sad to say that dinosaur collector extraordinaire Jack Arata has died. He was a great friend to this magazine and myself and will be much missed. I am also sorry to report that Professor Larry Martin of the University of Kansas was taken off of life support at the behest of his http://www.primevalnewworld.com family after battling a long illness. He was professor of Dinosaur Biology, Paleontology of Lower and Higher Vertebrates and Comparative Anatomy at the college and a world renown paleontologist. Don’t forget that Prehistoric Times issues and subscriptions are now also available as Apps for your computer or other electronic devices. This is the first issue of PT produced on my new 2013 iMAC computer with the huge 27” screen and I love it. It was a grand gift from my wife (and I love her too.) I remind you that I will again be manning the Prehistoric Times table at Wonderfest this May in Louisville, Ky selling back issues and perhaps other goodies. Please stop by the table and say hello and talk dinosaurs with me. See ad inside this issue. Prehistoric Times No. 105 Spring 2013

5

Massospondylus & Megapnosaurus © Fabio Pastori

ME S O Z O I C MAIL

© Alan Barnard

Hey Mike, I was just reading the latest PT and had to say thanks for the mention in What's New in Review. Counting the latest pieces that I have finished for 2014 in the Wild Safari Dinos & Prehistoric Life series I have now sculpted 29 prehistoric pieces for Safari Ltd. I never thought I would get to do one dino toy let alone eclipse the 23 Marx did. That's not counting the Sue & Friends pieces and the AMNH Feathered Dinos Toob I am also happy to say that I sculpted. Its amazing the influence the Marx toys have had. I wouldn't be doing what I am doing if not for them and I guess it is the same for you. I wonder how many paleontologists and paleo artists were similarly inspired. Living the dream! Doug Watson, Watson Sculptures & Models [email protected] www.magma.ca/~watsondn

Last summer a comic art collector in San Diego asked if I’d be interested in doing a re-creation of the cover of Star Spangled War Stories # 94. It was a favorite comic from his childhood and he felt fairly certain that the original art hadn’t survived. He wanted me to do a more realistic painted interpretation of Joe Kubert’s wonderful composition. It was a lot of fun and I’ve attached both the comic and my version. All the best, Alan Barnard, Ontario, Canada

Ammonite © John Sibbick www.johnsibbick.com

Hi Mike: Hopefully upon visual inspection it was sufficiently clear (in my issue no. 104 article on Megalosaurus) that Neave Parker's 1950s restoration as shown on p.43 was hump-less. And, just to clarify, it was M. Jean Craig's “Dinosaurs and More Dinosaurs” Scholastic booklet that was published in 1965. Also, by the time this issue is distributed, release of our new dinosaur sculpting book will only be a few weeks away. Go to either Amazon.com, or McFarland Publishing's websites to pre order. The title is “Dinosaur Sculpting: A Complete Guide, 2nd ed.” (2013). This new, greatly expanded version of our 1995 book maintains the core, essence & general good stuff presented in the 1st ed., but now we're trying to reach out to the new generation of prospective dinosaur sculptors, the ones who've been dying to test the waters yet didn't quite know how to begin. This invaluable new edition will not quickly go out of print (as did the last). Allen A. Debus, somewhere near Chicago, Illinois

6

Hi Mike, I’m looking forward to the anniversary issue. It seems hard to believe that I came across a copy of the first issue twenty years ago. I thought it must have been a one-off dinosaur fanzine until # 11 showed up at the same Toronto store. I haven’t missed an issue since!

Hey Mike, Here is a shot to give you an idea of the T-rex project. Inside is a roaring sound device. The sound system is a very easy mod to make and the possibilities are endless in it's use. All you need is your PC to make any narration or sounds you wish. There are modules for up to 5 channels. The cost of those is a whopping $12. I think it will be

Don Meadow’s T. rex with sound

a new way for the dinohobbist to add that little something extra. Another thing I have stumbled on is a way to use green screen to put your dinosaurs any where you want. It is based an a 79 cent piece of green poster board from WALMART and a free program called WAX 2.0. This technique can be used for motion picture and stills. It is what I used to make a promo for my dinosaur education project. It took about 5 minutes. I have also included a link to my project. Please if you can put out the word I would be ever in your debt. This is very important to me. Thanks Mike, and I look forward to hearing from you. Best, Don Meadows. Prehistoric Times No. 105 Spring 2013

http://www.indiegogo.com/projects/bring-big-al-to-life/x/2332368 Hey Mike, Conan (O’Brien) has a segment on his TV show called “Fan Corrections.” You should have one as well. For example, in the “Dino Kingdom 2012” article, David Milner says Sinoceratops zhuchengensis is the first ceratopsian from China. Psittacosaurus and Protoceratops were found in the Gobi Desert which is part of China so Milner is incorrect. Also, I like the reviewed Alchemy Works Plateosaurus. I'd like one assembled and painted for my birthday, please! When I was in the 3rd grade, I wrote to the Aurora Model Company to tell them what prehistoric animal models I'd like to see them make next, including Plateosaurus. I envisioned the box art showing Zalllinger's blue & brown-striped plateosaur (the only color pattern I knew for the animal). I wonder if the Aurora Prehistoric Scenes model herbivores (Styracosaurus, Trike, and Anky) would've sold without their sharp teeth and snarls. Aloha! Wade Carmen, Cleveland, Tn. Undoubtedly not, Wade, and that is a problem for herbivorous dinosaur model kit sales today too, especially ones without big horns and spikes - editor Shane Foulkes Torvosaurus sculpture built & painted by Chris Thomas

Hi Mike, Mark Hallett’s cover artwork for the 104th issue was worth the price of admission alone but the prehistoric whale article by Phil Hore was really fan-

tastic. The entire issue was great. I just wish Phil had mentioned the Leviathan melvillei in his article and told us about it. Karen Augustine, NY, NY. Phil did not know what was going to be on the front cover, so that was my fault. I should have either asked him to talk about this giant, ancient whale in his piece on prehistoric whales or did so myself on my editorial page, so please allow me to right that wrong here. Fossil remains of L. melvillei were found in Peru including a

Sculptor Keith Strasser’s herd of creations

For more info: 631-662-6339

Prehistoric Times No. 105 Spring 2013

partially preserved skull with teeth and mandible. The animal lived during the Miocene epoch, approximately 12-13 million years ago. Scientists say it ranged in length from 45 to over 55 feet. L. melvillei was similar to a sperm whale but had teeth on the top jaw as well as the bottom; the largest teeth ever found. It was a top predator of its time competing with C. Megalodon sharks which lived there at the same time. Researchers originally assigned the name of the biblical monster Leviathan to this prehistoric whale as L e v i a t h a n melvillei, also dedicating the discovery to Herman Melville, author of Moby-Dick. However, the scientific name Leviathan was already used for Leviathan Koch, a genus of mastodon. The authors recently rectified this sitAvery Rylander uation by coining a new genus name for the whale, Livyatan, from the original Hebrew spelling.

Triassic Tykes

Hey Mike, Has Anyone ever heard of a little Golden Book called “From Then Til Now?” I recall this as my first dino book; about mid to late 50s. Jim Johnson, Boulder, Co. Oh sure, Jim, (actually, “From Then To Now” 1954) and while the Little Golden Book simply titled “Dinosaurs” was a much bigger favorite with me personally as a kid, “From Then” does have a few pages of Zallinger and Knight inspired artwork as it takes the reader through the history of earth. Here is a photo of the front cover - editor Dear Mike, Thanks for publishing my pictures in PT #104. Got to tell you the cover is fantastic! The review of the Dino Park in Prague was great. The dinos are phenomenal. Better than most I’ve seen. Looks like I might just renew my passport! Thanks for publishing such a creative magazine. Sincerely Mike Landry, Newburgh, NY

Asbury Park Middle School computer class

Asbury Park Middle School computer class

Kevin Sievers age 14

7

The PT DinoStore

Vintage dinosaur collectibles for sale from PT magazine 23. Dimestore dinos 1. “Dinosaur Collectibles” price guide co-written and signed by PT editor $49 1. Collectibles 2. Linde 1950s Coffee Premium plastic dinosaur figs 7 from Austria. $12ea. book 3. Rare 8th Linde figure to complete above set: Rare Rhamphorhynchus $45 4. Marx orig. sm/med 50s/ 60s dinosaur toy figs (green, brown, gray) $5 5. Marx orig. Krono, T-rex (pot-belly or slender) $39, Brontosaurus $34 6. Marx original second series dinos/mammals $12 each, set of 8 - $79 7. Marx 45mm cavemen (6 diff) $7 ea Marx 6” cavemen (6 diff) $15 ea. 8. Multiple (MPC) dinosaur plastic figures many colors $5-10 each (inquire) 9. J H Miller waxy plastic nice Prehistoric cave toy $45 16. Sinclair banks 10. J H Miller waxy plastic1950s Dimetrodon, broken feet -stands fine $39 25. SRG 11. J H Miller waxy plastic1950s Stego, short tail $49, Woolly Rhino $59 12. J H Miller waxy plastic 50s Bronto in good shape $69 22. Sinclair bagged set 13. J H Miller plastic RARE SMALL Dimetrodon or Brontops $99 each. 14. J H Miller plastic 50s Mastodon short tusk $49, Triceratops short horn $49 2&3. Linde 16. Sinclair 1960s green plastic 10” brontosaur bank $24.9 17. Sinclair 1934 Dinosaur book $25 & Sinclair1964 Worlds Fair booklet $15 18. Sinclair 60s colorful Hardback “The Exciting World of Dinosaurs” $39 19. Sinclair hollow dinosaurs 64 NY World’s Fair dinos in several colors @$35 39. Palmer 20. Sinclair rare hollow NY Worlds Fair Brontosaurus looking backward $69 21. Sinclair album and complete stamps set1935 $35 or 1959 $20 9. JH Miller cave 22. Sinclair 60s solid Worlds Fair dinos (6 diff. various prices) (bagged set $99) 23. Hollow, dimestore plastic dinos, 60s/70s six different $8 each (see photo) 39. Palmer 24. Alva 1960s metal Stegosaurus or Duckbilled Trachodon (each damaged) @$49 25. SRG Small metal dinosaurs Mosasaurus $89, caveman $85, Plesiosaurus $60, Pteradactyl 19. Sinclair hollow dinosaurs 17. 1934 Book $49, T. rex, Triceratops, Dimetrodon, Trachodon, Brontosaurus or Stego $40 ea. SRG Large metal Tricer $79, Tracho $79, or T. rex $69 26. 60’s Japan Porcelain Dimetrodon, Stego, Bronto, T-rex or Protoceratops 5” @$30 27. 1960s, salt & pepper shakers, bone china, intertwining neck Brontosaurus $39 28. Nabisco silver prehistoric mammal cereal premiums early 1960s $10 ea. All 8 $75 29. Nabisco/Fritos dinosaur premiums, gray (60s) $5 each, 1950s green & red $10 ea. 28. Nabisco cereal prehistoric 30. ROM (Royal Ontario Museum)plastic dinosaur figures. $15 ea, Pteranodon $25 mammals 31. Kleinwelka German large plastic Anatosaurus $59, Deinosuchus $19 32. View Master Prehistoric Animals 1960s comp. 3 reels/booklet nm $24 33. Topps complete set of 12 - 2” plastic dinosaur figures Nice! Early 90s. $25 8. MPC 34. Animals Of The Past Golden Stamp Book 1968 - $35 Multiple dinos 35. Teach Me About Prehistoric Animals Flash cards 1960s $49 36. Brooke Bonde 60s dinosaur trading album w/ set of cards attached $59 37. Rare Bandai motorized Dimetrodon or Brontosaurus model kit in box @$49 38. Pyro Protoceratops model kit in orig. 1960s box@ $22 39. Palmer 1960s Mastodon skeleton or Brontosaurus skeleton $45 each MIB 33. Topps dino set 40. 1960s ITC T. rex, Brontosaurus or Neanderthal man skeletal model kits $59 41. La Brea Tarpit Wm Otto rare metal 3” sabertoothed cat figure $99 24. Alva metal Stegosaurus PT back issues 23, 24, - $16 32, 46, 54, 103- $12 27, 31, 33, 38, 41, 42, 45, 52, 66, 74, 75, 76, 78, 82, 85, 89, 93 - 102, 104, 105 only $7 each on sale 41. Wm Otto sabertooth (PT issue prices include shipping) Pls. add $6 shipping in U.S. • Call or e-mail me about condition. 40. ITC/Ringo Mike Fredericks Prehistoric Times models 145 Bayline Cir. Folsom, California 95630-8077 35. Flash cards (916) 985-7986 29. Nabisco dinos [email protected]

27. 1960s salt & pepper shakers w/ intertwined necks. 5” long each.

36. Brooke Bond

30. ROM plastic dinos 18. Left: Sinclair 1960s hardback

8

32. 60s Viewmaster

26. 1960s Japan 7. 6 inch Marx large cavemen

21. Sinclair 1959 Oil dino stamps & album

Prehistoric Times No. 105 Spring 2013

TWENTY YEARS of Prehistoric Times By Mike Fredericks

books illustrated by John Sibbick and others. Michael Crichton’s Jurassic Park was a great read and there was talk of an upcoming film based upon the book with exciting new special Your PT editor effects. By telephone and letter, I began manning the PT corresponding with another dinosaur table at The Mad fan and collector back in Louisville, Model Party in Kentucky named Harold “Riff ” Smith. Pasadena. What a We decided to start a dinosaur newsletgreat time! ter to help us meet other people to answer our questions about vintage dinosaur collectibles. Like I’ve said in PT before, Riff wanted to call it “The Dinosaur Collector.” I wanted the newsletter to encompass more than just collectibles as I was a science and art nut too. I decided to call it “The Prehistoric Times.” Obviously it has a ”ring” to it like The New York Times and other publications plus Prehistoric Times was the name of my beloved Marx dinosaur playsets of my youth. While Riff wrote many articles about collectibles for PT, he was fascinated with the science too and was the one to write a number of scientific articles including our featured dinosaur and featured prehistoric animal article for each issue.

With as many new readers as PT has received in the past several years and with this being our 20 year anniversary issue, I thought I would write a little something about the ”journey” that PT has been for me; a sweet ride indeed! First, a little about me. My father and mother were officers in the US Air Force when they met while stationed in Japan. They were soon married there and conceived me as well. I was later born back here in the states at Warner Robbins AFB in Georgia. My mother had left the military by this time but my father was in it until he passed away in 1977 as a Lt Colonel. So, I was a military brat growing up in a family that moved often. My younger brother Kurt, my only sibling, and I learned to make friends fast and also learned to accept the quick loss of friends as well when we would move to a new duty station across the country. I had a great youth and Kurt and I became very close, as many times, each Artist William Stout (left) Twenty years ago I was in a small comic book shop other were the only friends we had. We grew rarely misses a convention so we on Jackson Street in Chicago during a lunch break up loving our toys and I always had a fascinahave spoken many times summertime, just thumbing through some magation for dinosaurs, including my Marx zines. And then my eyes riveted upon an advertisedinosaur toys and my small library of chilment for what was then a relatively new concept - a dren’s dinosaur books. My dad was a fairly dinosaur magazine named "Prehistoric Times." good artist, although he never did much with With a pen I scribbled down the mailing address & his abilities except to draw for his family. I later wrote to the editor, who was Mike Fredericks. inherited some of that talent and was always Shortly afterward, the first two issues arrived in the interested in drawing. After I graduated high mail and I even contributed an article for the third school, I didn’t have much interest in college PT issue. This began a marvelous (albeit, usually at the time but wanted to be a scientist. A US long-distance) relationship persisting through the Navy recruiter told me that he could get me a secret job in the Navy that was similar to being an oceanographer. He lied, years, all because Mike had established a wonderful, intrepid community or at best, didn’t know what he was talking about. I took the job but it had of dino-philes. It was finally at a J.D. Lees-sponsored Godzilla convention little to do with oceanography and a lot to do with looking for Russian sub- in 1997, when Mike and Riff Smith came as 'dino-dignitaries' to Chicago, marines during the waning years of the cold war. However, doing my four that my wife Diane & I finally got to meet them face-to-face. Anyway, many years have come & gone, but PT still stands!!!! • Allen Debus years in the Navy really helped me grow up a bit and was quite good for me in many ways. For one John Lanzendorf, Riff Smith & Allen Debus with the Our first issue had an extremely small press run famous Lanzendorf paleoart collection in Chicago. thing, it made me realize how important college (in fact, our first twenty or so issues had a small is, and now I had the GI Bill which paid my way press run and if you own a copy of any of these, through. I decided to be an art major and graduyou have a rare item. I personally own only a ated here in California. I met my wife-to-be in couple of copies of issue number one myself.) An college and we have been happily married ever original issue #1 has only one staple in the top since and have three great children and two semileft corner holding it together. (I later ran a small great dachshunds. second press run of issue #1 with 2 staples in the In late 1992, I discovered a magazine about old binding.) Full color was non existent in the early toys and how they had become collectible. It issues but eventually arrived, with issue #14 havbrought back a lot of great memories and I starting our first full color front cover. Obviously, the ed to seek some of those beloved items from my more people that read the magazine, the more youth again. Dinosaur-related items were not the Myself and Riff money would come in and the more I could only things that I was looking for but they were Smith at our PT afford to spend to improve its appearance. I certainly high on my list. I lucked into an antique table at the G-Fest would send free copies to artists, writers and Convention in store here locally that had a lot of old toys for paleontologists who I wanted to be involved with Chicago. sale and one area displayed a huge collection of the magazine’s content and slowly but surely big vintage dinosaur toys and other related colnames in the dinosaur world began to become a lectibles. I bought most of what they had, which part of PT, which was a huge thrill for me. While was a good thing as the rest had sold by the time we have always featured amateur artist’s work in I got back to buy more. I had many questions PT, having professional artists provide us with about these toys and others and tried to find likeart inside and on the front cover was a real feathminded collectors to help me answer them. I also er in PT’s cap. I have interviewed a number of rediscovered dinosaur books around this time. well known paleontologists for the magazine; William Stout’s “The New Dinosaurs” was a big especially in the early issues but have never been hit with me as well as a couple of other dinosaur 10

