Retrospective Art Research - Doug Henderson
Douglas Henderson is, easily, the greatest paleoartist ever. In my mind, this is simply a fact. It isn’t even an argument. Gregory Paul is off trying to copyright skeletons or some bullshit like that and Charles R. Knight has a lot of now scientifically irrelevant reconstructions to his name, but Doug Henderson is just amazing. I mean look at this stuff. this stuff is goddamn beautiful. The man is a magician.
Doug Henderson is a paleoartist who started off doing landscapes and then went into dinosaurs, which explains a lot. He is the reason (one of the reasons) I have awkwardly jammed dinosaurs into Money For Nothing with absolutely zero regrets and I will continue to jam dinosaurs into everything else I possibly can until the day I die. He works in oil paints and also does a lot of black and white in what I assume is pencil or charcoal or maybe inks. That is beside the point and the point is that he just hits the note on reconstructions perfectly. His work is so refreshing and beautiful compared to the jam it all in clusterfucks of textbook illustrations or the needless action that some paleoart peters off into. He understands that like a great nature photographer, the beauty of the image is in its composition and in creating an environment that can draw you in. What makes Henderson’s work so great is that the animals are presented doing animal things that we can recognise in our minds, allowing us to build up an image of dinosaurs not just as big cool monsters but as animals.
He shows us creatures just walking around or swimming or pausing to look around, with very subdued compositions where just one or two animals are the focus in these large, wild environments, crowded forest floors or deep blue seas. When it isn’t large environments/small focal dinosaurs, he always keeps it interesting; there are a whole bunch of pieces that just show animals swimming around below the waterline of lakes and rivers, for instance, and some beautiful images that contrast these relaxed, natural scenes with the asteroid hanging overhead.
I brought dinosaurs into my story because I love the way Henderson depicts them, and similarly things like Walking With Dinosaurs show them as just animals living their animal lives. I’m a massive dinosaur nerd and I’d love to stick extinct animals into pretty much any piece of work I could whenever possible, but I do feel they kinda go well with this story, even if I don’t really use them to their full extent; America was this big wild wilderness with animals around like cougars and buffalo and big animals that were gone from europe by the time of colonisation. I don’t think my work is nearly atmospheric enough to build up that feeling of “this is a wilderness, with dinosaurs” but that was more of what I wanted to go for, kind of a development on the whole “action, adventure, unknown lands, monster dinosaurs!” pulp work that I originally was looking at when I started this project. If I carry on doing art doing a whole project based around paleoart is definitely on the cards, that’s all I can say. In fact outside of some of the cooler panel layout stuff I do, the dinosaur parts are by far my favourite bits of the entire story, particularly this one panel where there’s a gunshot in the treetops and there are just a whole bunch of pterosaurs flying away in shock.
So yeah. Dinosaurs. Paleoart. Extinct animals are my crack cocaine. If I had a time machine I’d probably make a bajillion dollars becoming the world’s most permanently extactic nature documentary filmmaker.
watercolour painted pages from Money for Nothing. The actual comic isn’t painted nearly this nice unfortunately but this is what the plan was in regards to colour. Unfortunately during the long weekend I’d put aside to colour the work I discovered that my printer couldn’t take watercolour card, so I couldn’t do this. That was totally my fault. I also got these printed up big for my exhibition but they turned out really blurry and you can’t see all the nice details on them which is a real shame. Turbo bummer. These are some of my favourite images from the project though, really nice, the dark sky in the second picture and the way the colour of the cliffface bleeds down into the sky in the third are the best bits in my opinion.
Inspired by American landscape art, pulp novels, westerns and paleontology, Money for Nothing is a short comic about government agents investigating a counterfeiting operation in an alternate 1900s USA where prehistoric creatures still survive.
Final outcome. Not super happy with it, the colouring and lettering is a bit crappy because I wanted to print it onto watercolour card and then colour it, but I found out over the weekend I’d set aside to do that my printer couldn’t take the watercolour card, so I did all of that on photoshop instead. What a shame. Not too proud of the drawing either, wish I’d spent more time practicing and used more references with it. Despite how insanely boring doing loads of detailed panels was, it was still fun to cut loose a little and stop doing so much drawing straight from life/photographs and I’m glad I did this project because I learned an awful lot. I really like the panel layouts too, that’s something I’m particularly proud of. The writing is kind of crummy too because I didn’t put much time into that, it was an art project. I regret that.
I have a 20 week holiday now and I was left wanting to change a lot of things so I’m probably going to try and make another comic, but that’ll be on my main tumblr instead. I’d like to thank the one person who followed me and the people who looked at this blog. Thanks for taking an interest.
gif from our IA Music Video project. (this gif is a mix of many animators including me)
Directed by Takuya Hosogane
りょーちもRyo-Timo♦ ヨツベ♦ Bahi JD ♦ Rapparu♦山下清悟Shingo Yamashita♦中川英樹
I was asked to create a .gif of a house interior during an earthquake. The article chronicles the controversial aftermath of the devastating quake that happened in L’Aquila, Italy in 2009. I wanted to capture the movement of the “tremors” before the full-on earthquake, although this tremor is infinite, never resolving.
This image and the all the animation was made in Photoshop. thanks AD Erich Nagler!
Under Allied Flags, a series of covers for Hearst’s Magazine showing women wearing uniforms of the allied nations, 1917
time to go shopppinnnngggg