April 22, 2014
5. Brian Kraatz, 2004
In the spring of 2004, I was killing time over in Tony Barnosky’s lab at Berekeley, talking to Brian Kraatz about something–mammals, probably. Brian told me that I should consider going to the International Congress of Zoology that was happening in Beijing that fall. He’d actually told me about it several times, but I kept forgetting about it. It seemed remote from my concerns. Finally, though, the day before the abstracts were due, I thought, “Why not?” I could get travel money from the department and it would get me over there to see a lot of Asian dinosaurs in person.
I was also intrigued because presenters could submit either abstracts or short papers, and I had an idea for a short paper. I had been thinking a lot about how pneumaticity got started in dinosaurs and how much we could infer about that, so that evening I stayed up until about 3 AM banging out what would become Wedel (2006), pretty much as it was published, except for the figure, which was added later.
That got me to Beijing, where I spent a lot of time talking with Paul Barrett, who saw my talk and later invited me to contribute a talk to an SVP symposium on prosauropods, which grew into Wedel (2007) and became a chapter of my dissertation. And that got me an invite from Adam Yates and Matt Bonnan to join them in writing up the first really solid evidence of pneumaticity in prosauropods (Yates et al. 2012).
When I wandered over to the Barnosky lab to kill time that day, Brian wasn’t in. Instead I got to talking with Alan Shabel about food webs in East African riparian ecosystems. The habitats and faunas he was talking about put me in mind of the Morrison Formation of the American West. I wondered if the quantitative ecological analysis that Alan was working on would yield any insights into how Late Jurassic ecosystems worked. And that fired a few neutrons at the Van Valen papers I’d been reading for Kevin Padian’s paleobiology seminar, and precipitated a chain reaction. The paper that came out of that, “Sauropod dinosaurs as Van Valen’s energy maximizers”, was published in Paleobiology in 2007. That’s how I got into quantifying energy flow through dinosaur-dominated ecosystems.
I was presenting some of that work at an ecology conference in 2008 when I got invited to join a team of biologists going to the Galapagos. I was particularly interested in the role of extant dinosaurs (i.e., birds) in ecosystems dominated by bradymetabolic reptiles. Some of the data from that trip and one subsequent expedition went into my 2013 paper on the rise of dinosaurs during the Triassic. But most importantly, it got me working in the Galapagos, which I had wanted to do ever since I was a kid.
4. Mike Taylor, 2000
My first paper came out in the first issue of the Journal of Vertebrate Paleontology in 2000. It was the one in which Rich Cifelli and Kent Sanders and I designated OMNH 53062, a string of four sauropod vertebrae from southeast Oklahoma, as the type specimen of a new dinosaur, Sauroposeidon proteles. I had been collecting business cards and mailing addresses from people at SVP since 1997, and I had a list of about 100 people that I thought would appreciate a reprint of the paper. So when the reprints arrived from the publisher, I printed out a bunch of form letters, made an assembly line of reprints, letters, and envelopes on the big table in the OMNH vert paleo library, and killed an afternoon getting everything assembled and ready to ship out.
Also about this time I received a polite email from some English guy named Mike Taylor, asking for a reprint. I wrote back and said that I’d be happy to send him one. I don’t know what he wrote back next, but it was sufficiently interesting that it kicked off a conversation that has now been going on for 14 years. When Vicki and I went to England on spring break in 2004, we stayed with Mike and Fiona in London. I went back over for SVPCA in London in 2005, and after 2009, I started going to SVPCA every year instead of SVP. That’s how I got to know Dave Hone. I got acquainted with Darren separately–we were sending each other reprints in 2001, I think, and talking sporadically about brachiosaurs. I think that Mike and Darren also met separately, and possibly if I hadn’t been around, they still would have ended up working together. But my papers with Mike–which account for seven of the nine I’ve published since my dissertation–wouldn’t have happened, or would have come out very differently. And you wouldn’t be reading this blog.
I first met Mike Taylor at the SVP meeting in Bristol in 2009. He had done that paper on that weird vertebra with Darren a couple of years before. We got together over a few pints and discovered that we had a lot of interests in common–Star Wars, Tolkien, C.S. Lewis–but c’mon, who can’t you say that about in this geek-infested business? He’s a nice guy, and we’re friends, but we’re not what you’d call close.
I spent most of my time at that meeting catching up with Matt Bonnan. We’d been friends since the late 90s, and we’d written the paper on the probable brachiosaurid metacarpal in 2004, but we hadn’t collaborated much. Well, we were both out of grad school and into stable jobs, and we really put our heads together that meeting. Two streams of papers came out of that: first, the sauropod biomechanics papers, which merged his limb development stuff with my pneumaticity stuff, and secondly, all of our work on quantifying serial variation using geometric morphometrics.