Prehistoric Times No. 105 Spring 2013

as comfortable interviewing scientists as I Tracy, Don Glut, Bob & myself check out Don’s amazing dino things from PT readers about his work. Thanks Phil. am interviewing artists so I usually left it up collection at his home including his animatronic 1933 Worlds Fair Pteranodon to others. (We actually need a PT reader to At the 1996 Dinofest Convention I was sitting at step up and start doing paleontologist intera banquet table with Ned Colbert and his family. views again as we have lost a couple of readThere was one empty chair next to me. Ned Colbert ers who use to provide these. If interested, is one of the few paleontologists that I have been please let me know.) star struck with and unable to ask questions to. One big event that happened pretty early After a while his son and wife came to the table, but on in the publishing of PT was getting picked there was just one empty chair. I told his son and up by a distributor to have the magazine sold wife that they could have my seat. There was a short in stores across the country. Unfortunately 'no you don't have to' but I told them that 'I'll go my first distributing company turned out to bother Bakker'. We chuckled and I went to sit at be criminals when it came time for me to (paleontologist Robert) Bakker's table. It be paid so I soon went with a second group just so happens that there was an empty and everything has been great ever since. It seat next to Mike Fredericks. We had The official Prehistoric Times model is always fun to see my magazine on the kit, sculpted by Bob Morales with box talked a bit before and I had some of his art by me. shelf at a newsstand or bookstore; and of magazines. After awhile I proposed my course I always move them to the front of 'How to Draw Dinosaurs' for PT. He was the rack so people will see them better. all for it and a 'series' was born. • Tracy Diamond Comic Distributors carried PT Lee Ford for a while but PT really isn’t a comic, obviously, and it just didn’t work out. A Were I to personally thank everyone number of museums also sell PT in their who has made this magazine possible over giftshops. the years, the names alone would fill the To promote the magazine, I went to a three pages of this article but I must thank number of shows and conventions across a few, with huge apologies to those not the country where I would man the PT mentioned. I remember hearing in the A very early ad for PT table selling copies of the magazine. At several of very early days from a dinosaur fan in Illinois these shows, Riff would join me, as well as some of named Allen Debus who was excited to have disthe other regular writers and artists. It was great covered PT. I have learned so much about prehis(and is to this day) to meet and put a face to many of toric aniWhen Bakkers attack!! you that e-mail and phone here who also attended mals since Paleontologist Robert Bakker these various shows; some for models and colstarting PT lectibles, others for paleontology. Of course it was and was also extremely exciting to meet all of the well very intimknown paleontologists and paleoartists when I was idated by out “on the road.” I really feel fortunate that PT the knowlallowed me to do so much traveling across the U.S. edge that To save money, sometimes we would have as many many of as ten guys split a hotel room. Of course Riff and I would get the two beds you already had when I first startand make everyone else bring a sleeping bag and use the floor. Sculptors ed the mag. (I especially remember Jerry Finney, Bob Morales, and Bruce Bowman plus Tracy Ford and others having a conversation with a readdid this with us a few times and we had a gas! er who described T. rex teeth and For many years the magazine was bi-monthly and I really didn’t have any knew how each one looked in relaproblem meeting this six issue a year schedule. A few people would ask me tion to each other. It was amazing.) how could I continue to come up with material for six magazines a year. I Allen Debus is a very knowledgewould tell them that there is plenty to talk about and there still is today. Later able man, in paleontology and vinhowever, Riff, who was still a big part of the magazine, was having serious high blood pressure problems and I suggested we make tage paleoartists. Lucky for all of us, he is the magazine quarterly instead. He jumped at also a prolific writer. He soon started writing that idea so I knew he wasn’t feeling very for PT and has been doing so ever since. well, as he had always loved contributing to While quests at the G-Fan Convention, Riff PT, just as much I loved publishing it. One and I were fortunate enough to be able to night (on my birthday) I received a call from meet with Allen and his family in Illinois one Riff’s love ones that he had passed away from year and he took us on a grand tour of a heart attack. I announced this in issue #82. Chicago including the Field Museum and This, of course, was very sad. Letters of symdeep dish pizza. pathy poured in. Like myself, Riff had made Since Tracy Ford lives in the same state many friends through the magazine who were that I do, I have been able to meet with him also devastated. a few times in person and have always had While PT will never be the same, Phil great visits. Tracy is not a paleontologist but Hore, who had already taken an interest in is about as knowledgeable as one. He also writing for us took over Riff ’s featured anilikes to illustrate and came up with the idea There were so many dino artists at a Las Vegas convention, I mal articles for each issue, (after I took a of a regular column in PT called “How to sent this poster board around and asked everyone to draw someshort swing at it for an issue or so) and has Draw Dinosaurs.” I wish I had a dollar for thing on it. Artists include Mark “Crash” McCreery, Pete Von done a fantastic job. I hear so many flattering every time a PT reader has said that it is one Sholly, Ricardo Delgado, Charlie Chiodo, and others. Prehistoric Times No. 105 Spring 2013

11

Vegas, Baby!! Me, Bob Morales, Tracy Ford & of his favorite things in the magazine. I have also had so many sculptor Bruce Bowman Another person who had a big impact opportunitys to meet Store on the magazine in the early days is not a display of famous people and do fanwriter at all. Mike Evans is a fan of model the book tastic things thanks to this series I kits (and actually a sculptor himself) who magazine. Rick Polizzi of owned Lunar Models back in the 1990s. illustrated. the Simpsons TV show Mike loves history including prehistory published a book on model and commissioned several prehistoric kits and asked me to help animal “garage kits,” back when this was him with the dino kits and a fairly new venture. Mike also took a likother models for his book ing to Prehistoric Times magazine and titled “Classic Plastic.” was kind enough to always send us a Millionaire Steven review copy of each of his resin plastic Schussler (ex-owner of dinosaur kits. Mike hired several sculpThe Rain Forest Cafe restaurants) flew me out to Minneapolis to review his tors to create his models but certainly his life-sized dino models and ideas for his “T. rex Cafe” chain of restaurants. I main man was artist Bob Morales. Bob got to help write the book “Dinosaur Collectibles.” My dinosaur illustrawas also a fan of PT and also lived in tions have been published in over a dozen books and even on two nationalCalifornia like me, so I often met him at ly broadcast television dinosaur documentaries. I especially enjoyed illusconventions like I did with Tracy. Living trating the entire “Dinoverse” series of books working with author Scott in Southern California, Bob met dinosaur Ciencin and the largest publishing company in the world, Random House. fan and world famous rock guitarist Slash Mike Evans also asked me to illustrate the box art and instruction sheet for (Guns and Roses) and built and painted several of his Lunar Models kits; an honor. At the annual Mad Model Party many dinosaur models for display in his convention in Pasadena, Ca, famous movie producer John Landis (Animal L.A. mansion. Bob also turned Slash onto House, The Blue Brothers, etc), would always come to my table and renew PT. Each year I would receive a check his son’s subscription. One year movie producer Peter Jackson (Lord of the from Slash’s “ legal people” renewing his Rings, King Kong) came to my table and was introduced to me. Peter has subscription. One year, Slash was kind enough been a PT subscriber ever since. At one of the Not too many PT readers have come over to the house Wonderfest Conventions in Louisville, Ky, Bruce to call my house and talk to my wife and I to congratulate us on being pregnant with our but in a rare moment, dino fans/collectors Jack Arata, Dean Bowman and I snuck over to guest Ray Walker and myself pose for a picture there. third child. Harryhausen’s table at dinner and spoke with him So, as well as being a magazine that talked for a minute. His amazing stop motion photography about the latest and vintage prehistoric animal in some of our favorite movies made him a hero of toys, the popularity of dinosaur garage kits ours and it was a dream come true to speak with made us also the place to learn about the latest him. All of these and others are great memories and kit that was newly available on the market. moments in my life, thanks to PT. Many new sculptors tried their hand at creatI want to take a moment to thank my wife of 28 ing these beautiful models and it is sad that so years, Judith. She didn’t envision dinosaurs as home few of them continue today. Mike Evan’s decor when she married me or everything else that warehouse burned down, completely destroygoes with being married to a dinosaur magazine ing his collection, but he perceivers to this day editor but (unfortunately for her and great for me) with his new company, The Alchemy Works. the poor girl loves me. While I obviously don’t write all of the artiI also thank Tony Campagna, who in the early Sculptors Jerry Finney & Bob Morales (in PT shirts) with world famous paleoartist Mark Hallett cles nor create all of the art in the magazine, I days, interviewed paleontologists and others for PT. do put it all together by myself. I am often asked Paul McFarland is an American writer living in how I do this. Believe me, it is great being king, Poland. His articles have become a great addition to god, and dictator when producing a magazine, PT. I, of course, thank writers Ron Lemery, Randy even if that means I have to do every menial job Knol, Steve DeMarco and Steve Brusette, whose needed to get each issue out. It is a lot to regular columns make Prehistoric Times magazine remember though and it makes me think of a what it is today. motto that really fits me: “A short pencil is betI have been blessed with more than my fair share ter than a long memory.” In other words, I write of good fortune in my life. I’m proud that the magaeverything down and have notes all over the zine has become both muse and patron for artists, as place rather than try to commit to memory what much of the art seen within these pages was done needs to go into each issue. This really works specially for the magazine. My heart-felt thanks to and I recommend note taking to everyone reading this. People are often sur- all of you who have helped make Prehistoric Times magazine a reality for prised when they call the magazine and I answer the phone here at home twenty years now. From well known, professional artists to seven year old (they sometimes think they have the wrong number) but I enjoy working artists and everyone in between, from talented writers to writers whose artifrom home and have never had an office anywhere else. cle could probably be called my own by the time I was finished editing it (but was still interesting enough to be worth my efforts), from people who In the mid-90's I was the store manager of a comic shop called 'The have become a best friend of mine to the thousands of readers who spend Phantom Zone.' I saw the ad and ordered PT in the monthly Comic cata- their hard earned money buying PT that I will never know, from people who logue 'Previews'. In the weeks between the issue arriving I visited a local contact me with great information for inclusion in the next issue to people Sci-Fi shop called 'Gaslight' books and they had the latest issue (#25) on who contact me just to say how much they are enjoying the mag -- thank the shelves and I grabbed it. I loved it so much I fired off a money order you, Thank You, THANK YOU. PT is your magazine. Here’s to another and grabbed all the other available back issues (down to #6 or so) and twenty years of prehistory. There isn’t room to say everything I would like have been getting the mag ever since. I first started sending in articles in to here. For a little more, check out a couple of interviews by Tony 2003, I believe • Phil Hore Campagna with me at the PT site: www.prehistorictimes.com

12

Prehistoric Times No. 105 Spring 2013

Triceratops

The reason why the tyrannosaur has attacked such a dangerous foe soon becomes obvious. Limping on a wounded leg, the half-starved predator squares up and faces the charging bull, but its challenging roar is answered immediately by a furious bellow from the Triceratops.

by Phil Hore [email protected]

© Phil Brownlow www.philbrownlow.co.uk

To attack the young, weak, or infirm is one thing, but taking on an angry bull is an entirely different matter. Bluff had failed, terror had failed, now the tyrannosaur had only two options left, fight or flight, and the latter was an option the aggressive herbivore wasn’t going to give.

© Sara Miles

Charging forward, the Triceratops twists its head slightly to the side to keep its target in view and rams its great horns into the soft belly of the tyrannosaur. In turn the carnivore manages to twist out

© Mark Hallett www.markhallett.com

The herd detonated into panicked chaos as a tyrannosaur, roaring and snapping its jaws closed like a thunderclap, charges out from the tree line. Cows and younger animals screech in fear as they break into a strange-looking gallop to get away from the predator, with their rear legs pushing like pistons while their front limbs lever up and down like a bodybuilder doing push-ups. Farther into the large glade where the herd had been feeding, an enormous dominant bull Triceratops charges in the opposite direction of the rest of his fellow herd mates. Having just overthrown the old king through © Angie Rodrigues

of the way, so that only one horn catches the predator in its thick, meaty thigh. Screaming in agony, the Tyrannosaurus does the one thing all predators are trained to do since birth: it bites. With a crunch the T. rex reaches over the attacking bull’s frill

© Dr Mike Adamson

arrogance, power, and youthful exuberance, the new herd master has little choice but to see what was causing this commotion. An island of muscle, sharp horns, and attitude, the bull snorts a challenge and lowers his head as he places himself between the now-visible hunting predator and its fleeing prey. 14

Prehistoric Times No. 105 Spring 2013

© Raul Martin www.raul-martin.net

© Steve White

and snaps down hard on the beast’s horn. With the dangerous head now under its control the predator next levers its body around and begins clawing at the Triceratops’s

from other.

each

© Jason Ward

The T. rex dribbles broken teeth and horn shards from its mouth as it roars in pain. Spinning to face the Triceratops, which was again charg-

flank, tearing long, bloody gouges down its body. Shrieking more out of rage than pain as testosterone surges through his body, the Triceratops pivots and flicks his head, wrenching himself away from the tyrannosaur’s bite. With a crack and loud snap, the horn still clenched in the predator’s mouth breaks, and both combatants stumble away © Paul Machabee

ing forward, this time the wounded tyrannosaur just isn’t fast enough to get out of the way, and the bull’s surviving horn punches deep into the carnivore’s stomach.

© Zubin Erik Dutta

Raising his head, the bull lifts the T. rex off its feet and, shaking free, charges again, punching his horn deep into the fallen animal’s chest.

© Paul Passano

© Frederik Spindler www.frederik-spindler.de

Prehistoric Times No. 105 Spring 2013

15

© Mark Hallett

© Joe Choate

www.markhallett.com

many strong years left, not to mention a rare victory over a hunting tyrannosaur. For now Triceratops is safe. In 1887 a pair of horns was found near Denver, Colorado. Specimen YPM (Yale Peabody Museum) 1871E was sent to

© Scott Hartman

© Arthur Machabee

With a final screech the predator dies, as its enormous head sags to the ground and its body gives one final, reflexive shudder. After several more charges and stabbings, triumphantly the bull pulls away from his defeated foe, © Phil Coles swishing his surviving horns © Hanson Wong

America’s first paleontologist, Othniel C. Marsh, who promptly reported that the fossils belonged to a large species of prehistoric bovine. The misnomer Bison alticornis would only survive as a mammal name for a few years before Marsh realized the horns belonged to another group he was describing after being sent a large skull by one of his collectors, John Bell Hatcher. This wasn’t the only misidentification when it came to Triceratops; indeed there was an older, forgotten specimen. Agathaumas sylvestris was named by E.D. Cope, who believed his creature was not only a hadrosaur, but also the largest prehistoric terrestrial animal ever discovered at that time. This of course was incorrect since Hugh Falconer had described the larger Columbian

through the air with numerous sharp switches of its head. Although the victory cost the Triceratops a horn, many a bull had held his territory with a broken horn, and this male still had

© John Trotter

© Steve Kieffer See my review of Steve’s dinosaur book in this issue.

16

Prehistoric Times No. 105 Spring 2013

Stance debate © John Sibbick © John Goodier

© Dr Mike Adamson

Mammoth in 1857. Cope’s fossil had been unearthed by a fellow associate of the Hayden Geological Survey, a member of the Megatherium Club and an old friend, Fielding Bradford Meek. The partially deaf geologist and paleontologist has now been mostly forgotten, perhaps because he lived his adult life in a small room under one of the staircases in the Smithsonian “Castle” with his cat (his only family) until his death. It’s rumored that Meek’s ghost still haunts this part of the museum today.

For a short time Triceratops became embroiled in the infamous “Bone Wars” after Cope released a paper in 1889 pushing the idea the Ceratopsidae Marsh had created for his fossil be renamed the Agathaumidae. Because only a few bones from Agathaumas’s torso were uncovered—and most assume these belong to the better defined Triceratops—Marsh’s name remained valid. Since these early misidentifications, Triceratops has been found across a large © Russell J Hawley section of the North American continent. Their size and durability are one reason for their survivability; another is their numbers. Triceratops must have been a common sight in the last years of the Cretaceous because of the sheer volume of bones and their distribution. Hatcher claimed seeing “31 skulls” in the ground during his collecting for Marsh, and Barnum Brown “identified no less than five hundred fragmentary skulls” as he searched the West. So many skulls are found in the ground that collectors © Nick Spreitzer often have the rare chance to ignore poor-quality specimens and search for the most complete, the most spectacular remains. This explains why so many museums have highquality Triceratops specimens. These have helped raise the species in the popularity stakes. Most fossils found prior to that time were incomplete, and though many were large, there was nothing spectacular about Prehistoric Times No. 105 Spring 2013

them. Then massive Triceratops skulls, some almost as big as a cow, with their three impressive horns began to appear in museums, books, and movies and fired the imagination of all who saw them.

Because of the unusual number and diverse location of these finds, for some time there was a lot of confusion over just how many different Triceratops species there were. Often any difference or variation was catalogued as a new subspecies or even an entirely new genus. Many of these variations have since been recognized as the usual differences between adults, juveniles, males, and females, and so from more than 18 variations today we recognize just two species, T. horridus and T. prorsus.

John Sibbick www.johnsibbick.com

Recently an argument has been rocking the world of paleontology, or at least paleontology chatrooms, with the suggestion that Triceratops isn’t a valid species after all but is in fact a less-developed Torosaurus. First described in 1889, the only real difference between the two species is that Torosaurus had a far larger frill with two holes (called “fenestrae,” Latin for ‘windows’), the use of which is a whole other argument. In all other matters, size, distribution, age, the two ceratopians match. The recognition of metaplastic bone in ceratopian skulls is helping change the idea we’ve been dealing with two species because this structure is capable of stretching and receding over time. This means a Triceratops frill was capable of elongating to the size of a Torosaurus; indeed some Triceratops skulls have revealed two regions of thin bone where the Torosaurus fenestrae are located, possibly showing the frill in midchange. Did the larger frill appear during mating and shrink afterwards? If you take away the variation in frill shapes, all those individual animals are almost identical, with 17

evidence indicating there may have been indeed only one species. Another controversy that divided paleontology for some time was, Just what did Triceratops use the frill and those formidable looking horns for? There are some who claim the frills were little more than display items; others believe they were used to help in interspecies combat. Some suppose they were used in defense from predators. Myself, I’m most certainly in the camp that thinks they were used for all three reasons, and I don’t really understand why there’s any controversy at all. Today we can look at almost any critter with projections on their head, and never are they used for just one purpose. Sexual selection, fighting rivals, defending © Dan Holland against tooth and claw, modern herbivores use their horns and antlers for all. So why would Triceratops be any different, especially in a world full of ferocious predators and rivals? This is especially true in the face of evidence like a broken Triceratops horn that was described with T. rex bite marks across it—healed bite marks. This shows the tyrannosaur attacked the herbivore, perhaps grabbing hold of the one point that ensured the predator couldn’t be gouged, but at some point lost its grip and stopped its attack. At the very least this means the Triceratops struggled enough to escape and perhaps may have even turned and killed its attacker. Another possible form of protection, both from predation and perhaps the blazing Cretaceous sun, were speculated bristles covering part of a Triceratops. Fossil skin has revealed Triceratops had enormous scales that possibly sported a large bristle structure in © Ruben Portillo the center. This kind of structure isn’t unknown on ceratopians because the earlier Psittacosaurus also sported spine-like structures on their tails. One of the strangest theories to come from a Triceratops fossil was the idea of T. rex the scavenger. In the 1990s Jack Horner used a famous fossil called the “Trex biscuit” (which was covered in roughly 100 bite marks) to prove that the theropod was solely a scavenger. Horner’s point was simple: the Triceratops must have been dead and positioned strangely for the predator to have bitten the bone at the angle the tooth marks show. I don’t doubt the result, but just how does Horner jump to the suggestion that this proved scavenging? If the Tyrannosaurus killed the Triceratops and was feeding, it’s just as likely this bone would have ended up in the exact same angle as if the herbivore had died of natural causes—but back to Triceratops. With a skull making up a third of its body, 7-foot long sharp horns, a low center of gravity, a powerful body, a shield-like frill protecting the neck, and finally herd numbers, Triceratops would have been a formidable opponent. YouTube is full of hunts ending 18

© Trisha Brumitt

with predators fleeing in terror when the friends of their prey decide to team up and lend a hand. Could there have been any more frightening sight for a prowling T. rex than a squadron of determined, full-grown Triceratops charging with heads lowered and ready to fight? I think not.

It’s been suggested that there is a lack of defensive wounds on most ceratopian skulls, which shouldn’t be a surprise since most adult herbivores never confront a predator. Normally it’s the old, the young, or the infirm that fall victim to predators, and for most other herbivores, life is a rather peaceful one. A recent study of Triceratops skulls though has revealed at least 18 had tyrannosaur bite marks on them, with most containing no signs of healing. This means the

© Steve Moncuse

w o u n d occurred during or after d e a t h . Sur prisingly, many of these bites were on

the frill. It would seem tyrannosaurs bit the frill of their victim and literally tore the head clean off, perhaps to get at the meat below. They also found what can only be called “nibbling” around parts of the skull where meat would have been found. This study revealed not only the brutal power of a © Dr Mike Adamson tyrannosaur’s bite, but the daintiness of their ability to feed and the dexterity of those massive jaws. It also suggests Triceratops was a favored prey species of T. rex, but I’m pretty sure these amazing herbivores would not have just stood there and been eaten. Figures of Triceratops have been around about as long as figures of dinosaurs have been around. The diversity of styles, materials and poses has been amazing over the years, and far too many to fit here this time.

