I guess I look for a similar sense of dynamic action in paleoart. I'm also a huge fan of Mark Schultz ( Cadillacs & Dinosaurs) - another dinosaur aficionado whose work, especially his Centrosaurus pieces, are wonderful. Two of my favourite artists are Frank Frazetta and Berni Wrightson, both of whom included dinosaurs as a matter of course in their work. Also lots of dust and debris being kicked up. I always had this theory that I should have as few feet on the ground as possible and have my subjects at crazy angles like they were taking corners at high speed. I think it's tended to make me a little over-zealous when it comes to dynamism in my own artwork – I guess that was how Dan Varner came to call me the 'John Milius of paleoart' when he was describing a marine feeding frenzy I did a few years back – I'm hoping he meant in the Conan sense and not in the Red Dawn sense. Steve, how has your work in the comics industry affected your taste in paleoart? Steve was kind enough to take some time to answer a few questions about the book, where he sees paleoart going, and his own artistic sensibilities. He blogs at Thunderlizard, currently edits the licensed comics The Simpsons and Transformers, and has an inordinate fondness for Triceratops. He's also an excellent, dynamic artist in his own right, with interests that range from pulp to paleoart. Steve White has been a comics writer and editor for a long time, working on Marvel UK's comics line and writing for 2000 AD and other British comics magazines. And who better to answer them then the book's mastermind himself? Despite some issues with the book, we agreed that it was a gorgeous bit of work and a very nice accomplishment. ![]() ![]() Recently, we here at LITC did a tag team review of the recent Dinosaur Art, a ponderous tome of paleontological renderings and antediluvian art pieces.
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