Although the first set of papers has attracted more attention–certainly more media attention–it’s the second set that give me more satisfaction. I’ve always been interested in serial homology, I just didn’t have a novel approach. But with Matt’s help I was able to combine morphometrics and phylogenetics to produce developmental phylogenies of serially repeated structures. That by itself is pretty cool, but when you bring it into the extant realm you can put the gene expression patterns right into the analysis. The stuff we’re doing with axial development in chickens right now–man, I don’t know if I’ll ever find the time to write another paper about extinct dinosaurs, when there’s so much fun to be had with the living ones.
3. Brooks Britt, 1997
In the summer of 1997, I was on a multi-thousand-mile quest to determine whether OMNH 53062 was a new dinosaur, or just a big example of something already known. Vicki and I had been to D.C. that spring, partly as our first vacation as a married couple, and partly so that I could see the Astrodon/Pleurocoelus material at the Smithsonian. That summer, I mapped out an epic tour of museums in the West. With our friend Tyson Davis, Vicki and I went to Dinosaur National Monument, the Utah Museum of Natural History in Salt Lake, the BYU Earth Sciences Museum in Provo, and the Museum of Western Colorado in Grand Junction.
The main reason we went to Grand Junction was because at the time, the MWC had some of the BYU Brachiosaurus material from Dry Mesa Quarry on exhibit. Rich Cifelli and I weren’t sure what OMNH 53062 was yet, but we thought it looked an awful lot like Brachiosaurus. Brooks Britt was the curator there at the time, and he took us down to the basement and showed us some of the sauropod material from the Lower Cretaceous Dalton Wells Quarry. Brooks was particularly excited to show us the pneumatic features in the vertebrae. I told him about the big vertebrae from Oklahoma that I was working on, and he said, “You should get those vertebrae CT scanned, to get a look at the pneumatic spaces inside.” I smiled and nodded and thought to myself, “Dude, you are completely crazy. I am an undergrad on an independent study. No way do I have the juice to get giant dinosaur bones CT scanned.” But I didn’t forget about what he’d said. When we got back to Oklahoma, I mentioned it to Rich–and then I forgot about it.
Happily for me, Rich did not forget about it. A few months later, he was at a university function with the director of OU’s University Hospital, and he mentioned the idea of CT scanning the dinosaur bones. The hospital director was all for it–the CT machines frequently had down time on Saturdays, and the hospital would trade time on the machines for publicity when we published our results. That December, I was in Rich’s office for one of our weekly meetings when he said, “Hey, are you still interested in CT scanning the vertebrae? Because if you want to, we can make it happen.” I don’t remember what I said, but I assume it was some variant of “Hell yeah!”
We took the first jacket up to the hospital in January, 1998. We got decent results. The vertebrae were so big and dense that the scans were plagued by beam-hardening artifacts, but we could see that internal structure was honeycombed by dozens or hundreds of thin-walled cavities. The problem was, we had no idea what that meant–a few physical cross-sections of sauropod vertebrae had been published over the years, most notably by Heber Longman in 1933 and Werner Janensch in 1947–but to my knowledge no CT scans of sauropod vertebrae had ever been published, and you could probably count on your fingers the number of published CT scans of fossils of any kind. Brooks had a bunch in his 1993 dissertation, but that was unpublished, and I wouldn’t get a copy for several more months. So we had no baseline.
But we did have Kent Sanders, a radiologist at the hospital who was hot on this stuff and helped us read the films. And we had a museum full of dinosaur bones and access to a CT scanner on the weekends. So that’s how I spent most of the Saturdays in 1998–drive to the museum, fill the trunk of the car with dinosaur bones, drive up to Oklahoma City and spend the day scanning with Kent. I wasn’t supposed to do my MS thesis on pneumaticity, but when the primary project I had been working on didn’t look like it was going to pan out, I realized that I had enough CT scans of sauropod vertebrae that with a little selective hole-filling I could describe the evolution of vertebral pneumaticity in sauropods. So that became my Master’s thesis.
That conversation with Brooks Britt in the summer of 1997 was a turning point for me. Until then I’d been interested in OMNH 53062 for what it could tell us about the animal that it had once been part of. But when Brooks started telling me about the taphonomy of the Dalton Wells Quarry, I realized that the Oklahoma vertebrae were telling another story, too: the story of what had happened to that animal. So that’s the angle we played up in the paper–how did these vertebrae get separated from the rest of the critter? Mesozoic murder mystery!
Then the next summer I was out with Rich’s crew in Montana, working in the Cloverly Formation. I actually spent most of my time with Des Maxwell and his group at the Wolf Creek quarry, which was a sauropod bonebed. I did a poster on that quarry for SVP in 2000, and I wrote my MS thesis on the taphonomy of the quarry.