Prehistoric Times No. 105 Spring 2013

Prehistoric Times No. 105 Spring 2013

19

How to Draw Dinosaurs By Tracy Lee Ford

Figure 2. A, Nedoceratops hatcheri, USNM 2412. B, Triceratops albertensis, NMC 8862.

[email protected]

Triceratops…enough said Triceratops is one of the most iconic dinosaurs known. Triceratops has appeared in movies, documentaries, books, magazines, posters, and comic books and has also been made into models and toys. Generally all the depictions have the same skull shape though many show the snout too wide. Recently a new mummified Triceratops discovery shows interesting skin texture; unfortunately that specimen is in private hands, and nothing more can be said about it (Peter Larson, pers. comm. 2013, who was the first to mention it during the 2007 SVP [Society of Vertebrate Paleontology] meeting in Texas. As of this writing that information can’t be confirmed). Also, Larson et al. (2004) shows that the body was a lot wider, but that information hasn’t been described yet either. However, I can comment on the horn, skull, and frill shape. Triceratops has two major skull morphs, a long and a short snout. The long-snouted Triceratops species are T. prorsus and T. serratus, and the short-snouted morph is T. horridus (Figure 1). Not only do the snout lengths vary, but also the horns—nasal and orbital. Some have short nasal horns; others have large nasal horns. For the most part, the orbital horns have the same shape, but they do vary in length, orientation, and curvature. People believe that the main anatomical feature to worry about are the horns. I believe it’s actually the beak. Ceratopians, in general, had strong jaw muscles and would have had a powerful bite. A current hypothesis is that T. horridus and T. prorsus lived at different stratigraphic levels and did not intermingle with each other; T. horridus lived before T. prorsus. Horner/Fowler/MOR studied only the Triceratops from Montana. I’m not sure they studied all the known Triceratops specimens, which were not only from the Hell Creek Formation from Montana, Figure 1. A, Triceratops horridus (type specimen), YPM 1820. B, T. horridus (= T. elatus), USNM 1207. C, T. prorsus (type specimen), YPM 1822. D, T. prorsus (= T. serratus), YPM 1803.

20

but also the Lance Formation from Wyoming, the Scollard and Frenchman formations from Canada, and the Laramie and Denver Formation from Colorado. For instance, what about Triceratops albertensis? It is a large Triceratops from the Scollard Formation in Alberta, Canada. The horns are not only vertical, but also actually point slightly backwards. How does that specimen fit into the Triceratops scheme of things? I believe there is a possibility that it is the same genus as Nedoceratops (Diceratops) hatcheri (USNM 2412) (Figure 2). Scannella and Horner (2010) believe that Nedoceratops is an ontogenetic stage of Triceratops/Torosaurus. Frake (2011), however, believes that Nedoceratops is a valid genus and not an ontogenetic stage (which I agree with). USNM 2412 is small in comparison to the others, but the horns are also vertical, though incomplete. I put together a poster of all the Triceratops specimens that I could find and am selling it at my store on Zazzle (Aletopelta). Horner and Goodwin (at an SVP talk) commented that as Triceratops grew, the horn went from curving backward to being directed forward in adults. The tip of the horn still has a slight curve upward, and if it doesn’t, I believe it isn’t a Triceratops. Generally speaking the length of the frill is equal to the length of the skull from the occipital condyle (where the skull connects to the neck) to the tip of the snout. At its highest point it generally has a “flip” of the tip of the frill dorsally (Figure 3). Along the edge of the frill are epoccipitals (dermal ossifications, scute). The younger individuals have a serrated frill edge made up Figure 3. A, Epijugal in front view and lateral view (MOR specimen). B, Triceratops serratus, YPM 1823 (dorsal view showing the epoccipitals). C, Torosaurus latus (= Torosaurus gladius, YPM 1831) frill, showing edge and fenestrae. D, T. horridus (= T. elatus), USNM 1207, showing worndown epoccipitals and raised end of frill. E, T. prorsus, USNM 2100, showing worn-down epoccipitals and raised end of frill. F, Triceratops serratus, YPM 1823, showing serrated frill edge. G, T. horridus, SDSM 2760, showing worn-down epoccipitals and raised end of frill.

Prehistoric Times No. 105 Spring 2013

of epoccipitals (triangular “scutes”), and as the animal grew older, the epoccipitals became more smooth and the “jagged” edge became less jagged. Also, on the distal end of the jugal there was a single triangular epijugal. There are no fenestrae in the frill of Triceratops, unlike Torosaurus, which does have fenestrae (Figure 3). The largest Triceratops skull that I have seen and measured is at Brigham Young University (BYU 12183). It is 10 feet long (as preserved) with a long snout and missing some of the frill. It

Figure 4. “Triceratops” (AMNH 5116) skull in situ showing what was found and what is missing. George Sternberg discovered the skull in 1908. (From Katherine L. Rogers: The Sternberg Fossil Hunters, A Dinosaur Dynasty, Missoula, Mont., 1991, Mountain Press.) is nearly equal in length from the orbit to snout and orbit to frill edge. Where do I stand on the Triceratops/Torosaurus debate? I believe they are indeed distinct genera. In the major paper by Scannella and Horner (2010), they sink Torosaurus into Triceratops, but oddly don’t state which species the Torosaurus specimens fall into, just the genus Triceratops. Also, one of the specimens they use, the famous American Museum of Natural History Triceratops specimen (AMNH 5116), the one that Charles Knight used in his famous Triceratops versus Tyrannosaurus painting, in my opinion, is actually Torosaurus and not Triceratops. Why do I say that? Looking at a photo of the in situ skull, you can see the frill is missing, the horns are complete, and the section from the occipital condyle to the tip of the snout is preserved (Figure 4). Several pieces of the frill were collected but not a complete frill, and if they believed it was a Triceratops, they would make a frill look like that of a Triceratops. Also, the horns are straighter (no upturned tip), with the tips straight, and a longer snout. There is a young Torosaurus, ANSP 15192, which they argue is an early adult Triceratops (Figure 5), though it is either the same size as or smaller than many Triceratops specimens. As I commented about the growth of the horn in Triceratops, the tips of the horns in Torosaurus were straight and did not have a slight upward curve. Those who claim the two are the same genus don’t seem to take into account that not only would the jaw muscles change with the lengthening of the frill, but also feeding, mating behavior, combat, etc., would also change.

Figure 5. A, Torosaurus latus, ANSP 15192, young individual. B, Torosaurus latus, MOR 1122, adult individual. C, Torosaurus latus (= Torosaurus gladius), YPM 1831, adult individual.

into it. Also when it is done, it will have a different format, one that I will eventually make in the same way for the rest of the site . This will mean that I won’t be listing all the tetrapods but all the vertebrata of the Paleozoic and Mesozoic. This will take me a few months. After that I’ll be working on putting more illustrations on the site. The site has several areas: an easy index (just click the name and it will take you to the systematic list), or you can go directly to the systematic list (eggs and ichnology included). Click on the name in the list, and it will take you to a more compressive listing: genus, species, etymology, holotype (lecto-, para- etc.), locality, horizon (formation), biostratigraphy (faunal zone if known), age, material, and referred material. There will be two faunal lists, one in which you can check your area or any area in the world to see what animals were found there and the other will be ages. If you’re interested in biostratigraphy, you can see which animals lived with which at that time from around the world. There are also smaller sections: paleopathology, histology, extinction, taphonomy, skin, coprolites, etc. Eventually it will be fully illustrated. www.paleofile.com The site is now a free site, no subscription. I do have a donation button for those who would like to donate money to help keep the site going. Tracy L. Ford

Triceratops albertensis © Tracy Ford

To change Triceratops to Torosaurus, several things would have to happen: the dorsal tip of the frill would have to flatten the flip up, the frill would add two large fenestrae and lose the epoccipitals, and the lower front edge of the squamosal would become more pointed. So, if you want to illustrate Triceratops and you are illustrating a young individual, make the edge of the frill scalloped. If it is an older individual, smooth out the scalloped edge, and if it’s an old individual, make a smoother edge and alter the horn size, not only the orbital horns (size, shape, orientation) but also the nasal horn. Triceratops prorsus skulls from Saskatchewan have very large nasal horns, but small orbital horns. Decide which Triceratops species you want to use and study its skull. So what’s going on with Paleofile? I am still working on putting in the Paleozoic and Mesozoic fishes. I will take my time with this and not rush Prehistoric Times No. 105 Spring 2013

Triceratops horridus © Tracy Ford 21

Camarasaurus caudals

Juvenile Apatosaurus

Jurassic Dinosaur Bones & Teeth, Minerals and Paleo Art (e) [email protected] Stegosaurus, Apatosaurus and Diplodocus specimens available!

Diplodocus foot

Camptosaurus femur

Torvosaurus tooth

Apatosaurus caudal

Allosaurus tooth

Prehistoric Times No. 105 Spring 2013

23

24

Prehistoric Times No. 105 Spring 2013

Prehistoric Times No. 105 Spring 2013

25

The European game movement, of which “Settlers of Cataan” is a classic example, has created several notable Dinosaur board games like Trias and Tyrannosaurs Rex by RBS. RBS makes a nice little game with 17 different dinosaurs as playing pieces. Some like the Wannanosaurus and Riojasaurus and interesting but not really Jet Creations inflatable good dinosaurs. The use of cheap “chinasaurs” By Randy Knol raptor. or wooden pieces keeps these games from [email protected] reaching their potential. www.dinosaurcollector.150m.com CollectA: This year’s restricted release has allowed CollectA to focus an impressive effort in their designs and execution. The figures are Toy Fair detailed, with the bird like fragility you normally only see in resin The annual New York Toy Fair held at Jacob Javits models. The sculpting Good Luck Convention Center has been the most important source has become more mini for interacting with retailers in North America for sophisticated, and the pterosaur decades. All the serious contenders in the American toy work looks like the and figure market attend. In the past it was also the vision of a single artist venue for start-ups and new entries into the market. The so that you have a decision by Kinto not to participate contributed to their “CollectA look”. There low presence in the US market. The new releases from is the new Deluxe Safari Ltd., CollectA, GeoWorld, Schleich, Mojo, Ankylosaurus and PlayMobil, New Republic, Imex and Papo were on disr e p a i n t e d play. Bullyland was not present. Parasaurolophus. The Popular standard set Diabloceratops sports Safari Ltd: The Carnegie Concavator was striking. I saw a lithe, active predator that reminded me of the Carnegie Allosaurus or Deltadromeus, Anthony Beeson’s trademark frill over the hip. The Pachycephalosaurus is on a base and the Daspletosaurus is crouched. My favorite is the rather than the Giganotosaurus it is comDiplodocus, which looks like it is straight out pared to on the web. There is a large Wild the Dinosaur Revolution from Discovery Safari release for 2013. The 5 new figures are Channel. For convoluted reasons the Gastornis, Gryposaurus, Elasmosaurus, Diplodocus was reused as Dinheirosaurus. Dimorphodon, and Diabloceratops. The There is a significant mammal release. There figures are all in the distinct Wild Safari is an original looking Deinotherium with “AAA” style; agile, active and ablaze with Przewalski, and also Akhal-Teke horses. color. Gryposaurus is a gift for Museum There is a pattern of prehistoric mammal stores and educators. It was a keystone releases from Europe that should overdose species for western North America in the Late their underserved devotees. The new North Cretaceous. Their new Cambrian Era Toob is American Account manager, Elizabeth another cutting-edge release with 8 figures. Duverger, will be sending review copies when In the new economic reality where hand the first figures ship in the spring. painting is increasingly costly, the light miniGeoWorld was out in strength with a full malist airbrush look suits the Cambrian range of products on display. Jeffrey Lewis, fauna. It is a bonus for collectors that the figthe sales director for North America, met with ures, which are larger than photos would indius. He recognizes that working with the PT cate, will be easy custom-paint projects. My readership is a great opportunity to resolve favorites are the Good Luck Mini figures, and some of the bugs that appeared in the catalike the Safari Ltd Toobs, they share a consislogues and supporting documentation, as part tency of style with their Wild Safari counterof the technical translations into English and to parts in color and design. These are the perfect reach the collector community. Dinosaur Dan, size for gaming. Good Luck minis for 2013 Jurassic Action, Jurassic Hunters and a range consist of a new Spinosaurus, Apatosaurus, of prehistoric skeletons were on display. and a pterosaur and are interesting and well Prototypes were on display for 18 prehistoric done. There are a total of eight figures so far, mammals new for 2013. Thylacosmilus, the each colored distinctly. marsupial carnivore, is particularly intriguing. Another company called Eagle Games is There are two playsets; the Dinosaur Age and developing a new game called “Triassic Ice Age playsets contain figures, accessories Terror”. The prototype looks interesting, but and playmats. Abbreviated versions are now uses the same unfortunate dinosaurs and marketed as the “travel packs”, sold in icewooden playing pieces. Good Luck Minis are berg-shaped packages. The Ice Age travel what gamer companies should be looking for pack contains the smaller figures from the Ice to produce quality games. The pterosaur Age set with the play mat. Anthracotherium, looks to be Anhanguera from the Early Cave Lion, Sabertooth Lion, American Cretaceous. The size means it could be used Cheetah, Woolly Rhino and Woolly Mammoth with the larger Wild Safari figures in dioraare in the set. It is a nice range of prehistoric mas to represent the smaller pterosaurs comanimals, with several, such as the Cave Lion mon in the Mesozoic. Good Luck Minis are and American Cheetah that are rarely done. full of possibility. There are a range of Anthracotherium is a pig-sized animal relatdinosaur board games that have unfortunate ABOVE: Three new Ruskin Co. laminated placemats ed to hippos, although it lived much earlier figures.

Dinosaur Collector News

26

Prehistoric Times No. 105 Spring 2013

than the Ice Age animals from the rest of the set. Names are not stamped on the animals but cards are included to identify them. This is a good example of a low-end Ice Age play set. From the Jurassic Hunters set, GeoWorld provided us with Amargasaurus to review. This is much more representative of the GeoWorld designs than the Dinosaur Dan repaints we have seen. The Amargasaurus is listed as a 1:60 scale and is 8 inches long. The light brown body has darker lines and spots over the length. The high spines characteristic of Amargasaurus have been constructed as two parallel rows with skin sails. This traditional reconstruction has been recently questioned but is considered valid by many. The figure comes in a zip lock bag for storage, and with an information sheet. The positive reception to this educational packaging on the web shows the added value it brings. The figure is a convincing model and compatible with most modern collections. Mojo, represented by Endless Games, did not have any of the new prehistoric mammal line on display but they did have last year’s large T Rex. This figure did very well last year, and this was my first change to see it. The large T Rex is red-brown with an off-white belly at the waterline. There RBS is nice detailing on the skull and skin. The teeth are large spikes set in a giant head. The overall impression is of a Jurassic Park (JP) Tyrannosaurus. The figure has the head and arm proportions of the Papo T Rex. The figure is crouched, but bipedal, balanced on two feet. This should be very attractive to JP collectors. You get the Papo look at a fraction of the price. Mojo make toys familiar to the public at competitive prices and they have succeeded. Schleich released two figures; Styracosaurus and Carnotaurus, both of which are new figures for Schleich. The figures are in the Schleich style, but the medium has RBS changed. The new good medium is less l uck dense and more flexible. As part of the Schleich strategy targeting younger children, the new material is safer for owners who are likely to stick them in their m o u t h s . ReplicaSaurus is out of production, as are their trees. While Schleich is a full range figure company with farm, wild life, fantasy, and historical figures, dinosaurs remain their consistent best sellers. Play Mobil: Last year’s release in Europe has arrived. There is an extended range of dinosaurs for the preschool market. The accessories are what will be of interest to PT readers. There is a gliding lizard, dragonfly and a winged animal. They also offer several very nice looking giant horsetails and cycadeoids. The trees, ferns, and rock formations we are familiar with are present in a range of colors. Papo had a very interesting Carnotaurus on display, and a less interesting Woolly Rhino. The Carnotaurus looked very active and had a new convincing posture. The figure had the detailing we expect from Papo. The Rhino is not well done; the detailing was sloppy and unconvincing, demonstrating that Papo uses different artists for its figures. One of the things I have missed the last few years at Toy Fair is the new startups. These small new companies bringing out new products often target niche markets not profitable for larger companies. Long time PT retailer, Tom Delfico, has developed the ultimate prestige dinosaur trophy. He and his partner Ralph Whitehead sculpted a winner. Imagine entering an office or business and seeing a full scale T. Rex head on the wall looking at you. That makes a statement about who you are to everyone. Tom has utilized his years of experience as a taxidermist to model the muscles and skin in realPrehistoric Times No. 105 Spring 2013

istic configurations. I look forward to reviewing it in detail soon. Ruskin Co. makes laminated placemats and they have two very attractive dinosaur and one prehistoric mammal themed offerings. The placemats are billed as painless learning, with the present modern paleoart on one side and on the reverse, uncolored scenes that can be colored in with Damp Erase Markers. These offer good artwork mixed with a nice, structured learning activity. Jet Creations is ready for Jurassic Park in 3D. Located in my hometown of Alexandria, the company offers an entertaining range of well priced inflatable dinosaur figures. My inflatable raptor is actually to scale. These are great for the kids, having indoor or outdoor fun. The JASMAN Company has produced a diorama series of collectables; 13 figures, along with nests, rocks, and palm trees. They produced a larger set of hollow vinyl figures using the diorama designs. They were one of the early entries into the articulate electronic figures producing JP style figures. About five years ago, the company entered bankruptcy. The factories retained the diorama series molds, and recasts have been on the market periodically. The JASMAN prehistoric palms have been reused by GeoWorld for their Dino Age play set. Drangon-I Toys was formed by an ex-JASMAN director who recovered the molds for the articulated figures. Dragon-I has come a long way since Jasman and doing some great things with dinos. I look forward to reviewing the InfraRed/Remote/Battery operated T-Rex, Velociraptor, the mid-sized T-Rex and the small 8 inch dinos. JASMAN may be gone but the molds live on.

27

RIGHT : No, I didn’t get a nose bleed while playing with my Multiple Toys (MPC) Brontosaurus toy from the 1960s. In fact, the red on this yellow plastic figure is apparently red (and green) plastic that was spilled into the mold when it was cast. Marx is known for marbling the plastic with some of their dinosaur toys. Maybe MPC experimented with the tech-

ABOVE: Our Sinclair item this time is a beautiful glass ash tray to promote

the Sinclair exhibit at the 1964-65 New York World’s Fair. This four and a half inch long tray shows an aerial view of the Sinclair Oil life-sized dinosaur exhibit called “Dinoland” that fair goers enjoyed. At the bottom of the front of the tray it reads, “Compliments of Sinclair Truflame LP Gas.” So, this appears to have been a promotional giveaway of the time. Your PT editor was happy to recently ad it to his collection. RIGHT: A These cards were given away at Sinclair gasoline stations in the 60s. On the back of each was a description of the dinosaur plus a space where the dealer could imprint his station’s name.

ABOVE: A very rare metal Brontosaurus figure by William Otto. Otto made 14 prehistoric animal figures in metal for sale at the Page Museum giftshop at the La Brea Tarpits in Los Angeles during the 1960s that every serious prehistoric animal figure collector wants in his collection. Even tougher to find than these was the two dinosaur figures (this Bronto plus an even rarer T. rex) that Otto created for sale in The L.A. Natural History Museum, also in the 60s. BELOW: Old 1960s Timmee Toys card with its prehistoric animal and cavemen figures resting on it . The plastic cover was lost long ago.

LEFT: These prehistoric man figures are in the collection of James Hayes. He tells us they were fast food premiums from a chain of restaurants in France called Quick.

LEFT: Petrified wood pieces with metal versions of the old Ajax toy dinosaurs glued on to them. A great souvenir that some lucky kid got to bring home from a trip a few decades ago.

Prehistoric Times No. 105 Spring 2013Prehistoric Times No. 103 FALL 2012

29

Dinosaur Artists Know Your Rights! Dino Merchandisers keep ripping high profile artists off – and they keep paying a high price….. Robert Telleria paleoartistry.webs.com Mark Hallett

hallettpaleoart.com

Gregory Paul

gspauldino.com

Commercial artists create a work and should be paid accordingly. Simple concept, right? Well, some businesses don’t agree – especially when it concerns natural history art. Specifically dinosaurs. Annually merchandisers make a small fortune from unauthorized use of noted dinosaur artwork for puzzles, party favors, postage stamps, games, toy packaging and apparel. The pattern of ripping off dinosaur illustrators has been going on for a century unchanged. A dinosaur project is handed down to an in-house artist. They do their “research” (tracing an image out of a popular or academic dinosaur book to save time), and not-so-innocently take some liberties in detailing (color or pattern change, or a menacing eye or snarl here and there). Throw the Colorata brand neck tie finished image into some random volcanic background and/or jungle and voila! The method is not only unethical, it’s wholly unscientific. Yet a growing number are employing in-house artists who keep using the same high profile artists. For sheer amount of flagrant violations, Mark Hallett and Gregory Paul now join the ranks of many of their early 20th century precursors such as Rudolph Zallinger, Zdenek Burian and Charles Knight. Another commonly copied modern artist wishing to remain anonymous feels the violations “goes beyond just flattery through imitation and into annoyance or competitive confusion”. Further, the artwork can Dinosaur Walk Museum perpetuate outdated aspects of dinosaur sign in Pigeon Forge, Tenn. biology (such as pronated palms) if the copied art in question happens to be obsolete. When an artist’s reps or lawyers approach the manufacturers of such merchandise regarding an infringement they are usually given the same excuse - an unwritten, unheard of right to exploit it for free – and that the original artists have no right to complain since dinosaurs are simply animals, natural objects that no one really owns a copyright on. The issue here is they are not using artwork based on photographs of live animals. But even in such instances, artists and photographers are protected. With over three decades in the business, paleoartist Gregory Paul has often heard the misguided defense that dinosaur images cannot be copyrighted because they are no longer natural forms like today’s animals, but truth be told it is not legal to imitate a photo of an any animal – extinct or 30

extant - for commercial purposes. “Say National Geographic prints a photo of a cheetah, then someone does a painting that is clearly a copy of the photo with a few modifications and uses it in a commercial manner (rather than for private use) -- that is illegal.” And since live dinosaurs cannot be photographed, artwork is all anyone has to draw from unless they systematically reconstruct the skeleton and fleshed out form, a discipline already practiced by Paul and a few other artists. All professionally restored dinosaur art is still artwork, and it invariably involves paleoanatomical knowledge, technical skill, experience and often hours of painstaking research. The composition and background are sometimes left intact as well, making the infringers’ “coincidence” excuse indefensible. One of their prime targets is Mark Hallett’s Tyrannosaurus, (a detail from a larger painting called “Awakenings of Hunger”), first published as Zoobooks’ Dinosaurs in June 1985. The version the violators seem to be using appears to be the large format book “Dinosaurs: A Global View” (1990). In 2010 a contractor for the British fashion retailer Topshop used a straight, unaltered scan apparently from a poster of Hallett’s “Dinosaur Families”. When confronted they took the charge seriously, discontinued the shirt, and settled out of court. Since not a single detail had even been altered it was an easy case. Recently, a younger British apparel maker took a similar charge seriously but the lawyers found a curious loophole: since the original work was older than 25 years, it was under British copyright law, public domain for anyone to use for “industrial purposes”. However, the work was actually registered in 1988, so they had no case when the matter was first brought to their attention. The matter was also resolved out of court. Sometimes there is nothing to gain from smaller manufacturers. Ackerman Toys created a header card with unaltered Hallett designs for a bagged set of small but mass-produced Asian-made dinosaur toys. When confronted, Ackerman Toys used a common tactic to avoid penalty or process: they pleaded poverty, professing that the company would be out of business in a few weeks anyhow. You can’t get blood from a turnip, as they say. If they are officially still in operation, a business can be sued even if the violation occurred on an out-of-production item from years before. The other tactic companies use to evade legal probes is to blame their own commissioned artist, whom they make sign waivers assuring the work is original and doesn’t infringe on any works by other artists. This means they are exempt from legal action, but they are required to show what artists designed the works. The hired artist can otherwise be hard to chase down, and there’s all likelihood they will not offer any payment. An example is that of a major German puzzle manufacturer Ravensburger, which used a few traced images on a product called ‘Ancient Friends’. The T. rex and Pteranodon once again are obvious swipes, and the Corythosaurus in the piece was left virtually unchanged but somewhat obscured in the foliage at left. The puzzle’s artist Michael Searle was left to deal with the issue. At the same time a Canadian company Blue Mountain’s wallpaper borders showed another traced, stylized version of T. rex and the overhead Pteranodon again. In a show of cooperation, they were able to provide the artist’s name and original sketches. Simultaneously still another Canadian company Norwall sold an undisclosed number of borders featuring few dinosaurs from Mark Hallett’s “Dinosaur Families” painting. They were detailed differently, but the lighting and pose were identical. Because they were officially out of business by the time the violation was discovered, it was not worth the pursuit of remuneration. Other manufacturers have art departments that go out of their way to alter the existing artwork, but we may never know for sure whether these are intentional or not. Two examples are products by Tedco Toys called the Prehistoric Times No. 105 Spring 2013

Dinoscope, and 4M’s “Mould and Paint” box art which both prominently show a stylized tracing of Hallett’s T. rex. Does the percentage of a ripped-off image matter? We’ll get to that shortly.

4M paint kit

As you can see, Hallett’s work has attracted small-time merchandisers, mostly European or Asian, while artist Gregory Paul frequently gets ripped off by special effects studios, museums and theme parks, that all use his book images for reference. The primary image is still Tyrannosaurus, a running skeleton Paul debuted in the `80s. It has been traced, copied, silhouetted out and even sculpted by a number of companies, institutions and even fans. You’ve probably seen the ubiquitous “A T. rex Named Sue” logo somewhere. In that case, the Chicago Field Museum of Natural History designers scanned Paul’s Tyrannosaurus without permission. But the other big problem wasn’t corrected – it’s actually the American Museum of Natural History specimen 5027, not the specimen called “Sue”. They could have asked Greg to supply “Sue” proper and would have received an accurate reconstruction without the old pronated palms of the 5027 version they used. Another American dinosaur museum in the Midwest immediately took responsibility Ackerman Toys and settled, after realizing their logo designer had not simply used “clip art” but scanned Paul’s usual running Tyrannosaurus and Velociraptor out of a book. The image ended up on signage and even receipts. Unauthorized images appeared on permanent display at a very prestigious museum in Europe. The curators were notified and, as with the American cases, the museum staff settled the issue amicably. In the late 2000s, Polish theme park Pepsi DinoZatorland displayed exhibit boards with 14 of Paul’s skeletal drawings, genuinely unaware that they were unauthorized. After some finger pointing at the Chinese exhibit creators they had contracted, the park staff relented and finally settled, even removing Paul’s images as part of the agreement. It’s always best to avoid dealing with Chinese violators (of which there are many); their flawed legal process presents a cost-proNorwall

Prehistoric Times No. 105 Spring 2013

hibitive challenge to American copyright holders. Some American institutions seem to be not so ethical. In one case of apparent unfair use, the Mesalands Dinosaur Museum in Tucumcari, New Mexico, appears to have displayed Paul's artwork in their halls without attempting to fairly compensate the artist. After being informed that these were not "free-to-use" images, the staff and museum president have refused to document the past and current status of the images, leaving the issue unresolved. The British Museum of Natural History and Science Photo recently removed a bevy of images illustrated by one of their commissioned artists Berislav Krzic because they were traced-over images from Greg Paul as well. Similarly, tracing jobs by John Temperton have been seen on stock photo archive Getty Images. Small time violations are noted too. Scott Larson has been selling 2013 calendars on crafts site etsy.com featuring crude, traced over images by Paul, Raul Martin, and Todd Marshall among other names in the business. Other instances of art infringement can be annoying but there’s little that can be done to stop it due to the location, or because of circumstances, such as the offenders pleading poverty. A very young fan managed to convince his brother and others to reproduce Paul’s Tyrannosaurus drawing into a roadside flat steel sculpture in North Dakota. No credit is visible anywhere near the highway. As for the fan who made it? Tyler Lyson, now a paleontologist at Yale University. As for who is ultimately responsible for the violation? It is property of the town, a very small town called Marmarth that has no police force or hospital, and has no funds to compensate the artist. So the structure stands… The artists of the Canadian production house Quiet Motion quietly incorporated the running Tyrannosaurus (yep, the old pronated hands version that the Field Museum used) into the logo of a TV program called “Dino Lab”. They were made aware of this, and diligently settled the matter. A special effects house in Britain called Jellyfish which used Paul’s skeletals in intermittent on-screen graphics during BBC’s ‘Planet Dinosaur’ have yet to accept responsibility for their actions. Canadian puzzle and poster makers Eurographics employed an artist named Gilles Beauchemin who thought the skeletal images he used on “Dinosaur Skulls Reconstructed” were “public domain”. Because they were small and almost unnoticeable, the company felt they committed less of a violation. Japanese nature-themed merchandiser Colorata uses a slightly modified running T. rex and Triceratops on a necktie. Jet Creations, which specializes in inflatable animals, created their dinosaur line’s packaging with portions of Paul’s skeletal images on the header cards. Along with percentage, does reduced size lessen the violation? Certainly not. Artists should not be alarmed at how large a company is doing the infringing, or how many flacks tell you you'll never work as an artist again if you fight them. Bob Walters and Tess Kissinger have won against corporate giants Exxon, CocaCola, and Microsoft. Other paleoartists who have also been unfairly ripped off by Norwall Border merchandisers include David Peters, 31

stationary set using Hallett artwork

Montserrat stamp 1992

John Sibbick, Steve Czerkas, John Gurche, and more recently Raul Martin – who, ironically in his early career, traced and copied work from some artists himself. It is common for younger artists to trace and copy their heroes but it still does not make it right. To Mark Hallett, the central issue of art infringement is Knowledge Wheel Dinoscope whether the image in question is a legitimate derivation inspired by or influenced by another artist’s work, or whether it’s a direct, and obvious rip off. For those in the profession, it’s usually obvious because of our familiarity with one another’s art, but for legal purposes it usually comes down to this question, as posed by Tess Kissinger in her 1991 book, “Copyrights, Contracts, Pricing & Ethical Guidelines for Dinosaur Artists and Paleontologists:” “can an ordinary person viewing the original work and the alleged copy tell that copying has taken place?” As she further points out, it’s a quality rather than a quantity judgment, as an infringer can’t use the defense of pointing to how much of a work he/she didn’t steal.” “The inherent subjectivity of art, of course, sometimes doesn’t make this easy”, Hallett expounds. “Many infringers try to get away with claiming their image is an original creation by flipping

Necktie with Hallett rip off art

Ravens Burger ancient friends

or making a mirror reversal of an original image, and although this is ethically unjustifiable it sometimes can hold up legally. You know an illicit image was created from your art, but if you take your case to a lawyer be prepared to explain in the minutest detail exactly in what ways the infringement resembles your work, since it’s precisely these points on which the opposing lawyer will try to prove there was no infringement on the part of his client.” In paleoart, it usually comes down to combination of the following: •

Rendering style and techniques

•

Lighting and shadow

•

Choice of color

•

Body positions

ably got a strong case. Don’t simply base it all on just one aspect, especially body position. In this last case, only so many of these were possible for dinosaurs, and just because you chose a popular way of staging your animal (profile, 2/3 view, etc.), a similar work doesn't necessarily constitute a swipe. If the details remain unchanged (e.g. skin texture or wrinkles and folds in the same spot) you have a stronger case.

Copyright lawyers will usually not take your case unless you have the work filed with the Library of Congress. If your work has been published in a book it’s automatically copyrighted. The common targets of infringement happen to be widely published, world-renowned artists who are perhaps more prepared to fight the merchandisers, but younger, unestablished artists may be Mongolian stamps ripped off from time to time too. More devious infringers may be aware that the younger artists’ works are not readily identifiable and chances are they cannot afford (or are afraid) to litigate. Hallett offers some advice to artists for protecting your work. “Place yourself in the strongest position possible legally by obtaining copyright, which under European laws have to be renewed every 25 years, on what you consider your most important works. Because chronological priority is a major aspect of copyright and patent disputes this is especially important, and it’s not as expensive or time consuming as you might think to do this. If your art was featured in a collective way (such as in a book or magazine) a major publisher or manufacturer may be willing to use Tea and cake company its legal muscle to help you prosecute the infringer: because this kind of plagiarism cheapens their product, these clients often frown on such plagiarism and be willing to go to bat for you.” For more information on rights and the business in general check out Bob Walters’ and Tess Kissinger’s web site http://www.dinoart.com/publications/toc.html to read Copyrights, Contracts, Pricing & Ethical Guidelines for Dinosaur Artists and Paleontologists.

If in the infringement all these points closely match your art, you’ve prob32

Prehistoric Times No. 105 Spring 2013

SMOK: The Polish Dragon By Paul McFarland

© Jacek Major

There are areas of paleobiology and classical geology where it seems that scientists have discovered all there is to discover with just a few details to sort out. The evolution of life is extremely complex, so unlocking its mysteries brings much joy and satisfaction to those who are up to the challenges which often include surprises. However, anyone who wants to explore the beginnings of the dinosaurs should come to Poland. It is a great place to excavate some of the best fossils from the period of time when ‘Dragons’ first appeared on earth. In the south central part of Poland, surrounded by thickly wooded forests, near the village of Lisowice, there is a clay pit that had once been used to mine material for making brick and pottery. This area was known to contain Triassic fossils and scientists dreamed of finding something fantastic. They knew that the chances were slim though, as most of Poland was under the waters of the Tethys Sea during the Triassic. In 2007, under the direction of the Polish Academy of Sciences, Institute of Paleobiology, Professors Grzegorz Nied Wiedzki and Jerzy Dzik, along with their graduate student, Tomasz Sulej, working in mudflat deposits dissected by fluvial sands from the late Triassic period (Late Norian to early Rhaetian,) discovered a jaw bone and fragments of a skull of a carnivorous dinosaur. Bones from the vertebrae, the forearms and other parts of the body were recovered over the next two years. It was believed the material originated from the same animal. In 2010, the Latin name of Smok wawelski was given to the new find. Smok means ‘dragon’ in the Polish language and is taken from the legendary dragon that lived in a cave at the foot of the Royal Wawel castle in Krakow, the old capital of Poland. This dragon is famous in Polish folklore for bringing havoc to the countryside until a poor, young, shoe-cobbler’s apprentice saved the day by courageously killing the monster and winning the hand of the princess to live happily ever after. Smok had common features with dinosaurs and the crocodilian line of archosaurs, thus making classification difficult. Estimated to be 5-6 meters long (about 15-18 feet) and weighing a ton, Smok had a large head, huge jaws and serrated teeth. In fact, it was noticed that his head was similar to an Allosaurus, which lived about fifty million years later. Professor Dzik even suggested that Smok may be the first member of a line of dinosaurs that led to Tyrannosaurus rex, who lived about 145 million years later. The discovery of a T-rex ancestor in this part of Europe would be a surprising find, and the first of its type in this corner of the world. Dr. Tomasz Sulej further suggested that this was a completely new line, so far unknown, of dinosaur. He described Smok as a very strange and mysterious animal with advanced features of dinosaurs, but also primitive features. Although he did not match the size of Tyrannosaurus rex, he was Prehistoric Times No. 105 Spring 2013

large in his own right. He had a strong and lightweight frame that allowed him the fast pursuit of prey. When it caught its prey, it is believed that Smok attacked with the sharp claws on his forearms. were huge, However, at 70 mm long (2-3 long inches) its huge teeth were its most terrible weapon. With their flat shape and serrated edges, they indicate that Smok was very adept at cutting and eating fresh meat. Further, Professor Nied Wiedzki and his colleagues state that Smok shows resemblance to both theropod dinosaurs and a group of extinct, landdwelling crocodile cousins called rauisuchians, so distinguishing which lineage the animal should be assigned is difficult. Smok is definitely some kind of archosaur, but precisely what branch of the archosaur tree it belongs to has not been fully resolved. This is not the first time a carnivorous croc-relative has been mistaken for an ancestor of a big, bad theropod dinosaur. The overall resemblance to a large predatory dinosaur is the result of evolutionary convergence, or the independent evolution of characteristics in distantly related groups, and the dinosaurian appearance of the reconstructed skeleton was primarily created using a dinosaur-like template for the known remains. Originally, scientists debated whether Smok was bi-pedal or quadrapedal or have even been both. A recent theory considers him bi-pedal. Five tracks of a three-toed archosaur - presumably a theropod dinosaur – were found in a sedimentary layer one meter above the layer where Smok was found. The footprints may have belonged to Smok, but the lack of foot bones makes this association uncertain. Smok was the largest predator of his environment, and the largest found in Central Europe from this time period, but he lived alongside other, smaller carnivorous dinosaurs, such as Polonosuchus and Teratosaurus and the large herbivorous Dicynodonts, which he may have hunted. Smok disappeared at the end of the Triassic period but he foreshadowed the existence of large, meat-eating, predatory dinosaurs of the Jurassic and Cretaceous periods. Based on the fossil finds, there is a wonderful reconstruction of Smok at the University of Warsaw. You can visit a new dinosaur park near the find-site of Smok. Check it out at: http://www.juraparkkrasiejow.pl/ There is also a new modern museum of Triassic theropods in nearby Krasiejow. Dragons still rule in Poland! Illustration is copyrighted and used by permission of Jacek Major. ReferencesPolish edition of National Geographic 2008 Polish magazine ‘Focus Ekstra’ November /December 2009 issue. Polish Academy of Sciences

33

What’s New

in review

By Mike Fredericks

For review this issue I have a new resin model kit by the incomparable Shane Foulkes. Gorgonops (from greek meaning "Gorgon face") is an extinct genus of therapsid which lived about 250 million years ago, during the last part of the Permian Period. It was a representative of the suborder Gorgonopsia, the dominant predators of their day, which in the largest forms grew to over a dozen feet long. Gorgonops had near five inch long "sabre" canine teeth, similar to those found in sabertoothed cats in the Cenozoic. Gorgonops was a medium to large-sized representative of the group, and ranged from four to twelve feet long. Gorgonops derived superior speed from long legs held beneath its body. In 1876 the type species, Gorgonops torvus, was one of the first therapsids described (by Richard Owen). A large number of further species and genera were designated in later years. The gorgonopsids are believed to have died out in the Permian extinction.

Gorgonops as unpainted kit

This interesting and original kit is beautiful and consists of a fairly large, thirteen inch long, thick ground base portraying a sandy landscape with a few rocks. A small mammal-like reptile, the tusked Diictodon scurries down a hole as Gorgonops chases it, breathing down its neck. The back half of the prey is a separate piece from the base; a clever idea. This is a nine piece, 1/10 scale kit. Gorgonops’s four legs are separate pieces from the body. The fit of the legs to the body varies. The male part on the leg needs a little resin shaved off to easily fix the problem. The head parts will also need some excess resin removed from them before they will fit together and to the body.