While all of this was going on, I was spending more and more time talking with Brooks Britt. He had done his dissertation on pneumaticity in fossil archosaurs, but he had all kinds of interesting things going on related to taphonomy, including modification of dinosaur bones by termities, and evidence of fungal hyphae in dinosaur bones. Brooks had done his Bachelor’s and Master’s work at BYU before going to Calgary for his dissertation. He encouraged me to think about going to BYU for my PhD work. The more I thought about it, the more sense it made–I freaking love Utah, and the chance to go live and work there was too good to pass up. I started out as one of Ken Stadtman’s grad students, but when Brooks got the job at BYU in 2002, he agreed to come on as my co-advisor. I’m mainly interested in what you can infer about terrestrial ecosystems from tracks left on bones, so that’s what I did my dissertation on. Most of the chapters were on sauropods, naturally, but I did have that one project looking at invertebrates, fungi, and microbes–or their traces–in faunal bone I collected from Capitol Reef National Forest in the summer of 2005. Now that was a fun project.
While I was working at BYU, Vicki got her PhD in anthropology from the University of Utah. Both of us had field sites in southern Utah, and we really fell in love with that part of the state. After we finished our degrees we moved to St. George, which is just gorgeous. Vicki coordinates the excavation and repatriation of Native American remains and artifacts from Utah federal lands, and I teach geology at Dixie State University. When I’m not digging, teaching, or hiking, I blog about sauropod taphonomy. My friends tease me because it’s such a geeky niche thing, but it makes me happy.
2. Rich Cifelli, 1996
You know how sometimes you end up working on something just because it’s there? That’s how I started working on sauropods.
Immediately after I left Trish Schwagmeyer’s office, I marched down to the museum, barged into Rich’s office, threw myself in a chair, and asked him if he’d sponsor me on an independent study. He said that he’d be delighted to–what did I want to work on? Dinosaurs, I said, dinosaurs! “Well, we have these big sauropod vertebrae from southeastern Oklahoma that need to be identified.” We went and had a look. It wasn’t my dream project–I was more interested in big theropods and ceratopsians–but I said I’d take the job. There was a little paperwork to fill out. We conceived a one-semester project, to be completed in the fall of 1996, to identify the specimen, OMNH 53062, to the family level. Rich loaned me some of his sauropod papers to photocopy so that I could get up to speed on the anatomy. I spent the fall of 1996 grokking sauropod vertebral morphology and trying to figure out what this thing was.
Immediately after I left Trish Schwagmeyer’s office, I marched down to the museum, barged into Rich’s office, threw myself in a chair, and asked him if he’d sponsor me on an independent study. He said that he’d be delighted to–what did I want to work on? Dinosaurs, I said, dinosaurs–especially big theropods or ceratopsians! “Well, we have these ceratopsian odds and ends that Stovall collected back in the 30s and 40s. They’ve been catalogued all this time as Pentaceratops and Triceratops, but someone should probably check on those IDs.” Wow, my dream project–of course I pounced on it! There was a little paperwork to fill out. We conceived a one-semester project, to be completed in the fall of 1996, to identify the specimens to the genus level. Rich loaned me some of his ceratopsian papers to photocopy so that I could get up to speed on the anatomy. I spent the fall of 1996 grokking ceratopsian cranial morphology and trying to figure out what those things were.
Well, it turns out that they were Pentaceratops and Triceratops after all. So no big news, but I did learn a lot on that project: how to photograph and measure fossils, how to read scientific papers. Mostly it just got me back in the museum.
You know how sometimes you end up working on something just because it’s there? That’s how I started working on Tenontosaurus. I’ll confess, at first I didn’t have any deep, abiding love for “Tonto”. I scorned it as the world’s most boring dinosaur–no horns, spikes, frills, claws, or sails, basically just a scaly cow with a longer tail. But, man, these things were pouring out of the Antlers Formation like water out of a tap. We had adults, subadults, big juveniles, little juveniles, even a few bones from individuals so small they must have been yearlings. I started working on them in my spare time, and got a little project going on the post-hatching ontogeny of Tenontosaurus. When I graduated with my BS in the fall of 1997, it just made sense to stick around and keep working on Tenontosaurus for my MS.