Gorgonops and Gargoyelosaurus (an early ankylosaur), are available exclusively in Dan's Dinosaurs line. He offers both as resin kits or as fully finished models from artist Martin Garratt (available for anyone who does not want to build the kit themselves.) Check out both these resin dinosaurs and the hundreds of other prehistoric animal figures sold at DansDinosaurs.com Join on Facebook for the latest paleo-news, inventory updates, product reviews, and more! http://www.facebook.com/DansDinosaurs

Gorgonops as finished model by Martin Garratt

I can’t begin to tell you how cool the head that Shane sculpted looks on this animal. I know “cool” isn’t the most descriptive word. How about “awe-

Two views of Tony McVey’s 1/6th scale “Birdwatcher” Deinonychus

some,” then? I’m kidding, but I think you get the idea. This is a fierce looking predator, every bit as fearsome as a T. rex. And the entire kit is equally great looking; very realistic with fantastic drama. Gorgonops has a semi-smooth skin with scutes down its back and a furry mane on its neck showing he is a mammal-like reptile of the Permian era. Shane gives the skin nice subtle wrinkles and folds for a super-realistic finish. I guarantee you’ll love it. We have all tried to picture what the age of dinosaurs would have looked like; how alien it would have been to us. Now try to envision our planet before the dinosaurs. We would hardly recognize it and that is the world of Gorgonops.

I am thrilled to hold Deinonychus, the latest dinosaur resin model kit from the incomparable Tony McVey. And how appropriate to have a new review kit from Tony for our twenty year anniversary issue as he has been a long time friend of this magazine, although we haven’t seen much from him lately. That is apparently going to change as Tony tells me that Deinonychus is the beginning of a new series of dinosaur kits possibly to also include Stegosaurus and Spinosaurus. That is exciting news because modelers worldwide agree that Tony is one of the top sculptors working today.

First, allow me to tell you what you probably already know; what a Deinonychus is. Deinonychus antirrhopus (“terrible claw”) is a genus of carnivorous dromaeosaurid dinosaurs. These dinosaurs grew up to 11 ft long and lived during the early Cretaceous Period, about 115–108 million years ago. Fossils have been recovered from the U.S. states of Montana, Wyoming, and Oklahoma. Paleontologist John Ostrom's study of Deinonychus in the late 1960s revolutionized the way scientists thought about dinosaurs, leading to the "dinosaur renaissance" and igniting the debate on whether dinosaurs were warm-blooded or cold blooded. Before this, the popular conception of dinosaurs had been one of plodding, reptilian giants. Ostrom noted the dinosaur’s body suggested an active, agile predator. "Terrible claw" refers to the unusually large, sickle-shaped talon on the second toe of each hind foot. The species name antirrhopus means "counter balance", which refers to Ostrom's idea about the function of the tail. Tony’s model is 19" long and comprised of seven parts which is typical of a dinosaur kit with a closed mouth; body, arms, legs, tail and base (open mouthed dino kits usually have a separate lower jaw.)

34

Prehistoric Times No. 105 Spring 2013

New Dilophosaurus from Sideshow Collectibles

looks upward smelling the air and squinting into the sun. The huge hands have three long and skinny digits ending in sharp, lengthy claws. Oh yes, it also has its long, balancing tail with equally rough skin texture. I need say no more. The kit sells itself and I am confident it will sell out so I recommend you make your move soon. Tony McVey’s 1/6th scale “Birdwatcher” Deinonychus retails for $139.99. For your copy, visit DansDinosaurs.com

Starting from the ground up, Tony includes a small base Tyrannosaurus rex is a new set of small with fallen ferns across it. It figures made by Kaiyodo of Japan much includes two subtle foot prints like their Chocolosaur sets. The five figthat the feet fit into perfectly. ures each come in a lime green plastic The feet and legs are highly egg and snap together. They include T. rex detailed with bird-like feawith and without feathers, T. rex skeleton, tures and that deadly sickle T. rex skull and Yutyrannus huali, the claw held up high. These parts newly discovered, feathered tyrannosaur fit perfectly to the body at the ancestor. Great detail! knees. The body shows all the musculature through the skin with the pebbly, tough cover over it. Tony is not only a man of skilled hands but is also very knowledgeable about dinosaur anatomy. I’ve been to his San Francisco studio and remember seeing a mini-library of reference books. Surprisingly, Tony decided to go sans feathers though. Deinonychus’s head

The latest in the Sideshow Collectibles Dinosauria series is this pair of Dilophosaurs on a base. Named for the unique double crest on their heads, these distinctive Jurassic theropods look great together. Dilophosaurus was the apex predator of its time. Obviously a paired male and female, she looks up at him submissively for a moment before her mate returns to hunting for food. The male has the brighter coloration while the female’s coloring is more subdued, much like modern birds. The overall look of the dinosaurs and the scene creation itself is beyond compare. The detailed skin and other parts of the dinosaur’s bodies are incredibly realistic; really well done. The model also includes the separate Dilophosaurus skull model that is ready for display. This model is a must for your collection. Artists Steve Riojas and Anthony Mestas have done their usual great job painting this dinosaur maquette that was designed and sculpted by the amazing Jorge Blanco. This 17” long, completely ready for display model in a limited edition of only 150, is $299.99 plus shipping. Check it out at http://www.sideshowtoy.com

Frozen Moments • The Art of the Diorama with Ron Lemery

The Magic of Scale Link Scale Link is a British company that specializes in the production of photoetched sheets. In the photoetching process, a sheet of metal, typically brass, is coated with a light-sensitive compound. A transparent acetate sheet which has the “negative” of a desired design drawn onto it is then placed on the brass, with an ultraviolet light shone through it. The emulsion compound hardens where the light penet r a t e s through the acetate, and this area is then known as the resist. The acetate is removed, the sheet washed, and then the sheet is attacked Fig. 1 with a compound such as ferric chloride, which etches away the unprotected brass and leaves behind the resisted pattern. This can produce brass etchings of exquisite detail. In Issue #95 we looked at how to model pine trees from wire armatures. The process for modeling palm trees is similar, except that a single bundle

Fig. 2

36

of wire is used with tape sticky on both sides but without Poly filla, and the individual copper wires it contains are threaded through the palm fronds (Fig.1). The fronds are from sheet SL32F17. If making a palm tree this way, make sure you include a spine Fig. 3. from a white clothes hanger, or else the tree will bow over under the weight of the etched brass. You can make convincing 1/35 scale palms with this method (Fig. 2), or even cycads (Fig. 3). Ground plants are particularly attractive using Scale Link material. With a little patience (Ok, maybe a lot), you can produce ferns that are very realistic (center left in Fig 4). Use super glue to attach the brass from sheet SLF066. An accelerant will help. Do this in a Fig. 4. well ventilated area (I don’t trust accelerants. Nasty stuff.) SLF040 has smaller ferns that are very nice for filling in your forest in 1/35 scale. Fan palms can be made using pine cones from a red pine and sheet SL32F18 (Fig. 5). Very easy to make if you can get the cones. In your diorama you can even go so far as to include individual leaves by using certain frets; see their catalogue for ideas. Beautiful tree ferns can be Fig. 5. made using sheet SL32F14 and 18 gauge floral cloth wire from a craft store (Fig 6.) I’ve included Greg Wenzel’s 1/35 Triceratops from The Dinosaur Studio and a few small conifers for scale. For scales of 1/35 or larger, you can make nice Elephant Fig. 6. ears bundles using sheet SL323F19; see Title photo. As stated, all these materials require some patience to assemble. Also, be forewarned that they’re not cheap. Check out the Scale Link website at www.scalelink.co.uk. You can also search the web for more general information on photoetching. If you want to try photo etching yourself (and are ready to live with the chemicals), a good reference book is Photo Etching for Modellers, by Brian King and Azien Watkin. See you next time!

Prehistoric Times No. 105 Spring 2013

Dire Wolf

of time have had to complete between battles. But this was never going to be enough and, after a time, the enemy grew bolder and soon groups of men, armed men, began fighting for their lives as the landscape about them came to life.

© Angel Dominquez

by Phil Hore

[email protected]

© Mark Hallett

www.markhallett.com

The Battle for Polesie Pockmarked like some violently scarred moon, the craters covering the landscape of Polesie were not formed by any celestial collision but were decidedly more man-made. This small section of the western front, situated between Vilnius and Minsk in the Pripyat marshes, was the largest swampland in Europe and had become a focal point for vicious fighting between Russia’s imperial troops and the Kaiser’s Prussian forces. The stalemate that would become the chessboard of central Europe during the Great War was just starting to form as vast armies, exhausted from constantly head butting against each other, began digging in.

While this new enemy continued to terrorize soldiers on both sides of the line, officers sent requests to HQ for assistance. These were all ignored, and so after weeks of unending terror those in command decided to fix the problems themselves. © Mark Hallett

www.markhallett.com

During a war where casualties for a single battle could be counted in the hundreds of thousands, the sudden disappearance of a few soldiers shouldn’t have been noticed because soldiers disappeared all the time. They deserted or were killed, unseen, or captured by enemy incursions, and so the disappearance of a few dozen soldiers wouldn’t have been recorded if it weren’t for the state their remains were in when they were eventually found again. In a war where the youth of the world were being fed into the mincer of an unthinking war machine, these young men had been literally eaten. At first it began with just soldiers by themselves, sometimes on guard duty, but most often just moving about, doing the daily chores soldiers since the dawn © Mark Hallett

www.markhallett.com

Like the first flowers after a long winter, flags of truce began springing out of the muddy, rat-filled trenches. These were followed by hollow-eyed men stepping carefully out into the field of battle to face men who looked identical to themselves except for the color of their uniforms. This was no longer a war between nations or political ideals; this was something far darker, far more primitive. This was a fight that harked back to the survival of the human race millennia ago when it was fire, sticks, and stones against the dark. Today, however, it was a war of guns, steel, and chemicals. Former enemies joined forces. They laid plans, set traps, and organized ambushes and multiple killing zones with enfilading fire from both sides. Blind spots were sought; new trenches were dug with the strengths of each side recognized and weaknesses fortified. Almost unheard of during the war to end all wars, fires were lit not only to warm and illuminate the field of battle, but also to fortify men’s hearts. 38

Prehistoric Times No. 105 Spring 2013

© Mark Hallett

www.markhallett.com

© Mike Landry

During their preparations the attacks continued, but for once this didn’t produce the terror it had of early weeks. Instead these brazen assaults emboldened the men, hurrying them up to prepare for the fight to come. The winter nights had grown longer, and former foes began standing watch with each other. Shoulder to shoulder, back to back, men who’d recently been trying to kill each other scanned the ruined forest together for signs of movement. Not only those on guard duty but all across the Pripyat marshes, soldiers heard the trouble before they saw it. A single, mournful howl echoed across the battlefield and was soon answered by a dozen and then seemingly hundreds of replies. Half-starved Arctic grey wolves, their numbers having recently exploded because their one controlling factor, the human hunters of the north, were now all in the army, had begun entering the corpse-ladened battlefields to feed. With so many dense population centers in the area, these roving packs had been funneled into the enor© David Hicks mous swamp, and it was here they found their new hunting ground. First they fed on the dead, but once they were gone the wolves turned on solitary soldiers, often the injured or sick. But that was when the wolves had been entering a land of fear. Now the soldiers of Russia and Germany were waiting for them with poison, rifles, machine guns, and hand grenades. As packs appeared, the night landscape would be lit up with tracers and explosions. First handfuls and then dozens of wolves were killed, but instead of the swampland emptying, more predators entered the area. Like a predator trap of old, the smell of death pulled ravenous carnivores in from miles around to feast on the dead, only to be poisoned or shot. Night after night the soldiers killed wolves until hundreds lay dead, but still they came charging out of the night. Weapons designed to kill thousands took their toll, however, and the

Dire wolf skulls - Page Museum Display at La Brea Tar Pits. Photo by Phil Hore

Prehistoric Times No. 105 Spring 2013

starving wolf packs were finally forced to scatter under the sheer pressure of the combined firepower of both Russia and Germany. Soon everything went quiet on the eastern front, and mankind returned to killing itself. Dire Wolves Wolf! Has there ever been a word that produced more dread? Sure, lions are powerful, tigers terrifying, bears imposing, and thanks to Spielberg, we still get nervous entering the ocean, but if you’ve ever been out in the dark and heard a wolf howl ghostly echo through the night, you’ll know what I’m talking about. Perhaps it’s because they look so much like dogs that it’s easy © Frederik Spindler www.frederik-spindler.de

to forget they’re voracious predators. This could be creating a subtle terror, one that catches us by surprise when the wolf turns and bites our hand. Perhaps it’s because you never deal with just one but a pack of wolves, or maybe it’s that somewhere in the most primitive part of our monkey brain we remember a time when wolves used to come supersized. We can see the effect they’ve had on us in the language we use today: wolf at the door, wolf in sheep’s clothing, she-wolf, werewolf, cry wolf, wolf your food down, lone wolf, wolf whistle, thrown to the wolves, wolf pack, den of wolves, wolfish; even our childhoods are filled with tales of the Big Bad Wolf and games like “What’s the Time, Mr. Wolf?” It’s as though parents arm their kids against a world filled with big, nasty teeth. © John F Davies

And the biggest of those came from the dire wolf. Just its name brings forth the image of terror and size. Truth be told the species was large for a 39

wolf, with the largest males around 5 feet and weighing 175 lb, but compared to some (closely related) modern dog species like the English mastiff (that’s nearly three times as heavy) or the ponysized Irish wolfhound, they lose some of that impressiveness. And let’s not forget even larger relatives like the short-faced bear or the largest cani-

© Mark Hallett

© Arthur Machabee

form ever, the 17-foot, 5,300-lb southern elephant seal.

© Jim Martinez

Although the most common of terrestrial fossil species, thanks to places like the La Brea Tar Pits (where 4,000 individuals have been recovered), there’s surprisingly little published information about the group that can’t be summed up in a few paragraphs. Named by Joseph Leidy in 1858, though Canis dirus looked like a large grey wolf, there are enough differences between the two species that we know they lived different lives. For instance, males were much larger than the females, something not seen in grey wolves. This means males likely competed for mating privileges. Their legs were also proportionally shorter than those of modern wolves, as were their brains (so dire wolves

Page Museum Display at La Brea Tar Pits. Photo by Phil Hore

were dumber and not the long-distance chasers their modern counterparts are). Teeth are generally comparable though some are slightly larger in the prehistoric species. It’s been speculated these larger teeth © Phil Coles may have been used to crush bones like a hyena (an idea supported by the heavy wear on some dire wolf teeth) though others speculate that their teeth showed them to be hypercarnivorous. Canids evolved in North America and around 9 mya spread into Asia, Europe, and Africa. Across the Bering Strait canids evolved into jackals, foxes, wolves, 40

www.markhallett.com

and eventually dogs, while in America they evolved into the dire wolf and coyote. Around 2 mya the wolf-like Canis armbrusteri appeared in America, possibly from a returning Asian species, and patrolled the continent until 500 kya and likely gave rise to the dire wolf. Both species lived together for some time until the dire wolves eventually replaced them, before being split into two subspecies, C. dirus guildayi (from west of the Rocky Mountains) and C. dirus dirus (east of the Rockies and down into South America). When the Bering landbridge opened again, Asian grey wolves entered the Americas and soon began competing with their much larger cousins. As the dire wolf eventually replaced C. armbrusteri, the faster, more intelligent grey wolf likely replaced dire wolves around 10 kya. This is of course all speculation because human intervention, climate change, a loss of prey species, or perhaps some unknown contagion (like the one decimating African wild dog populations today) may have struck them down.

So, did the Battle of Polesie really happen? Although actual records are hard to find, newspaper reports from 1916-1917 are full of the wolf attacks at Polesie. One paper noted how “an officer gave a graphic description of the long lines of wolves. . . passing within a few feet of him as he lay wounded. He said that the sight of their gaunt forms, dimly lined against the dark sky, as they busied themselves with their ghastly feast, would never be effaced from his mind.” There were even reports from the Carpathian mountains just before the “battle” of villagers trying to flee the war being harassed by large numbers of unusually aggressive wolves. What strengthens the possibility is that it wasn’t the only recorded time plagues of wolves appeared during wartime either. A few years after the First World War ended in Russia (which was still © Tallack Refshaw going through the violence of its revolution) wolves sprang up in huge numbers, tormenting the countryside and attacking numerous villages and small towns. Huge wolf packs appeared again during the Second World War as Russia once again emptied its rural regions of men to form the armies it used to defeat Germany. This Prehistoric Times No. 105 Spring 2013

plague of wolves appeared again in 1947, making the lives of those Russians who had survived the war just that much worse.

extinction event at the end of the Ice Age.

There are even reports of Napoleon’s defeated army suffering from numerous wolf attacks during its horror return from Russia.

Mike Fredericks adds, “In the mid 1960s, Multiple Plastic (MPC) produced a small plastic figure of a dire wolf as a part of their prehistoric animal toy sets. The toy figure came in red and occasionally green plastic. It is a well done figure, very different from most of MPC’s figures, which were merely poorly made copies of the earlier Marx plastic figures. Also in the 1960s, a set of metal figures of prehistoric animals based upon those found in the La Brea tarpits were produced. The handsome figures included a dire wolf and were sold in the Page Museum gift shop there and sculpted by William Otto, who worked at the Los Angeles Natural History Museum.”

The reason I’ve highlighted these odd moments in our species interaction with wolves here is because of the sheer number of dire wolves so far unearthed at La Brea. The presence of thousands of wolves is suggestive that something odd was occurring, perhaps with the balance of the natural world tilting and encouraging an increase in wolf numbers. Lions today have small prides, and these are capable of taking down anything from a giraffe to a water buffalo, but to attack something bigger, say, an elephant, lions have to form

much larger prides. Maybe we are seeing something similar here, with normal dire wolf packs forming supergroups to help take down much larger prey. Their world had been emptying of the small, slow prey (like camels) that By Mike Fredericks once filled North America as they were being replaced by far swifter deer and pronghorn. Perhaps to catch slower mammoths, mastodons, and bison dire wolves increased in number, and this in turn increased pressure on those already struggling © Trisha Brumitt

by Mike Fredericks

Dean Walker says, “Bullyland issued a dire wolf as an add-on to its mid1990's Prehistoric Times People and Animals series. This is the only figure from that series that was not reproduced last year when they did a special run of all the rest of the figures in this set.” Randy Knol adds, “Chap Mei made two figures that are most likely Dire wolves and there are more in the miniatures and Role-playing community including metal and some resin; Copplestone Castings wolf pack prehistoric wolves, Splintered Light Miniatures, Mike Yarrow Miniatures, DeeZee Miniatures and Ral Partha’s Warwolf is most likely a Dire wolf.”