Naturally I was presenting this stuff at SVP every fall, and that’s where I met Jack Horner. He thought my ontogenetic work on Tenontosaurus would be good preparation for tackling hadrosaur ontogeny and diversity. So I went to MSU for my PhD work. After I finished I got the job I have now, teaching geology in Missouri. Even when I was living in Montana, I’d still get into the OMNH collections for a day or two of research whenever I was back in Oklahoma. Now that I’m just five hours away, I’m back at OMNH all the time. There’s just so much to work on–Eolambia, the small ornithopod material from the Cloverly Formation, and especially the teeth. The OMNH has hundreds of these little ornithopod teeth from the microsites in the Cedar Mountain Formation, the Cloverly Formation, and the Antlers Formation. Nobody wants to work on them, except me. While I was working on Tenontosaurus I had to come up with some size-independent characters that I could use to determine the ontogenetic age of ornithopods based on their teeth. Once I had those, all of those teeth catalogued as “Ornithopoda indet.” became a goldmine.
I certainly never saw myself becoming “the ornithopod tooth guy”–what an oddly specific thing to be an expert on! But to me they are beautiful, intricate, and endlessly fascinating. Who knows, maybe one of these days I’ll take all of my best photographs and start a Tumblr.
1. Trish Schwagmeyer, 1996
Trish: “You’re blowing it. You want to do research, but no-one is going to trust you with a project if you can’t take care of the basic stuff like keeping your grades up.”
Me: [face-burning, fully convicted silence]
Trish: “You are capable of much more than this. I know that these grades are not reflective of your best work. This is your chance to prepare yourself for the career you want. You owe it to yourself to do better than this.”
Me: [sucking it up] “I understand. And I’ll do better. Other than getting my grades up, what else can I do to make myself attractive to graduate programs?”
Trish: “Find a professor that you like and do an independent study. Get some research experience.”
Yow. I will remember that for as long as I live. “You’re blowing it.” Thank God that alone out of everyone in my life, Trish Schwagmeyer had the guts to look me in the eye and call me out.
Trish: “Your grades last semester were a little rough.”
Me: “Yeah. O-chem II was murder.”
Trish: “And biochem.”
Me: “Yeah. Biochem.”
Trish: “Have you noticed that you get As and Bs in your language and history classes, and Cs in your math and science classes?”
Me: “Yeah, of course. Math and science are hard. Language and history are…”
Trish: “Are what?”
Me: “I dunno. Fun. More like play.”
Trish: “Maybe you’re in the wrong major.”
Yow. I will remember that for as long as I live. “Maybe you’re in the wrong major.” Thank God that alone out of everyone in my life, Trish Schwagmeyer had the guts to look me in the eye and diagnose the problem.
Immediately after I left her office, I marched over to the registrar and changed my major from Zoology to Letters. And breathed a huge sigh of relief. After that, I just cruised. I got my degree, stayed at OU for a Master’s in classical languages, and now I teach Latin at a private high school in Oklahoma City. I should have known that a career in science wasn’t in the cards. The evidence was written all over my transcript. Paleontology is still interesting to me–I doubt if I will ever stop being fascinated by dinosaurs–but it just wasn’t a realistic career option. I’m so glad I found my true calling.
March 8, 2014
As I noted last time, I had a reason for going through the SV-POW! search logs. Inspired by a feature at Math with Bad Drawings, I’m going to interpret unusual or interesting search terms as questions, and answer them here.
brachiosaurus vs brontosaurus. Brachiosaurus wins on mass, height, not being a junior synonym, general awesomeness and probably length. Brontosaurus wins on date of naming. Despite this imbalance, if it came to a fight, my money would be on the Brontosaurus: it’s just insanely robust compared with pretty much all other sauropods. If they got into a neck-bashing contest (as giraffes sometimes do), it would kick Brachiosaurus‘s butt.
how long is a supersaurus. Lovelace et al. (2008:542) said of the WDC specimen “Jimbo” that “Supersaurus was neither the heaviest nor the longest sauropod, although it is well enough known to place confidence in its estimated length of 33-34 meters, and mass of 35-40 tons.” That rather modest length is only a quarter as long again as Boring Old Diplodocus (hereafter BOD), and doesn’t chime well with Matt’s estimate of 13.3-16.2m for the neck alone of the BYU specimen (Wedel 2007:195-197). That neck is, conservatively, 7 m longer than the neck of BOD, which would make the total body length 34 m even if the torso and tail were identical to those of BOD! Either someone made a mistake, or the two specimens are significantly different sizes.
gross neck bird. We don’t have any of those: all bird necks are beautiful, at least once divested of soft tissue. (Though we’d admit that the neck of a flamingo is weird.)
breviparopus skeleton real. Ha, we wish!
cannot login jstor. Yes, it’s a very common problem. Two years ago, we calculated that five people every second are denied access to JSTOR.
images of sauripasidan. Learn to spell. A certain amount of room for error is reasonable, but four incorrect vowels in a single word suggests someone who’s not even trying.
how did a plateosaurus act. You’d need to ask Heinrich Mallison about that.
does a crocodile has eye under his neck. Nuh-uh.
skeleton made from drinking straws. An excellent idea, but not one that we’ve attempted. Perhaps this year when Matt’s over in the UK for SVPCA, we’ll try a drinking-straw-skeleton challenge. Or perhaps we should get a whole bunch of packets, hand them out on the opening night of SVPCA, and let that be the ice-breaker.
cool heart made out of pincel led. This would make a good name for a progressive rock album.