© Dan Holland

groups. Could a dire wolf plague have led to the extinction of the megafauna? Highly unlikely because no one factor would have had this effect; instead predation could have been one of many issues that led to the great Prehistoric Times No. 105 Spring 2013

41

Going ‘Postal’ over

Neave Parker

By Allen A. Debus No, I never met Neave Parker (1910-1961) but our ‘relationship’ goes back to half a century ago when I first witnessed his amazing paleoart on a set of then just issued British Museum postcards purchased by my father. From the fall of 1959 to summer 1960 we lived in London, when my dad was conducting research toward his doctorate. He also performed his solemn duty in ensuring that his kids learned to appreciate dinosaurs and paleontology. I was only in kindergarten, but thanks to him, already a budding dinosaur book and toy lover. In October we’d been introduced to a new book by Josef Augusta brimming with Z d e n e k Burian’s masterful paleoart t i t l e d Prehistoric Animals. There was a new set of plastic Timpo dinosaurs on the toy shelf. And of course by then I was very familiar with Charles R. Knight’s artistry, having seen his magnificent murals at the Chicago Natural History Museum (where I also picked out plastic models of American Museum dinosaur skeleton replicas as well as Marx toy dinosaurs.) Around that time I would have seen RKO’s King Kong televised, and during the summer of 1960 my grandparents would take me to see Irwin Allen’s remake of The Lost World. Yes, most anachronistically, dinosaurs just seemed a natural part of the terribly modern world I was growing into. But Neave Parker represented a special, vibrant piece of the paleo-puzzle! Yes, his name appeared on those old British Museum postcards, signed as artist. (As an aside, for those of you less than 20 years old who may be reading this, you see – before the days of smart phones and the internet, Skype and rapidfire telecommunications, people used to purchase small cardboard, well, approx. 4” by 6” cards that could be posted in the mail (i.e. “hard copies” sent as “snailmail”), or collected. These usually showed a picture or photograph on one side commemorating places visited during one’s travels and on the flip side, space to write a small note or message of good tidings – with additional space allocated for proper addressing and application of a postage stamp prior to mailing. These articles of sale were known as “postcards.” Geez – I’m starting to feel old writing this!) During the early 1960s, I used to create small “museums” on my bedroom floor, displaying my fossil collection, plastic miniature replica skeletons of Tyrannosaurus, Stegosaurus and “Brontosaurus” and used some of the dinosaur postcards as “murals” framing the museum walls. Beginning in 1981 – during my early post-collegiate, early ‘dinosaur renaissance’ years, I began writing a manuscript titled, “They Painted the Dinosaurs,” addressing careers and accomplishments of those whom I then considered as the ‘classic’ paleoartists of history. I had written to a number of institutions and individuals who were familiar with the artists I was most interested in. Questions were answered and considerable supplementary information was supplied with which to continue my project. The paleoartists in question were those whom I’d first been exposed to by my father through books, magazine articles and museum paintings and even some dino-films during the late 1950s and early 1960s. By 1983 (partly inspired by Parker as we shall soon see), the title of the manuscript evolved into “Seeking Ghosts of Eras Past: The Conquest of the Dinosaur in Modern 42

Times.” Looking back through my copy of this tidy little manuscript (segments of which were eventually printed in Chicagoland area earth science club newsletters during the 1980s), in a way this ‘book’ was a template toward my much more comprehensive Paleoimagery:The Evolution of Dinosaurs in Art (McFarland, 2000). So in my manuscript, following a concise Introduction to this then unusual topic about dinosaur artists, followed by sections addressing Benjamin Waterhouse Hawkins, Charles R. Knight, Rudolph Zallinger, etc., I tackled Neave Parker’s life and career. By then I was well armed with information supplied through several letters from paleontologist William E. Swinton, who fostered my efforts. Swinton who while at the British Museum had directed Parker on technical paleoart details, also kindly referred me to zoologist Maurice Burton, of whom more shall be stated shortly. I was also made aware of Parker’s work at the Illustrated London News and so had written Liz Moore for further information, including copies of his ILN dinosaur paleoart. Also, strangely enough, for many years a copy of a 1956 children’s publication, Uncle Remus (Bruce and Gawthorn, Ltd.) had been sitting on our home book shelf for many years, which as I then recognized had also been magnificently illustrated by Parker. Although further interesting details about Parker, including a photographic portrait of the man, are available in Chapter 17, titled “Neave Parker’s Prehistoric World” (pp. 111 to 114, 255) in the aforementioned Paleoimagery volume (perhaps the most complete published biography of the artist), an outline concerning Parker should be presented here. After failing competency as a banker, and following stints both as a surveyor and as a photographer in the Royal Air Force, Parker honed artistic talents. Dr. Burton, who was then affiliated with the ILN as honorary science editor enlisted Parker in the illustration of animals, printed in issues of the ILN. Burton also introduced Parker to Swinton, whose mentoring led to several original dinosaur scenes published in the ILN from 1954 to 1960, usually 28” by 17” in size. These vivid scenes, produced as “monochrome gouache and wash drawings,” certainly captured the imaginations of many young dinoaficionados of the time. They were especially noteworthy because until Parker’s arrival, few artists had endeavored to paint idealized scenes showing “all” the major types of dinosaurs and animals known to a particular space and time, coexisting - such as prehistoric ecosystems of North America in the Late Cretaceous or a then unusual theme like “Chinese Dinosaurs.” Parker did have one unusual proclivity, however. He seems to have been rather psychic, especially when it came to “seeing” ghosts of dogs. On Jan. 13, 1982, Swinton, then affiliated with the University of Toronto, encouraged me to write Burton. Burton’s Feb. 18, 1982 letter to me came with his now rather famous “Toots and his Dogs” essay, which I circulated to several individuals during the early 1980s. From my old correspondence file, I read how Burton stated, “On receipt of your (Jan. 26th) letter I thought perhaps the best way I could help would be to write an essay about Neave Parker the man as I knew him and I have pleasure in enclosing a copy of this which you are welcome to keep.” I know no better way to share my knowledge of Parker and (as a special treat for those of you who enjoy SYFY’s Ghosthunters program) his uncanny psychic abilities than to use this forum now to insert Maurice Burton’s essay herein: “Toots and his Dogs” It was a lucky accident that brought me into contact with Neave Parker, leading to some years of pleasant and fruitful association. I had been commissioned to write a book to be entitled The Story of Mammals. Neave Parker had been invited to do the illustrations, six hundred pictures in colour. The book was written and reached the pageproof stage and the illustrations were finished. Even the dust-jacket was Prehistoric Times No. 105 Spring 2013

completed. All that remained to be done was the running off of the pages, the binding and distributing, when for reasons now unclear to us the publishers abandoned the project. We were both paid but money is not everything. We both suffered a loss of prestige because had publication gone ahead it would have been the first non-technical book on the world’s mammals ever to have been published. Several have appeared since but that would have been the first. Neave Parker was of medium height and very rotund with a shock of graying hair, a bushy moustache and horn-rimmed spectacles, very like G. K. Chesterton in appearance, almost the double of Gilbert Harding who was then enjoying immense popularity as a broadcaster, in the early days of television. In fact, on several occasions he was mistaken for Harding. He was a most agreeable companion, wise beyond his years yet of the earth earthy. He enjoyed good food and above all was fond of beer which he drank in quantities without ever losing his equilibrium. An excellent artist, one of the leading animal artists of his day, and a first-class photographer, he always went around festooned with cameras, which seemed to add to his portliness. A bachelor, he never missed his weekly visits to the local cinemas, and, indeed, suffered a stroke while in a cinema, from which he never recovered, a great loss to the world of art. Parker’s burly figure was in complete contrast to the nickname, Toots, by which he was known to his intimates. The origin of the name is unknown to me. It seemed absurd for a man of his capabilities yet he carried it without loss of dignity. It did, however, seem not wholly inappropriate because of the impish streak in him that often came to the surface. There was such an occasion when he was telling me how he came to be an artist. With the characteristic twinkle in his eyes he told me how his father refused to let him go to art school, insisting that he should seek a safe job in a bank. “I was there for a week,” Toots explained. “Each day there was an error in the books and the whole staff had to stay behind until the error was found. It always ended with me. At the end of the week the manager invited me into his office and suggested, kindly but firmly, I should take up something else as a career. So I became a surveyor and later dropped this to go to art school.” His hobby was pistol-shooting and at this task he excelled. At his home was a cabinet containing the silver bowls and cups he had won. He held at one time the British Open Championship. Although I never saw him at the range I was told that his shooting was remarkable, because he used an ordinary pistol such as could be “bought over the counter, with no special grip or anything special about it.”

that,” he said, almost as if brushing it aside. “A club member brought a visitor in one evening and as they were drinking at the bar I said to the visitor, ‘That’s a nice dog you have.” “Dog,” said the visitor, “I haven’t got a dog.” Apparently, Neave Parker then described the dog. The visitor went pale and was obviously emotionally disturbed. “That’s my dog, all right,” he said to Toots, “but he died some time ago.” It seems this sort of thing had happened several times. Neave Parker then told me how, when he was in the Royal Air Force during World War II, in the photographic unit, he was sitting in the canteen one evening when a RAF sergeant came in and sat at the table opposite him. “On impulse I reached out for a sheet of paper that was lying on the table and drew a man’s face on it. Then I pushed the paper over to the sergeant and said, ‘Does that mean anything to you?’ I thought the sergeant was going to faint. ‘That’s my father,’ he said, ‘but he died last year.’ I got in touch with the Psychical Research Society who instigated a number of tests, but nothing came of it.” I started to question him but he was obviously unwilling to talk about these matters. Moreover, if ever our conversation drifted onto the occult he would dry up and refuse to discuss it, as if afraid of the subject. Soon after I had made his acquaintance and long before the fate of The Story of Mammals was known, I introduced Neave Parker to the editor of the Illustrated London News. I was honorary science editor at the time. Parker was promptly commissioned as special artist to that paper and for some years his double-page spreads of animals were a feature of that weekly journal We cooperated closely in this and I was always impressed how, with a minimum of words from me, he would reconstruct a picture of animals in their natural setting merely from their bones and skins. He was very easy to work with and seldom was there need to correct what he had drawn. It was as if he could read one’s thoughts. He also drew pictures of extinct animals from their bones, under the direction of Dr. W. E. Swinton, whose experience of working with him was similar to mine. Parker also drew pictures for Dr. Kenneth Oakley, who was, among other things responsible for the unmasking of the fraud of Piltdown Man. Oakley was a man of great perception himself, and I remember his saying, of Neave Parker, who drew for him several reconstructions of early man: “It is quite remarkable how he seems to grasp the details of his subject with only a minimum of help from me, as if he could see into the past.” A great artist, cut down in his prime! (Maurice Burton to Allen Debus, Feb. 1982)

Toots was very fond of dogs and was active with the Canine Defense League. He also appeared to have the faculty for seeing dogs that were not there. I discovered this one day when visiting him at the club, in Hampton Hill, near where we both lived. He had gone out of the room for a few minutes and I heard one of the members say: “Toots hasn’t been seeing things lately.”

Parker was truly a prolific artist; much of his original work (paleo-related or not) remains at large, or perhaps unrecognized. For instance, one wonders whatever happened to the 600 color drawings he had done for the aborted Story of Mammals volume. As Peter Crowther stated in an August 13, 1999 letter, “Parker was commissioned regularly by the ILN on a wide range of subjects, not only vertebrate palaeontology.”

The following day I was lunching with him and took the opportunity to mention this and ask him what was meant. “Oh,

Besides his ILN work Parker also teamed with Swinton in the painting of several prehis-

Prehistoric Times No. 105 Spring 2013

43

toric animals some of which were printed in Swinton’s publications (e.g. The Dinosaurs, New York, Wiley Interscience, 1970), or then issued on British Museum postcards – 19 in all, each of which must now be considered valued collectibles. Several of these restorations were reproduced, for example, in a popular book, Edwin H. Colbert’s Dinosaurs: Their Discovery and Their World (1961). The postcards (individually numbered sequentially as “G.72 for Ichthyosaurus,” etc.) as originally issued contained brief identifying, descriptive information concerning each prehistoric animal, printed to the left or bottom of the image. These were printed on cardboard very lightly shaded in tan and, as I vaguely recall, came in a nice little sealable packet. Later, during the 1960s the postcards were (re-)issued with identifying information printed on the back of each card, each sold singly. By then the adopted coloration became the more familiar grayish, monochrome tone as printed in books. Parker postcards in my collection featuring restorations include the following prehistoric animals: Paracyclotosaurus, Triceratops, Tyrannosaurus, Cetiosaurus, Polacanthus, Macroplata, Pteranodon, Ichthyosaurus, Acanthopholis, Scelidosaurus, Megalosaurus, Stegosaurus, Apatosaurus, Pterodactylus, Scleromochlus, Protoceratops, Hypsilophodon, Iguanodon and Ornithosuchus. I also have an (approx.) 15” by 20.5” poster of Parker’s Pterodactylus hanging in my office. Swinton wrote a BMNH booklet titled Dinosaurs (Pub. No. 542) incorporating ten of Parker’s restorations. Erroll White, Keeper of Palaeontology, stated in the Preface to the first edition (1962) that, “… the vivid monochrome restorations shown in the frontispiece and plates, although they have for some time been issued as part of a very successful series of postcards, are here published in a book for the first time. They are from the skilled brush of Mr. Neave Parker, whose recent death has robbed scientific journalism of one of its most outstanding

www.g-fan.com Godzilla Fans! Subscribe Today!

artists.” (Incidentally, an earlier British Museum publication, also by Swinton - Fossil Amphibians and Reptiles (1st ed. 1954, 4th ed. 1965), instead relied principally upon Maurice Wilson’s restorations, as well as D. E. Woodall’s line-drawings.) It seems as if Parker’s original restorations were sold during the early 1970s, because Swinton recollected they were offered for sale, advertised for 80 to 90 pounds – which today would be a bargain! However, while the whereabouts of the 19 original pictures that were later reprinted as BMNH postcards today is unknown to me, in 1989, an additional 17 restorations were purchased by the Ulster Museum in Belfast from the ILN at auction. During the summer of 1993 the Ulster Museum promoted a fascinating special exhibition titled “The Prehistoric World of Neave Parker,” featuring the ILN originals. (An 18th ILN painting was retrieved in 1997.) Considering Parker’s eerie predilections as recounted by Burton, appropriately, one of the paintings displayed was a study of a dozen early domesticated dogs “based upon bone-finds and sculpture, uncovered during archaeological excavations of tombs in Egypt and Mesopotamia,” originally appearing in a June 23, 1956 ILN. The ILN artwork itself required considerable conservation. As described by Peter Crowther, “… the high quality artist’s boards used by Parker had been fixed to poor millboard. While this kept the artwork flat for the purposes of reproduction, the millboard had a long-term damaging effect on the paper. Treatment involved the removal of the acidic backing millboard, and washing and deacidifying the artist’s board to remove acids and discoloration.” We must humbly thank Peter Crowther (Keeper of Geology of the National Museums and Galleries of Northern Ireland) for perceiving the value of these items as well as his time, patience and care in curating this precious material. In 1999, Peter Crowther sent me Xeroxes of the Neave Parker artwork they’d obtained from the ILN, which had been exhibited a decade before. Included in the collection were a dozen splendid restorations I’d never seen before, (one of which – a life through time historical geology study - was not displayed during the 1993 Ulster Museum Neave Parker exhibition). Five of these featured large Cenozoic mammals, as in the depiction of “Trafalgar Square 100,000 Years Ago” (ILN June 14, 1958) and “London 50 Million Years Ago” (ILN Jan. 14, 1956). There were two restorations depicting early reptiles and early mammals (Elgin, Scotland and South African Karroo deposit, respectively) of 200 million years ago. Additionally, four restorations dealt principally with dinosaurian themes, or featured large Mesozoic reptilians. One of these was a Triceratops restoration published in the March 15, 1958 ILN issue, rather different from the more familiar Parker Triceratops pose we’ve become more familiar with in postcards and in 1960s BMNH publications. It was a wonder to behold these additional “Parkers,” quite new to me after all these years! Like his other restorations I’d gained familiarity with, all of Parker’s restored creatures retained a distinctively vibrant and engaging sense of true, purposeful ‘liveliness,’ which is perhaps the fundamental reason for why his art has proved so appealing. Although perhaps under-appreciated today, Neave Parker truly was one of our ‘classic’ paleoartists. In looking through the old correspondence and more obscure samples of Parker’s art – including a nice restoration of tiny Triassic mammals,

Continues on Page 46 44

Prehistoric Times No. 105 Spring 2013

C re t a c eo u s Classifieds Free to subscribers but must be updated each issue

FOR SALE: adorable Postcards and Watercolor Paintings of Dinosaurs and other Prehistoric Faunas www.etsy.com/shop/Dinorawrs We have DinoStoreus skulls and models in need of repair for sale. Look at the back cover of just about any issue of Prehistoric Times magazine and the sample images on that page and you will see the wonderful skeletal and fleshed-out dinosaur models by DinoStoreus. We have been a distributor for many years and have a few dozen DinoStoreus models that need repairs ranging from a missing tooth to a broken jaw. If you like a small challenge or have built model kits before and want to save some money, then you would have no problem repairing these models to complete your collection. Just about every skull and model on this list is available. Just give us a call 304-2822306 or email [email protected] to check on availability. Each skull or model is only $25 each compared with $50+ retail. FOR SALE Weta Collectibles mint in their original boxes: V-rex vs Kong, Venatosaurus Attack, Skull Island Natives, Kong's Last Stand (Empire State Building) and more. From Sideshow Dinosauria: Carnotaurus, Styracosaurus, Deinosuchus vs Parasaurolophus, T.rex vs Triceratops(no boxes on these) From Gentle Giant: Luke Skywalker on Tauntaun By X-Plus: ALIEN these last two are mint in their original boxes. All are made of resin. Please e-mail Pat at: [email protected] Attention Museums and collectors – Five original lamps designed by and made for Zdenek Burian's art studio for sale, contact me, Jiri Hochman for photograph, details and prices. Zdenek Burian post cards, posters, coffee cups and copyrights of Burian images for sale. Also looking for a producer/sponsor for: a Zdenek Burian exhibition in the USA/Canada etc ZB Great Monograph for sale in the USA/Canada etc production of copies of ZB original paintings for sale a completely new book (the best of) Zdenek Burian – Action Illustration - website: www.zdenekburian.com or contact [email protected] For Sale: My book, Lens to the Natural World: Reflections on Dinosaurs, Galaxies, and God by Ken Olson (Foreword by Jack Horner, endorsed by Kevin Padian of the National Center for Science Education). Celebrating the wonders of nature, this is a work of “science & religion & philosophy & literature,” and navigates a middle way between the vocal extremists on the issue of evolution. I have been a Research Associate in Paleontology at The Museum of the Rockies, Bozeman, MT for 24 years. List price is $26; add just $2 to ship in the lower 48 states. Send check or USPS money order to: Ken Olson, 1009 W. Blvd, Lewistown, MT 59457. For Sale: Horizon 1/19 scale vinyl Jurassic Park Brachiosaur kit. Original box and parts still in poly bag. $125 plus shipping. Dave Colton – [email protected] For Sale: Tamiya 1/35 Scale Brachiosaurus diorama sealed new in original box. $75 plus $15 shipping. MO to Gregory Flanagan 268 7th St Brooklyn, NY 11215 Wanted: Jurassic Park 3 Re-Ak Attack Dilophosaurus in original green color. Must still be in package and in good condition. Negotiable. Contact Adam at [email protected]. Wanted: I am interested in any playvisions animal figures but especially the African Forest Buffalo, Chital (Axis Deer) and Dhole. I am also looking for Jeols Bushpig, Safari Vanishing Wild Gemsbok (adult and calf), and ELC Kob. I would be interested in almost any mammal figures, prehistoric and modern. Please email me at [email protected], you can call at 801 597 8875 or write to Keith Brown, 3032 S 5990 W, Salt Lake City, Utah, 84128 For Sale : Complete set of Battat dinosaurs for sale, as a set. I also have one of the few JP full size raptor promotional pieces. This piece is unreal. I'm also downsizing a very large collection of various pieces amassed over 20 years of collecting. I have

Prehistoric Times No. 105 Spring 2013

many unique and extremely hard to find dinosaurs and mammals that are no longer in production. Most of these are sets, all are in mint condition and never used other than for display. Call and or e-mail for more information on what's available. [email protected] 513-737-6695 Wanted: Safari Ltd "dinosaur mountain" retail counter display. Replica collector looking for 1-3 of these large plastic racks to display ever-growing collection. Are you a museum, gift shop, or fellow collector with an extra one to get rid of? Contact Justin at [email protected] For Sale or trade: I offer all the large J H Miller prehistoric animals/dinosaurs, caveman, cavewoman and cave. I have many SRG, both large and small, including the caveman, a complete set of Linde dinos, complete set of Battat (Boston Museum) dinos, Castagna dinos, Alva Bronto, Marx, Chialu, Starlux and more. Call Jim Van Dyke 616-669-3897 [email protected] WANTED: Max Salas 1/35 Entelodon and Andrewsarchus. Needed for my collection. Will buy or trade. Contact Ron at [email protected]. WANTED: RAY HARRYHAUSEN & STOP-MOTION RELATED 'ZINES Colossa #1 (1993) / Hollywood Horror Classics #4 (1996) Cinemagram #1 (1964) / Cinefantastique #2 (Mimeo - Apr 1967) Mystification #6 (1965) / Animals Magazine (Aug 1969) - British Wonder #2 (Summer 1989) / Box Office Vol. 90 #16 (Feb 6 1967) Spectre #18 (Mar/Apr 1968) / Photon #1, 7, 13 (1963, 1965, 1967) Vampire's Crypt #8 (Dec 1963) / Amazing Screen Horrors #6 (1966) Just Imagine #4 (1977) - British / Cosmos Aventuras #9 (May 1964) Ray Harryhausen Journal (1973) / Animation Journal #4 (May 1965) Stop-Motion Monsters of Filmland #1, 2, 3, 4, 5, 9 Japanese (1990’s) King Kong: Unauthorized Jewish Fractals in Philopatry (1996) Contact: Scott McRae ([email protected]) Wanted: PT issues 1-22 & later back issues no longer available through PT, Marx dinos in metallic green, Pom Poms candy boxes w/ Aurora Prehistoric Scenes art on them, SRG metal Dinychthys fish, Chialu dinos (Italian composition), NF Neoform dinos, La Brea (Wm Otto) Mastodon, both bears, peccary & horse plus T. rex, Smithsonian metal prehistoric animals, Messmore & Damon 1933 Chicago World’s Fair metal figs., and Starlux Cephalaspis (jawless-fish) to complete my Starlux set! For Trade/Sale: vintage dinosaurs of most manufacturers. I’ve got a ton of old dinosaur figures for sale. I’m always buying pre-1970s dino collectibles --Please contact Mike Fredericks 145 Bayline Cir, Folsom, Ca 95630-8077, (916) 985-7986 [email protected] WANTED: Prehistoric Times issues 79, 81, 83, and 84. Also looking for any books, magazines, and/or DVDs on whale evolution/extinct whales/dolphins, ancient marine reptiles, elephant evolution/extinct elephants, and shark evolution/extinct sharks. Will pay by money order only. Also looking for any information on fossils in Alabama, Mississippi, and the rest of the southeastern US. Please call 205-269-7054. FOR SALE: Hundreds of First Day Stamped Covers, thimbles, coins, library books for adults (like new), and hundreds of miniature dinosaur figurines including full set of LLADRO. Jon C Markin, 2688 York Street North, St Petersburg, FL 33710 Responses made to all serious inquiries. Wanted: any ice age animals for sale or trade that were recently available in PT, in a set of six. Interested in the whole set. Please be reasonable. Contact Gregory Ortiz at [email protected] or phone at 714.679.6285 FOR SALE: Invicta Tyrannosaurus, Diplodocus, Brachiosaurus, woolly mammoth, Glyptodon, Dimetrodon, Blue Whale, painted Liopleurodon, and painted Plesiosaurus. Bullyland 1993 Parasaurolophus. Dinotales Series 1 Triceratops skeleton and Tyrannosaurus. Carnegie Collection Beipiaosaurus, Ankylosaurus, Spinosaurus, and Cryolophosaurus. Wild Safari Scutosaurus, Mosasaurus, Kentrosaurus, Allosaurus, Rhamphorhynchus, Coelacanth, and Field Museum Anatotitan. All new 2011 Safari LTD figures are available too. Wanted: Battat Ceratosaurus, Diplodocus, Tyrannosaurus, Maiasaura, and Parasaurolophus - Andrew [email protected] For Sale: 3/4'” cloisonne lapel pin that states: REUNITE GONDWANALAND and depicts Pangea and Laurasia united in one huge continent. Only a limited number are available. $8 includes the pin and postage. Contact Lynne Dickman, (406) 728-5221, [email protected] Wanted: Hobby Trading Post (Nu-Card) DINOSAURS cards (B&W, post-card size) #'s 7, 13, 15, 28. I will gladly purchase these but I also have many duplicate cards available for trade. I would prefer "nice" condition cards (e.g., VG+ to Mint) without major creasing or other significant defects. Please contact me (Mike Riley) at: [email protected] or at 303-566-1267 (weekdays, 7:00 am to 4:00 pm, MDT).

MODELERS: PT build up writer, Sean Kotz, now has a national hobby column on line at the Examiner. I am committed to bringing paleo models, sculptors and kits to the forefront on a regular basis, as well as all other forms of modeling from plastic kits to rocket ships. Go to www.examiner.com and search for "Model Building Examiner" or my name and bookmark or subscribe. You can also search out the Facebook Fan page Playset Magazine Plastic heaven, America's best info on vintage playsets by Marx and others from the Atomic Era and Beyond. Battleground, Zorro, news, classifieds to buy, color glossy. Complete website listings too! www.playsetmagazine.com, email [email protected], or call (719) 634-7430 J H Miller repaired - your broken and incomplete vintage J H Miller plastic figures -expertly repaired. Ask for Nick Lamanec (484) 274-0315 FOR SALE: Looking for awesome paleontology-themed Tshirts? Visit www.cafepress.com/dannysdinosaurs! Featuring clever dinosaurian designs on everything from shirts to coffee mugs to bumper stickers, www.cafepress.com/dannysdinosaurs is a great place for all your dinosaur apparel needs. TOP DOLLAR PAID for prehistoric animal postcards including diorama scenes, statues, fossils, museum displays, etc. I also would like to purchase prehistoric animal museum or excavation site brochures and posters. If you have vintage dinosaur or prehistoric animal books or photographs from the 1900's up to 1980 please let me know since I also collect these. I have lots of paper ephemera such as this for trade if that is preferable. Please contact Stephen Hubbell (253) 851-7036 or email me at [email protected]. search4dinosaurs.com is always looking to add new artists. If you are looking to promote your work this is the perfect place to do so. Each image on the site is viewed by hundreds’s and sometimes thousands of visitors each week. Many artists receive commission work from publishers after being seen here.There is no charge, just e-mail 6 or more examples of your art work and I’ll create the gallery page. I only show full body examples of Mesozoic creatures, several in one scene is fine. Level of expertise must match that of the work already being shown on the site. Images should be at least 600 x 400 pixel jpg or gifs, larger is better. For more information [email protected] PALEOSCENE - Supplying fossils and museum quality fossil replicas at very affordable prices. Our replicas are carefully made from molds of the original fossil specimens.Each cast is meticulously hand painted to give a natural and realistic appearance closely matching the original fossil. Our replicas include many unusual and famous specimens, including Archaeopteryx, Seymouria, pterosaurs and other prehistoric reptiles, mammals, birds, fish, invertebrates (including trilobites), and a variety of dinosaur and pre-dinosaur tracks (will help artists get those feet and footprints right!). "Please visit our website at http://paleo.cc/paleoscene.htm or call 281-290-6751 or write to Glen Kuban, PaleoScene, 11702 Littlefield Ct, Tomball, TX 77377, Email: [email protected]. PALEODIRECT.COM Your direct source for the finest and rarest fossil specimens along with tools and weapons of primitive man. With several thousand pages of fossils and primitive man artifacts displayed online, PaleoDirect.com is truly one of the largest online paleontological suppliers across the globe. Categories include a BROAD DIVERSITY of both INVERTEBRATE and VERTEBRATE fossils. We also specialize in genuine TOOLS and WEAPONS of PRIMITIVE HUMANS from the Lower PALEOLITHIC through the NEOLITHIC Periods up to and including the Iron Age. PALEO DIRECT, Inc. is a full-time, professional supplier and a member of the American Association of Paleontological Suppliers.We acquire specimens direct from the source regions of the world through exclusive affiliations with the diggers and their management as well as conduct several of our own international collecting expeditions each year. Furthermore, many of our rare specimens are prepared in-house by our own conservation facilities and staff. This explains our consistently better quality fossils than is usually found in the marketplace. In addition to what is shown on the site, an even greater inventory of specimens are either yet to be listed or in various states of preparation. Please contact us if you have interest in an item that is not shown. New material from around the world is constantly being added. If you wish to be added to our email list for when new specimens are updated to the website, please email or call us and let us know. PALEO DIRECT, INC. P. O. Box 160305 Altamonte Springs, FL 32716-0305 (407) 774-1063 www.PaleoDirect.com [email protected] Supplying museums, educational facilities and discriminating collectors around the world.

45

Artist Jim Boydston with life sized Deinonychus made from new and recycled material. Please check out the web site to see more models, murals, and flatwork.

www.dinojimboydston.com

46

Concluding from Page 44 Morganucodon, printed in Adrian J. Desmond’s The Hot-Blooded Dinosaurs (1975) - I’m reminded that my ambition to write about the classic paleoartists sprang from a positive experience involving an individual in Poland who had replied and supplied me with information about a native artist …. one whom I was seeking further information about for a prior article of mine titled “Paleophilately: Stamps, Stones and Stories” (printed in the Earth Science Club of Northern Illinois Newsletter, Oct. 1981). So on another occasion more information shall be divulged in the pages of PT concerning this matter. Note - A list of Neave Parker drawings purchased by the Ulster Museum and displayed at the 1993 “Prehistoric World of Neave Parker” exhibition (information supplied by Peter Crowther), with dates of ILN publication: Ancient and Modern Animals of Africa – June 19, 1954; The ‘British’ Seaside in the Jurassic - July 31, 1954; Elgin 200 Million Years Ago – January 26, 1957; London 50 Million Years Ago – January 14, 1956; The South African Karroo: Origin of Mammals – November 5, 1955; Giant Crocodiles – December 22, 1951; Neave Parker and Dog Ghosts – June 23, 1956; Living Fossils: Extinct Ancestors – July 27, 1957; Latest Discoveries from Africa – July 5, 1958; Canadian Dinosaurs – August 27, 1960; Dinosaurs of the Gobi Desert – January 9, 1960; Chinese Dinosaurs – February 11, 1956; Trafalgar Square 100,000 Years Ago – June 14, 1958; Ancient Reptiles and the Sea – February 20, 1960; The Last Days of the Dinosaurs – March 5, 1960; Triceratops – March 15, 1958.

Prehistoric Times No. 105 Spring 2013

Sketch Me A Spit ter! An Artist Remembers Jurassic Park By Mark Hallett All artwork © Mark Hallett

It was one of those breezeless, furnacelike July afternoons as I crept toward the adobe- colored, `50’s looking bungalow complex of Amblin Entertainment in my rental car. Because of this I was pleased to see that not only were there air conditioners on each of the windows, but also that a bearded conditioner tech in grubby white overalls had gotten out of his van and gone in, no doubt to make sure they were running properly. I hate hot weather. Weeks before, I’d gotten a message from the Production Designer Rick Carter at Amblin Entertainment. He had seen my 1986 Mamenchisaurus painting ‘Crossing the Flats’ and wanted to invite me in as a concept artist and paleo consultant for their upcoming film Jurassic Park, still in its early production stage in the summer of 1990. I’d only just heard of this after my studio move to Oregon, and the rumors were exciting—not only a thriller plot line, but special effects that involved computer imaging techniques that were to surpass any that had seen before. Film technology was something I was still learning about and for me, as with most artists at that time, the state-of-the-art was the stop-motion animation of Ray Harryhausen, a creative mantle that had now been passed on to Phil Tippett and his studio. My job would be to offer advice, as an artist specializing in paleontology, to guide the concept artists and computer animators in creating dinosaurs that looked anatomically correct and were biomechanically probable. It was a fantastic opportunity to be involved in this project, and to learn. Inside the bungalow was a large, homey and informal studio, with artists hovering over drafting tables wedged close to the windows for the best available natural light and production-assistantson-missions constantly maneuvering around each other. As relaxed as it looked, however, you could feel the creative excitement. Following initial introductions, when I discovered that the grubby tech in overalls was actually Steven Spielberg (who kept chickens as a hobby and got around this way on his farm), I was whisked into a back studio room. Furnished with drawing materials, I was given my first assignment by Carter, to draw the breakout of the T. rex from its paddock following the power failure. I knew this was to be not only a test of my ability to do “rapid viz” (rapid visualization) on the spot, but also how well I could grasp a dramatic moment and convey it to a viewer (with SS ultimately being the judge). 15-20 minutes later I produced a medium-range scene of a liberated rex striding past two immobilized Ford Explorer tour vehicles and their occupants. I used the Prehistoric Times No. 105 Spring 2013

staging device of casting a deep shadow across the dinosaur’s lower body (Charles Knight once did this on his rex, as did Harryhausen on his “Ymir” in ‘20,000 Miles to Earth’) and the Explorers, to subordinate the foreground and to focus contrasty light and shadow on the head and upper body. To me, the sketch wasn’t great. I was a bit uptight because I wanted to prove myself, but in spite of its stiffness Carter, and later Spielberg, said it had the kind of drama they wanted. (fig. 1) Following the Breakout Scene, I was asked in the next sketch round to think of motivation: what might set off the rex to attack the Explorer and its terrified passengers? OK, he’s now out, but what would piss him off enough to make him go into carnage mode? Real animals, like real people, have reasons for sudden mood change, and as with every prehistoric animal I’ve drawn I wanted the rex to act as I thought would be true to life. This of course is what makes Knight’s paleoanimals so believable. One thing about this whole scene (and in fact, the whole film) was the incongruity of an ancient creature resurrected from the past confronting human technology, and it provided me with an inspiration. In this, I showed one of the balloons acquired by the character Hammond’s grandkids as trailing and bobbing from the Explorer’s back window all during the Breakout, and almost immediately it attracts the rex’s attention. After a few moments of playful interaction, the inevitable happens-- it pops in Rex’s face and he goes crazy, attacking the Rovers. (fig. 2) For me it made behavioral sense, but like so many artist concepts in the film biz it was just one of several ideas that was considered, but eventually discarded, on the way to the scene that was actually used, in this case the incredibly dramatic Storm Breakout. Once this concept began to jell, I followed up with storyboard sketches that envisioned the attack from a passenger’s point of view. (figs. 3, 4, 5, 6) The Amblin studio was a wonderful place to work that hot summer. Not only was the studio’s fridge stuffed with fresh fruit and cold sodas, but I was taken under the wing of Key Concept Artist Marty Kline and shown the inner sanctums of Amblin (including the original, life-size maquette of E.T. in Spielberg’s private office) and Universal’s in-progress stage sets and back lots. It was at this time, however, that I realized that in spite of my being hired as a paleo consultant, I was expected to blink when the question of drama vs. scientific accuracy came up. This is the dilemma that almost all scientific film consultants experience: realism in the service of dramatic expression vs. scientific reality. I’d have to make my inclinations as a paleoartist (going for the most accuracy in showing what’s currently known 47

+ great art technique and staging) somehow balance with my job as film concept designer (great technique and staging for sure, but accuracy often taking a backseat to drama and expressiveness). You always fight for accuracy, but you sometimes don’t get your way. This isn’t to say that Spielberg, Winston and the Key Illustrator Mark “Crash” McCreery weren’t fully concerned, and appreciative, about scientific accuracy. They were aware of Greg Paul’s, my own and others’ depictions of how dinosaurs probably looked and moved, and early in the concept phase Spielberg and the other principals had all agreed that the JP dinosaurs should

elliptical slit pupils are considered to look quintessentially “reptilian”, even though only small vertebrates have them (fortunately the rex was spared this). This certainly wasn’t the first time scientific artists like ourselves have faced this situation, since for us and other dinophiles the probable appearances and sizes of dinosaurs should be dramatic enough for anyone. In spite of their extreme likelihood, the decision not to have filoplume and guard feathers on the “raptors” was also a big disappointment, but here the lack of sophistication in hair and feather imaging programs in 1990-1993 was probably a reason. The tame, muted overall grey-or brown colors the dinosaurs ended up with was another. In spite of all these misgivings, in the end my rationalization was that I was in the service of Hollywood, and this was after all a science fiction, not a science reality, project. With that comprise still sitting uncomfortably in mind, I tackled my next assignments, a T. rex character study (fig. 7), followed by a 1:8 scale maquette of the Stan Winston version T. rex head and a 1:5 head of the “Spitter”, both now lost. From the beginning of production, the identity of the Spitter, the totally fictional, small fringed-and-venom-spitting theropod that later killed the character Dennis Nedry, hadn’t been dealt with. Like most other film characters, however, it rapidly “evolved” through a series of stages. Spielberg generally liked the wedgy head morphology of the real, Late Triassic theropod Dilophosaurus wetherilli, but its 23 foot length had to be “dwarfed down” to fit the Spitter’s dimensions, as well as equipping it

look and act as much as possible like real animals, and not monsters. In spite of these intentions, however, accuracy sometimes (and to me unnecessarily) gave way to what I call “hollywoodsaurs”. Mike Trcic, already known for his beautiful and morphologically accurate, sculpted scale and life-sized dinosaur restorations, was among the first JP concept artists to encounter the syndrome when his anatomically correct rex head sculpts gave way to Character Creator Stan Winston’s broad-headed, perpetually grinning rex. (Sure, a real T. rex’s rear mouth wouldn’t have really gone back that far, but it makes the gape on ours even bigger and gives it a builtin, menacing smile.) Another issue was body proportions and stance. Knowing of his reaction to the finalized “Gumby legs” of the film’s Brachiosaurus, Greg Paul’s feelings (he was another early JP consultant) must have been unimaginable. In depicting theropods, the consensus was, as usual, that these had to be shown with their legs splayed wide apart, like gunfighters getting ready for a showdown, rather than the close-tomidline stance. Finally, there’s the “snake eye” issue: 48

Prehistoric Times No. 105 Spring 2013

with an Australian Fringe Lizard’s frill and, of course, the ability to spit venom. I did this over a period of 2-3 days at Amblin, then created the maquette from Sculpey back at my studio in Oregon (apartment kitchens are great for firing these sculptures, but your Hot Pockets will never smell the same). During the 2D sketch stages a direct request from Spielberg resulted in the head also becoming shorter and more snake-like, and in addition to the maquette and character studies I created several concept sketches of the little fiend confronting an actor. (fig. 8, 9). Although the idea of a venomous theropod at the time was an unusual idea, many years later it was found that real life may have imitated art with the discovery of Sinornithosaurus, a small avepod dinosaur from northeast China whose upper middle teeth bore grooves that possibly transferred venom when it bit its prey. Later in production during my second weeklong session at Amblin, I consulted with computer designer Stephan Dechant and his team to offer input on the unrefined screen models they produced, using an Amiga 2000 computer system and a Video Toaster. Although these were at this stage comparatively simple skeletal and volume models, they were critically important in making it possible to create a large number of moving storyboards in record time. As basic as they were, the models for me were at this stage impressive, and this innovation was a big improvement on the earlier traditional storyboards I’d done of the Raptors in the Kitchen Sequence. (fig. 10) Together with the stop-motion puppets and kinetic maquettes developed by Phil Tippett and his Studio, both these approaches were combined under the direction of Industrial Light & Magic’s Dennis Muren and his team to produce the some fifty “fullmotion” dinosaur sequences in the film. It would take many steps to end up with scenes like the Gallimimus Stampede, but the results were amazing and broke ground in special effects. One of the back rooms at Amblin, although unassuming, was the meeting room, and one afternoon I was summoned to provide any needed “paleo input” (i.e., could the dinosaur do this?) during a conference between Spielberg and the late JP author Michael Crichton. Crichton, affable and appearing almost 9’ tall or close to it, scrunched himself into a chair opposite Spielberg and I, a fly on the wall, listened. Prehistoric Times No. 105 Spring 2013

There were still a few loose ends to be worked out in the early development of the script, and one of these was a scene in the book (later discarded in the script) in which Grant and the others attempt an escape on a floating raft past a sleeping T. rex. This was accompanied by a storyboard showing the action, but while the humans looked fine I was amazed to discover that the rex had been depicted like a comatose Lil’ Abner character or Pogo’s Albert Alligator asleep under a tree after an enormous outdoor picnic – hind feet outstretched, tail stuck out to the side. The dinosaur emphatically could not do this, and although it was the only question I was asked throughout the entire 45 minute session, I felt I’d done my duty. Along with T. rex, the “raptors” were the other most important dinosaur characters in JP, and like Rex lots of consideration was paid to possible color as well as detail. In spite of doing several color studies for the raptors, however, these in the end were discarded in favor of “safe” muted greys or browns for these and all the other dinosaurs. Until the computer animation for JP was finally perfected, no one had attempted to do anything like the fierce, quick and nimble raptors. Because of this, Spielberg had briefly entertained the idea of actually outfitting some of his live chickens with little “raptor suits”, equipped with prosthetic heads, arms and tails, then letting them go berserk on scaled down stage sets for the full motion sequences. It would have provided quality entertainment, but in the end those close to Spielberg tactfully convinced him that the result would have ended up as satisfactory as the hairy-suited, prosthetic-headed dogs in the `50’s film ‘Attack of the Killer Shrews.’ My experiences in consulting for JP, in spite of the compromises I had to make in how the dinosaurs should have looked, was more than made up for in getting the chance to learn the then latest computer animation processes, as well as how a major science fiction film is made. Several years later, it opened the way for my eventual engagement in Walt Disney Productions’ ‘Dinosaur’ and the Discovery Channel’s ‘Walking With’ Series. PT fans who would like a wellwritten, in-depth treatment of how Jurassic Park was made should read Jody Duncan’s excellent article, “The Beauty In the Beasts”, in the August 1993 issue of Cinefex. 49

The name EoFauna is the fusion of two words or concepts. The word Eo or Eos refers to the goddess of the dawn in Greek mythology and Fauna, known by everybody, is the animals of a particular region, habitat, or geological period, so EoFauna can be translated as the dawn of animals, as we mainly trade in prehistoric critters.