- Lovelace, David M. Scott A. Hartman and William R. Wahl. 2008. Morphology of a specimen of Supersaurus (Dinosauria, Sauropoda) from the Morrison Formation of Wyoming, and a re-evaluation of diplodocid phylogeny. Arquivos do Museu Nacional, Rio de Janeiro 65(4):527-544.
- Taylor, Michael P., and Mathew J. Wedel. 2013. Why sauropods had long necks; and why giraffes have short necks. PeerJ 1:e36. doi:10.7717/peerj.36
- Wedel, Mathew J. 2007. Postcranial pneumaticity in dinosaurs and the origin of the avian lung. Ph.D dissertation, Integrative Biology, University of California, Berkeley, CA. Advisors: Kevin Padian and Bill Clemens. 290 pages.
March 7, 2014
A while back, Matt mentioned some of the surprising search-terms that lead people to SV-POW!. For reasons that will shortly become clear, I was checking out what’s being searched for now, and I thought I may as well issue this update. Here are the all-time top ten:
It’s nice to see good old Brachiosaurus up there at the top: a proper sauropod, and possibly my favourite (not counting the two that I’ve named myself, and which I have an obvious special affection for). But then you have to drop down to number six before you hit another sauropod (Sauroposeidon). Those top two sauropods are reasonable: we’ve written a lot about them here. The third top sauropod is Amphicoelias fragillimus, which is more surprising as we’ve not written that much about it. I guess it just reflects a lot of interest in that beast. Boring old Diplodocus is the fourth and last sauropod in the top ten. The next few are Argentinosaurus (#11), Amphicoelias (#12), Giraffatitan (#16). Apatosaurus (#18)
Unsurprisingly, SV-POW! itself crops up twice in the top ten: once as “svpow” (#8) and once as “sv pow” (#10). It’s also #15 as “sv-pow”.
Meanwhile, four of the top five slots are still held by terms that have nothing to do with sauropods. “Rabbit” can only be due to this post on sauropod neck posture; “Leopard seal” is due to the inclusion of a single sensational (but off-topic) photo in a post on Cetiosaurus nomenclature. “Basement” is another one-hit wonder, thanks to a poorly located Mamenchisaurus cast. “Flamingo” is more of a mystery. I think it must be due to the passing flamingo in the classic Necks Lie post.
Other oddities include “twinkie” at #17, “shish kebab” at #25, “corn” at #34, “corn dog” at #42 and “corn on the cob” at #77 (probably all due to the same post on sauropod neck fatness). Rather sadly, “big ass” comes in at #89. I doubt that the 602 people who came here by searching for that found what they were looking for.
February 1, 2014
Lost in the stacks bills itself as “the one-and-only research-library rock’n’ roll radio show”. Every Friday, they broadcast a one-hour show on WREK Atlanta, where they chat about research-library issues and play tenuously relevant songs.
The week’s show features Matt and me chatting about open access (and a bit about sauropods), interspersed with dinosaur-themed songs. The recording will be available for download from their site for some weeks; after it expires, my copy will still be around.
(You can skip to 5:50 if you like: the first segment is introduction and a rather dull instrumental.)
Here’s the full programme:
- The Piltdown Men: The Brontosaurus Stomp
- Discussion of open access
- Johnny Cash: The Dinosaur Song
- King Crimson: Dinosaur
- Discussion of open access
- The Police: Walking in your Footsteps
- T. Rex: Ride a White Swan
- The Vindictives: And The World Isn’t Flat Any More
- Discussion of dinosaurs
- Captain Beefheart: The Smithsonian Institute Blues
- Jonathan Richman: I’m a Little Dinosaur
- Conclusion and credits
- Pete Seeger: Turn, Turn, Turn
[NB. The Captain Beefheart song is from an album that is the subject of my all-time favourite single sentence of rock criticism: "Lick My Decals Off, Baby was a further refining and exploration of the musical ideas posited on Trout Mask Replica."]
Our thanks to Fred H. Rascoe, Scholarly Communication Librarian at Georgia Tech, for arranging this and doing the interview. Our apologies to each other, for the times we talk across each other.
December 18, 2013
When we last left my better half, Dr. Vicki Wedel, she was helping to identify a Jane Doe who had been dead for 37 years by counting growth rings in the woman’s teeth. That case nicely illustrated Vicki’s overriding interest: to advance forensic anthropology by developing new methods and refining existing ones. To that end, for the past few years she has been working with her PhD advisor, Dr. Alison Galloway at UC Santa Cruz, to revise and update Alison’s 1999 book, Broken Bones: Anthropological Analysis of Blunt Force Trauma. The revised and much expanded (504 pages vs 371) second edition, co-edited by Vicki and Alison, came out Monday (Amazon, Amazon.co.uk).