EoFauna is a young team formed by researchers, creative minds and specialists principally focused on prehistoric fauna with a wide knowledge of biology, paleontology, metrology, design, illustration and modelism. The company was founded at the end of 2012 by Asier Larramendi and Rubén Molina after gathering very talented people and years of hard scientific research. The story begins back in 2007 when Rubén and Asier met each other in a dinosaur blog. After many debates and revisions, both find that there are many doubts and gaps, especially in dinosaur body size estimates. They consider most of the information on weights and measures are in doubt, so they started a deep research to verify them. They have made interesting discoveries that they will present in a work that will help both professionals and amateurs to better understand the issue. Rubén is from Mexico City and Asier is rom Donostia-San Sebastian but the distance has never been a problem for them to keep fighting for their dreams. After 3 years of talks and brainstorming, both have decided to leave their jobs to work on a common project that finally evolved into EoFauna.

Finally, a guide to all the amazing model kits shown in Prehistoric Times over its twenty year history! • Softcover format with 302 pages with 1000+ glossy color photos • The first catalog of high-end collectible sculptures of dinosaurs and other prehistoric animals • Authoritative history of commercial dinosaur figures • Hundreds of entries by studio and artist name • Thousands of items listed by size, scale, year and country of origin • Scientifically accurate, retro (outdated) and fictional/fantasy models • Sculpting tutorial by Sean Cooper, guest feature by Martin Garratt • Foreword by Mike Fredericks • Commentary by collectors, researchers and artists • Index by genus (over 200) • Artist/studio contact directory • Bibliography Look for the Scale Model Dinosaurs calendar featuring 15 months with over a hundred comparative photos of different dinosaurs from various artists. Available from zazzle.com/dinosauriana Contact [email protected] for book ordering details Or visit dinosauriana.com 52

The goal of the company is to review and update relevant information on vertebrate fossils in order to spread the results and findings into scientific journals and popular books, as well as to create first quality stuff, under the most scientific stringency and artistic pulchritude. Another of the objectives is to find collaboration with other people in order to perform attractive and informative projects. Among our products and services are: • Artistic and technical illustrations based on the latest studies made by some of the greatest Illustrators of our time. We offer diverse dimensional sizes for our illustrations, including the real size option of skeletal reconstructions, appropriate for museums and exhibitions. • High quality craft paleo-reconstructions made with epoxy putty, based on scientifically described specimens, most of them unique on the market. • Hyper-realistic extant and prehistoric animal figurines from anatomically accurate reconstructions made on a computer and based on properly described individuals. • 3D models conducted with the highest scientific rigor, based on musculoskeletal reconstructions under pinpoint accuracy, after extensive research, either on bibliographic work or from the data obtained from museum collections. We use comparative anatomy to get the most realistic results. Our recreations are designed for audiovisual aids, multimedia, animations, publications and other disclosure projects. Team members: Asier Larramendi: Co-Creative Director of EoFauna. A prehistoric animal lover since he can remember, today he is a freelance researcher, technical-paleoillustrator and web/graphic designer. His research focuses on proboscideans and dinosaur morphology and size. One of the latest studies performed, was on the mysterious and gigantic Songhua River Mammoths from Inner Mongolia. In 2011, he traveled to China and revised the museums and the collections where the original fossils are stored. The results of the study, including the scien© Asier Larramendi t i f i c description of a comp l e t e s ke l e t o n , will be published in an academic journal this year. Rubén Molina: Co-Creative Director of EoFauna. He is a dinosaur and pterosaur specialist with over 20 years of research behind him. He has collected and studied thousands of papers and books. Recently he has been in Argentina revising different museum collections such as: La Plata, Bernardino Rivadavia, Plaza Huincul and Centro Paleontológico Lago Los Barreales museums. The results will be published next year in a book about dinosaur records, myths © Ruben Molina and facts with Asier and illustrated by Andrey, Sante and Jorge. Rubén is also skillful at multimedia, illusPrehistoric Times No. 105 Spring 2013

tration and graphic/web design. Sante Mazzei: Self-taught paleoillustrator. Among his favorite subjects are the dinosaurs. He started to explore the world of paleoart, making his first reconstructions of prehistoric animals with the use of digital painting. In addition, owing to the "distorted view" that the general public has of dinosaurs, he feels that the work of the paleoartist must also provide to dispel a lot of myths related to these creatures. He won for the 2011 Europasaurus international paleoartwork contest, and the organization of the "Paleoart Teaching", the first time in Rome and the second in Lourinha, with the collaboration of other italian artists. Some of his works have been exhibited in the "young artists" section of the prestigious exhibit "Dinosaurs in the Flesh", the most important Italian paleoart event.

zoology book and in books by a German science writer, Ernst Probst. Jorge Ortiz & Martha García: Jorge is a biologist and the sculptor who creates dinosaur skull reconstructions for the company, while Martha is the technical expert who applies her knowledge in the application of color, texture and appearance, fusing the art and science to faithfully reproduce the size, shape, texture, detail and the appearance of more than 40 fossil species in different interpretations: skulls, skeletons, embryos and individual bone pieces. Jorge is also a paleoillustrator. His illustrations can be seen in the international award winning book of science

© Sante Mazzei © Shu-yu hsu

Andrey Atuchin: Passionate about dinosaurs from childhood, he is a zoologist and self-taught paleoillustrator who started drawing dinosaurs as a hobby. He has become a great illustrator who has won the International Contest of Dinosaur Illustration organized by the GEAL, and for two consecutives times, the international paleoartwork contest. His artwork also, was once used as a cover for National Geographic magazine in 2010. He has been involved in the illustration of numerous books and journals, and museum expositions.

© Shu-yu hsu

© Andrey Atuchin © Shu-yu hsu

Shuhei Tamura: Traditional visual art Illustrator. His work focuses on extinct/extant mammals and eastern meditation traditions like zen, ki ,etc. He learned traditional drawing when he was in elementary school and continues to illustrate today. His artwork can be seen in a Ta i w a n e s e © Shuhei Tamura Prehistoric Times No. 105 Spring 2013

by Ruy Pérez Tamayo: “Tiburones: supervivientes en el tiempo” Shu-yu Hsu: a very talented sculptor and a lover of science and art. After 20 years of commercial art, he finally realized that there's a career that can combine both of his interest in art and natural science, and he has created some of the most fantastic and realistic animal figurines ever made. He is also very good at 3D modeling. Feng Shan Lu: He has assembled and painted models since he was a child and today has over 30 years of experience. Each model he creates

has his spirit. He has spent much time obtaining knowledge in the wild watching animals. He paints them as if they were alive and uses color as seen in their natural environment.

© Feng Shan Lu

53

Mesozoic Media Scale Model Dinosaurs by Robert Telleria, paperback -Finally, a guide to all the amazing model kits shown in Prehistoric Times magazine over its twenty year history! Robert’s new softcover format book is 302 pages with 1000+ glossy color photos. This is the first catalog of high-end collectible sculptures of dinosaurs and other prehistoric animals. It packs an authoritative history of commercial dinosaur figures/model kits with hundreds of entries by studio and artist name. Thousands of items are listed by size, scale, year and country of origin. The models include every model from scientifically accurate to retro (outdated) and fictional/fantasy prehistoric animal models. Also included is a sculpting tutorial by Sean Cooper plus a guest feature by model builder/painter Martin Garratt and a foreword by yours truly, Mike Fredericks. On top of that there is a fun commentary by many collectors, researchers and artists, an index by genus of over 200 animals, and an artist/studio contact directory. Robert went through every issue of PT and other sources to create this nearly allinclusive reference book. I sent him hundred of photos I have received over the years and he did all of the grunt work, compiling, writing and organizing everything into this “Must Have” book. This is not some fan-produced amateur publication, it is professional, glossy, full color and truly a wonder to read. If you enjoy seeing quality dinosaur models professionally built; if you enjoy knowing the history of these same models; if you just want to know what has been made and is available, you can’t live without this new book. Contact Robert today and purchase your copy. You will certainly be glad you did. This is one book in my library that I will never part with. Available from zazzle.com/dinosauriana. To obtain the book, visit www.dinosauriana.com or contact [email protected]. Look for Robert’s Scale Model Dinosaurs calendar featuring 15 months with over a hundred comparative photos of different dinosaurs from various artists coming soon. See ad in this issue. THE LOST WORLD, Sir Arthur Conan Doyle Collector’s Centenary Edition This amazing deluxe volume has just been published in a very limited 300 copy edition in New Zealand. This impressive volume, produced and edited by John R. Lavas sets the new standard. Throughout Doyle’s classic tale of the lost plateau where dinosaurs still roam, original illustrations in color highlight scenes, characters, settings and flora and fauna. Additional historic illustrations are found throughout the volume. A detailed introduction by Lavas, setting the stage for this novel which introduced Professor George Edward Challenger to the world, is accompanied by a brief summary of Doyle’s life. There follow four in-depth chapters relating to the background of the book’s creation, the scientific tenor of the times, real explorers and others as character templates, previous scientific romances, and of course the century-long (so far) influence of the tale. These essays include ‘Uncovering a Lost World” by Dana Batory, “The Geology of The Lost 54

World” by Norman J. Snelling, “Before The Lost World: prehistoric life in science and fiction to 1912” by David A.E. Spalding, and “The Lost World in Popular Culture” by Cory Gross. These chapters together occupy nearly as much space as Doyle’s novel itself, and they go far beyond the standard reviews of historical personages and events commonly found in retrospectives of this sort. It contains some 90 illustrations, photographs and maps; the majority published for the first time, and reproduced along with Conan Doyle’s novel and include scenes never previously depicted. A physically large and hefty volume, this centenary Lost World is much more than just a beautiful book for the coffee table, but a significant reference for anyone interested in Doyle, the history of early science fiction, 19th century exploration, or popular culture. Please support this man’s tremendous efforts in producing this wonderful book. The contents and especially the illustrations are well worth the price. The author adds, “The edition is essentially two books in one, the first being an introduced version of Doyle’s original novel reproduced (I believe for the first time) in an expedition-like format (landscape with large illustrations including maps and various reconstructions, the style that Doyle originally wished to have, but it was over-ruled by his publisher). There are 50 images in the novel, mostly drawn by me with others being modified Zdenek Burian paintings or ‘manufactured’ photos (I am an ardent follower of Burian’s work, and most of the images in the book were inspired by his paintings). Following that are five chapters including a biography of Doyle, the influences and history behind the novel, the geology of Maple White Land and the real plateaus that inspired it, a history of prehistoric-themed science fiction before 1912, and Cory’s chapter which covers various film and radio adaptations of the story (mainly the 1925 film). There is an extensive bibliography. I financed the whole production personally and must now also market it myself as I cannot afford a distributor. Due to the low print run (300), the heavy paper used, silver and gold embossed hand-bound covers and various other factors associated with a book of this type, the project ran alarmingly over budget. Each one is numbered as a collector’s edition and I am happy to inscribe copies.” http://blogs.library.auckland.ac.nz/science/archive/2012/11/06/lostworldcentenary.aspx http://www.facebook.com/#!/TheLostWorldCollectorsCentenaryEdition Dinosaurs: An Illustrated Guide by Steve Kieffer paperback $17.00 118 pages ISBN-10: 1480108537 ISBN-13: 978-1480108530 An informative guidebook featuring nearly 100 different dinosaurs presented in vibrant color and detail. Each entry breaks down the individual dinosaur's name, classification, location, and size, including a graphic that shows scale. Concise descriptions highlight anatomical features, unique characteristics, significant findings, or potential behavior for some of the most well-known dinosaurs. Artist/author Steve Kieffer started the book over 10 yrs ago because people who saw his artwork would ask questions about the dinosaurs. Steve says, “I like to think of it as a ‘narrative sketchbook’." All of the artwork is uniform instead of Prehistoric Times No. 105 Spring 2013

4 or 5 different artists giving different interpretations. Steve has long his art into PT and I hope you will support his fine efforts by purchasing his book This is a print-to-order book and only available online at either https://www.createspace.com/4026692 or Amazon & AmazonUK. Dinosaurs: The Encyclopedia by Donald F. Glut Paperback in three volumes $99.00 1088 pages Publisher: McFarland; Reprint edition ISBN-10: 0786472227 ISBN-13: 9780786472222 Don Glut’s initial, definitive reference work on dinosaurs is now available in paperback divided into three volumes. Section I provides a complete history of fieldwork, laboratory studies and paleontological research, and outlines several of the scientific theories of dinosaur extinction. Section II provides dinosaurian systematics toward the end of organizing the various taxa into a convenient and workable order. Section III is an amazing alphabetically arranged list of dinosaurian genera packed with information about each. Also included are doubtful genera that have appeared in the paleontological literature and "excluded genera," or taxa that had been previously regarded as dinosaurian. This heavily illustrated volume contains many museum photos and depictions of life models constructed by experts in vertebrate paleontology restoration and based on the original fossil material. Don continues to update this first volume with supplements; seven so far but this was the first and includes most every dinosaur known up to that date. Some of the info might be outdated now but the vast majority is solid science and information for paleontologists and enthusiasts. Order your copy at www.mcfarlandpub.com or 800-253-2187 The Cambrian Explosion: The Construction of Animal Biodiversity by Erwin Douglas and Valentine James Hardcover $60.00 416 pages Publisher: Roberts and Company Publishers ISBN-10: 1936221039 ISBN-13: 978-1936221035 The Cambrian Period records one of the most extraordinary transitions in the history of life. Beginning as simple sponges more than 635 million years ago, the earliest animals evolved into a diverse marine fauna over the course of 100 million years. In “The Cambrian Explosion and the Construction of Animal Biodiversity,” the authors synthesize research from many fields to explain why there was such remarkable novelty of animal forms. This is an integrative work of the highest quality, covering one of the most fascinating and transformative periods in life's history. Designed as a college text book, this technical volume will certainly explain all we know about this amazing stage in our planet’s history and the fascinating creatures that lived at that time. Dinotasia DVD - The dinosaur is refreshingly made over in this modern, and groundbreaking documentary. Based on the latest paleontological theories and fossil records, “Dinotasia” presents a series of vignettes about prehistoric animals - both well known and some we have discovered more recently. The film uses CGI to bring the stories to life in a mostly silent film to tell the stories. Werner Herzog narrates. David Krentz and Erik Nelson direct. Originally titled “Dinosaur Revolution”, this film was first shown in two parts on television. The first part was shown on the Discovery Channel and then, without announcing the change, the second part was shown of the Science Channel. Far less people got the Science Channel on their TVs and many missed part two. Well, here is your chance to see it, sort of. The scenes not included on this disc are: The Cryolophosaurus, the Mosasaur, the Gigantoraptor and the Eoraptor. The one bonus is you get a brief scene at Prehistoric Times No. 105 Spring 2013

the beginning in which an Acrocanthosaurus is brought to life from a skeleton and wanders out of the museum into a modern day city. My recommendation is buy it if you cannot get Dinosaur Revolution on DVD or Blu-Ray (which appears to only be available overseas.) Overall, I thought Dinosaur Revolution was a better production. The computer graphics are excellent on both of course (they are the same) but I am disappointed this isn’t the complete original on this DVD. The computer graphics are simply amazing and were done by several friends of this magazine. I will warn you that this documentary was said to have been spoiled by too much anthropomorphism by some critics. The Dinosaur Project DVD - In this 2012 UK film, a group of explorers from the British Cryptozoological Society go on an expedition into the Congo in search of Mokele Mbembe. Along with the intrepid leader Johnathan, are four other explorers and two television cameramen who will be recording the expedition. During the helicopter flight, Johnathan discovers that his teenage son, who he has refused to allow to accompany the team, is a stowaway aboard the helicopter. Over Africa, a flock of large flying reptiles cause the helicopter to crash. Now lost they head to the village they saw while they were in the helicopter. Upon arriving, the group discovers that the villagers have been killed by something. Johnathan chooses a hut to stay in for the night and his son, who is a smart techno-geek, installs a night vision camera outside the hut. In the night, everyone is woken up by a strange noise and see a swarm of flying reptiles outside the hut. They are attacked and the survivors escape in a pair of wooden boats. The next morning, the boats are damaged by an unseen, underwater force and everyone is temporarily stranded on a small island. A small two legged dinosaur is found that has a neck collar that fans out when it becomes agitated (later in the film they also spit - sound familiar? Spoiler Alert - like the 60s film “Gorgo”, we later find out that this dinosaur is only the baby.) They later get underway again and are attacked in the water by a large plesiosaur as they attempt to get their film out of this prehistoric jungle and back to civilization. The acting and production values are solid in this all-too-familiar tale, so give it a try. As usual, I wish there had been more prehistoric animals. No T. rex, as shown on the DVD box cover, is ever to be found in the movie. Dinosauriana, the Compendium Disc by Joe DeMarco- Well it's finally here. This is the companion disc to accompany the soon to be published coffee table book “Dinosauriana--A Collectors Guide.” This disc contains editorial reviews on 200 commercial vintage dinosaur collection sets produced from the year 1900 to 1993--the beginning of the Jurassic Park Age. So, it deals mainly with "vintage" dinosaur collectibles although some exceptions were made and there are a few, more modern sets reviewed. The disc was created by Joe and is based on the book writings of myself (Mike Fredericks,) Robert Telleria, and Larry Blincoe with the editorial input of Dean Walker and the late Jack Arata. There is no stone unturned in this book. It lists all the details of each and every set with detailed photographs from around the world and is vividly outlined with company information, production history and set details. This disc was created as a companion for the upcoming book simply because we had spatial and photographic limitations via book. This disc contains over 2000 photographs (Yes, 2000) of many of the great dinosaur sets in the world from the classics like Linde, Marx, Alva, SRG, Abbeon, Mignot, NF, Millers, Chialu, to the mid line classics like Invicta, Bullyland, Battat, Carnegie Safari and Schleich to the more mundane everyday sets like Ajax, Timmee and Tootsietoy. Every known commercial based set from 1900-1993 is reviewed. The DVD can be played in most any computer. Please note its in PDF format so make certain you have an Adobe reader on your system before purchasing. Joe accepts Paypal. $22 includes shipping. Contact Joe at [email protected] 55

58

Prehistoric Times No. 105 Spring 2013