You can read the whole table of contents on Amazon (click to look INSIDE!), but the short short version is that the book has three major sections. The first covers the science and practice of trauma analysis (pp. 5-130), and the second classifies hundreds of common fractures throughout the skeleton, with illustrations (pp. 133-313). The chapters in these sections were all written by Vicki, Alison, and another of Alison’s former students, Dr. Lauren Zephro, solo and in varying combinations. Lauren, whom I always think of as “the Amazon cop”, is a 6-foot blackbelt forensic anthropologist for the Santa Cruz County Sheriff’s Office. If push came to shove I have no doubt that she could beat me to death with her bare hands and then produce a technical analysis of my corpse.
The final section (pp. 314-410) consists of nine case studies contributed by forensic anthropologists, pathologists, medical examiners, forensic and medical artists, and a DoD casualty analyst, based across the Anglophone world from Hawaii to Scotland. There’s some grim stuff in there: trauma to the homeless and elderly, from intimate partner violence, and from child abuse. It’s gut-churningly awful that the defenseless suffer from bone-breaking violence; it’s always been amazing to me that people like Vicki, Alison, Lauren, and the other contributors have both the courage to face these horrors and the technical chops to make the unspeakable solvable.
Beyond that unavoidable darkness, if you’re interested in the many, varied, and often just plain weird ways in which people die, the book is a treasure trove. There’s an elderly woman lying on her deathbed for six years, slowly turning into a natural mummy… (wait for it) …while her daughter went on living in the same house. There’s a classification of plane crashes with a description of what human remains will be found and over what area. There are people hit by trains; the funniest line in this very serious book is the deadpan and unsurprising, “The typical pedestrian hit by a train is male and often highly intoxicated.”
That’s from the top of page 122. At the bottom of the same page is my one contribution to the book, which also appears as the cover art (yeah, nepotism, whatcha gonna do). There’s a story behind this. This guy–yes, male, dunno if he was intoxicated–was hit by a train and his head was sheared in half, with the somewhat fractured but mostly intact facial skeleton separated by a lot of missing bone from the occipital region. With no way to obtain the deceased guy’s permission to use his mortal remains in the book, Alison and Vicki didn’t feel comfortable including their photos, so I spent a weekend bashing out a technical drawing for them to use instead. That reawakened my interest in pen-and-ink work and led to the dödö pöst.
I should say two things right here: first, that yes, I am hijacking the rest of the post to talk about myself. (Is anyone really surprised? I thought not.) Second, that I have had no training and possibly my stippling violates Art Rules or best practice guidelines of which I am ignorant. But I hope it also illustrates what can be achieved in a couple of days, with about $15 worth of supplies, by a guy whose only rule is “möre döts”.
So anyway, if you’re curious, here’s the method I use for my pen-and-ink illustrations:
- Get a decent-sized photo of the object to be drawn. I usually roll with $2 8x10s from MalWart, in this case one for each half of the skull.
- Tape the photo down to your work surface. I have a large, incredibly hard, perfectly smooth cutting board that I use for this, but in a pinch you could use just about anything, including just a larger piece of paper. Cardboard off the backs of desk calendars is nice.
- Over the photo, tape down a piece of tracing paper.
- Lightly trace the outline of the photo and all the major details in pencil.
- Once you’ve gone as far as you can with that, peel up one side of the tracing paper, unstick the photo from the work surface, and remove it. Stick the tracing paper back down the work surface.
- Using the uncovered photo as a reference, pencil in any other salient details by eye. Also contour lines for shadows. All of the pencil lines are going to be erased later, so don’t be shy.
- Whenever you decide you’re done with the pencil, get a good pen and start tracing, directly over the pencil lines. I tend not to be too persnicketty about my tools but decent pens are a real help here. For these recent works, I picked up a three-pack of beige-tubed Micron pens for $7 (this set).
- In all of the following pen-related steps, be careful to keep your big stupid hand and arm off the wet ink you just laid down–one careless smear can ruin a few hours’ work. Having a work surface that you can rotate is nice, so your pen hand can approach the drawing from any angle. Anytime I have to lay my hand on the drawing, I put down a piece of clean scrap paper first. Even if the underlying ink is dry, it just feels like a smart precaution.
- Once the lines are on, add döts to taste. With a little experimentation, you can get patterns of dots to not only indicate light and dark but also suggest textures. Different pen tips and amounts of pressure will yield dots of different sizes, which can also be useful. Dense, overlapping dots can produce an effect similar to scratchboard. BTW, sometimes I do “gear down” and place each dot with thought and care, but in the dense sections I just rat-a-tat-tat like a Lilliputian jackhammer. Try different speeds and see what you can tolerate.
- When you’re done dötting, at least to a first approximation, and you’re dead certain the ink is all dry, get a decent eraser and erase all of the pencil lines. I used one of those clicky mechanical erasers because it was cheap and soft enough to not tear up the paper.
- Re-ink any lines lightened by the erasing. I find that the döts are usually unaffected, but lines are often knocked down a bit by the eraser work. I suppose it would be cleaner to just draw natively in pen, with no prior pencilling and therefore no erasing, but the few times I’ve tried it, it hasn’t gone well. YMMV. If you’re drawing a 3D solid, this is a good time to employ an old illustrator’s trick, which is to make the bottom outline heavier and darker than the rest, to subtly convey a sense of weight.
- Scan, touch up as needed in GIMP, post to blog, bask in self-admiration.
In this case I had a few more steps, which consisted of making variants of the drawing and test-driving them by Vicki and Alison so they could pick their favorites.
This is just embarrassing: after scanning the two drawings and doing a little touch-up, I just scooted them together until they looked like a skull. The problem is that the occiput is nowhere near anatomical position. See that flange of bone above the ear-hole, pointed down and right at a 45-degree angle? That’s the back end of the zygomatic arch, and it should be aimed at the forward stump of the arch, which is just down and back from the eye socket.
Here’s the B version, where I was working entirely off of the zygomatic arch ends, and trying to get the skull into anatomical position. Scientifically this is probably the best variant I produced (I’m not claiming it’s the best possible), but aesthetically it’s a little crowded.
I’ll spare you versions C-E, all of which just scooted the back end of the skull around in an attempt to find a balance between scientific and aesthetic concerns. Here’s the winning F version, which got used for the figure, and became the seed variant for the cover.
For the cover, we tried a lot of things, including the white skull on a black background, and one that was simply inverted from the figure. By this point the publisher had sent Vicki some test versions of the cover, and I thought it would be cool if the drawing was in the same color as the cover text, so I sampled that color from the publisher’s sample cover image and applied it to all of the drawn bits. They knocked it down a few tones for the printed version, so happily it’s not this garish.
Incidentally, I had never tried to replace a bunch of discontinuous areas of the same color with another color in GIMP, so I had to look it up. The two key steps are Select > By color, with the threshold set to zero (or not, if you want to grab a bunch of related colors at once), and “Fill whole selection” in the Bucket tool. Hat tip to this dude and his commenters.
One last step: I thought the bare, unfilled yellow version looked too flat, so I tried different levels of fill to make the skull pop out from the background. I didn’t use bucket fill here–too fiddly with so many dots and edges. Instead I created a new layer of solid yellow and dropped the opacity to 17%. Then went to the drawing layer and used the magic wand tool to select the whole non-skull background. Then popped back to the yellow layer and cleared that selection, leaving yellow fill only in the boundaries of the skull outline. I also tried 10% and 25% opacity for the fill layer, but 10% was too subtle and 25% was starting to swamp some of the detail in the drawing. Between goofing around with colors and opacity levels we went through 10 versions at this stage, of which the one above is the ultimate champion.
So, that’s how the cover art came to be. Back to the book. There’s a bibliography with 1237 references (Vicki knows), and an index. The book is hardbound, with a printed cover and no dustjacket, and IMHO reasonably priced at $65, currently a few bucks less on Amazon. You probably already know whether you want a copy. If so, do the right thing–it’s not too late to get it by Christmas.
November 10, 2013
That’s me on top of the Giraffatitan, Matt to the right, and Darren swinging from its wattle.
March 5, 2013
Matt and I made a sacred pact not to even think about any new work until we’d got our due-by-the-end-of-March papers done.
But then we got chatting, and accidentally started three new projects. Possibly four. And that’s just today.
Who knows how many of them will ever see the light of day? Realistically, we are surely going to have to kill some of them if we’re ever going to get anything finished. But two of them at least are likely to show up here as the kick-offs of crowdsourced projects. And we have to keep reminding ourselves: NOT TILL APRIL!
As Matt signed off tonight, he wrote:
Matt: Okay, now I gotta go.
Mike: Yeah, like TOO good.
Matt: Or disastrous, from the preventing-new-projects perspective.
We need to get to a point where we can just talk without all this Science spilling out everywhere.
I made you a chat, but I Scienced on it.
But how can we not, when sauropods are so damned fascinating?!
November 29, 2012
It’s been a while since I posted here. I haven’t gone off SV-POW! or anything, just going through one of my periodic doldrums (read: super-busy with Other Stuff). I’m writing now to draw your attention to two books that I’m pretty darned excited about.
The first is All Yesterdays: Unique and Speculative Views of Dinosaurs and Other Prehistoric Animals, by John Conway, Memo Kosemen, and Darren Naish, with skeletal diagrams by Scott Hartman (lulu, Amazon). This is sort of an SV-POW! love-fest, in that Darren is One Of Us, John and Scott let us use their art a lot–even the goofy stuff–and get a shout-out now and then, and I’ve been awed by the work of Memo–a.k.a. Nemo Ramjet–for longer than SV-POW! has existed (he also created Brontosapiens!). But wait–there’s more! One of the first people to review the book is Emily Willoughby, who was also as far as we know the first person after Paco Gasco to illustrate Brontomerus–that image is still Bronto‘s flagship portrait on Wikipedia.
But enough navel-gazing. The book is based around the mind-blowing presentations “All Yesterdays” and “All Todays” at SVPCA 2011 and 2012, both delivered by John Conway. True story: “All Yesterdays” was the intro to the icebreaker/mixer thing at Lyme Regis, so right after the talk people jumped up to grab pints and socialize. Sometime in the next few minutes, John was separately approached by three different paleontologists who thought that “All Yesterdays” should be a book, and wanted to help write it. Those three hopefuls were Darren, Mike, and me. I’m extremely happy that Darren is the one on the book. Mike and I can wrangle sauropods and we’re both “All [Some]days” fanboys, but the book really needed someone approaching tetrapod omniscience, and that’s obviously Darren.
Whoops, that was actually just another paragraph of navel-gazing. Anywho, I knew after this year’s SVPCA that there would be a book, but I had no idea it would be out so soon. I can’t tell you much about the book itself, for two reasons. First, my dead-tree copy is still en route from lulu.com. Second, I wouldn’t tell you much about the book if I could, because you should see it for yourself. It’s firmly in the tradition of speculative zoology but also has a serious point to make about the memes that drive a lot of paleoart. That’s all you need to know–get the book and prepare to be surprised, amused, amazed, and moved to wonder.
The other new book I’m all het up about is Zombie Tits, Astronaut Fish, and Other Weird Animals, by Becky Crew (Amazon, New South Books). My mutual admiration pact with Bec goes back to 2009. She blogged about one of my posts, I blogged about how indescribably wonderful her blog was, she published something I wrote–my first paying gig as a writer, I think. Now she’s blogging at SciAm, which is great, because although she’s smart, irreverent, and freakin’ hilarious, she’s also mortal, and we need to get as much of that good stuff out of her head and into general circulation as possible while she’s still around. (She’s not sick or anything, she’s just going to die sometime in the next century, and if you read her blog I think you’ll agree that that’s too damn soon.) Zombie Tits does not seem to be available stateside yet, but I will keep a weather eye on things and post an update when that changes.
I’ll probably review both books here in due time, if by “review” one means “alternately drool over and hyperbolically gush about with no attempt at objectivity whatsoever”. And I do mean precisely that.
It’s been a while since we’ve served you up a sauropod, so, finally and fittingly, here’s John Conway’s playful Camarasaurus taking a mud bath. Or maybe just trying to hide its hideousness; as the authors of All Yesterdays note, “Camarasaurus [...] is considered by some experts to be among the ugliest of all sauropods”.
October 19, 2012
When you start a blog, the natural thing is to want to feel that you’re in control of it, and that means controlling what can be posted there. But that’s a mistake. Moderation means that people can’t see their own comments, which is alienating; but more importantly, it means other people can’t see them, which in turn means that all discussion grinds to a halt until such time as you happen to moderate.
What that means is that the site is only really alive when you’re at the keyboard, constantly checking your inbox, so that you notice moderation requests as soon as they come in. It means you’ll never have the experience of waking up in the morning and finding that a discussion has broken out on your blog.
But what about spam? On a good platform, it’s not a problem. Since we started SV-POW!, 6,539 comments have been posted, and 3,552 spam comments have been automatically detected and help for moderation. My and Matt’s manual moderation of those suspected-spam comments shows that detection has been 99.92% accurate: there have been only three false negatives in five and a half years. There have been 63 false positives, i.e. comments that looked like spam but weren’t. Those were held for moderation, and passed.
So. You don’t need to moderate to filter spam, and you don’t want to moderate to control discussion. Just open it up. (If you’re using a platform with bad spam-filtering, you may have to move. We’re on WordPress.com, and very happy with it, but others platforms may be just as good or better.)
[Note. This is a re-post of the most important part of Tutorial 18: how to have fruitful discussions in your blog’s comments. I'm posting this bit separately so that I can link to this most important part without the distraction of the other parts.]