THE PALEO KING

The days of paleo-artist as only a paleo-artist are probably dead (for all but a lucky few). Then again, did those days ever really exist in the first place for more than a handful of people?

Speaking as an art outsider, there seem to be parallels between paleo-artists and paleontologists. Very, very few of the latter are full time in that profession (me included, although I'm lucky to be in a position where most of my time is spent on paleo). We teach, sit on committees, process paperwork, etc., etc. I was advised early on that to restrict my skills and interest to paleontology alone was a virtual death sentence for a paying career. I am so glad I followed that wisdom! Not only did it make me a better scientist, but it opened up many more job options (all of which would allow me to stay in the paleo game). I suspect parallel advice would apply to aspiring paleo-artists.

I think that Mark Witton hit it on the head, for as much as Paul doesn't want to admit it. Be well-rounded. Indulge in many artistic passions. Let the paleoart and other genres you practice feed each other.

We all admire and respect Paul's art, but it's not above critique, is it? Is technical accuracy and fidelity the ultimate gauge of good paleoart? I am more emotionally stirred by the wildly varying styles of the new blood. And for me personally, that is what leads to new insights. That's how I learn best. It's not by poring over a tome like Paul's Predatory Dinosaurs.

I'm not as keen on his website. To me, it's *stodgy.* The music. The way he controls the viewer. As I said in another comment thread, I guess it's just GSP being GSP. I'd argue that he'd have an easier time if instead of barricading himself in his own little fortress, he was more open. Write a blog. Share WIPs on Flickr or Deviantart. There are other ways to do it, and his bull-headedness just starts grating on me.

While I've been keen to express sympathy for his problem, I think we also need to be critical of his methods. Just because the career isn't working the way he wants it to right now, and he's too stubborn to accept new ways of networking, sharing work, and otherwise navigating the shiny digital future doesn't mean we need to entertain every one of his gripes. If the market's not there, the market's not there. But paleo is STILL going to need talented artists, and I think the genre as a whole will continue to improve on the hard work and dedication of folks like you. It's not your fault that he's painted himself into a corner, however much is his fault.

Sorry if this was a bit ranty. I'm just tiring of his bitching and ready for the new blood to make their voices heard. Well, ready for the old farts to be more willing to hear them, I'm working out how to do a post about this, more tactfully than what I've said here.

Andy was faster than I was... I echo those thoughts.
If you look at the communities, paleo-art has probably never been more alive. If you look at the commerce, it's probably the same as always, only that there are many more potential contractors for jobs.
I feel the discussion - in order to remain productive - has to propose strategies of exploiting existing interest in paleontology in the general public and this needs the scientist, the artist and the entrepreneur to mingle and create. Make your own jobs, so to speak.

Oh, damn. I wrote really long comment but it must not have saved. Ugh. I'll have to remember what I wrote and try again.

Okay. It's coming back to me, thought I don't have the time I did earlier. Here's a bit of what I wrote.

I have a different take on Paul's website. I think it kind of reflects his overall attitude- he's trying to control the viewer. The "slideshows" off the viewer no chance to view his work at their own pace, besides the annoying music that you have no choice but to listen to. The work of younger artists on the web is so accessible - and they actually interact with their viewers and other artists! It's a relationship, rather than a one-way conversation. Which is what GSP does.

It's a perfect representation of the generation gap, really.

He wrote off Witton's comments about the need to diversify ones' efforts. But Mark was dead right. As expressed very well by David and Andy above.

I had more, but I need to earn some money now!

As an art form, paleo-art is not dead, but as a full-time, professional form of work that one can live off of, my unqualified opinion is: yes, it is dead.

The problem is, as you noted, that the field is supersaturated with talent--and very good talent at that in many cases. It's basic economics that if supply is higher than demand, prices for the product/service tend to fall. In the case of paleo-art, that means full-time professional paleoartists are unlikely going to be able to support themselves on their paleo-art alone. If it makes you feel any better, this is the case for most art niches at the moment, and is probably exacerbated by the depressed economy we have right now.

All very great points.

On the one hand, we need to find new ways of exploiting the interest in dinosaurs and paleontology, look for new niches, etc.

On the other hand we also need to look for other career options because there have been so few paleoartists that rely only on paleoart to make a living. I've asked others for tips, here's the gist of it; If you're an artist, you can learn to paint portraits for commission as more of a "main job". You're more likely to make money, and make it reasonably fast at that. If you're more on the mathematical side of things but still into art, get into things like robotics and mechanical engineering. Dinosaur schematics and skeletals can be a part of your portfolio since they are as much measurement as art.

Of course it goes without saying that this subject needs to be explored more. The idea of opening new niches is a very seductive one, though at the very least it will take constant attention to the evolving technology over the next few years. and yes, the economy indeed sucks for all sorts of niches. One trick might be to reach people who have money to buy art, and can see the value in something as rare and detailed as some of the better paleoart out there. We're marketing to people who can't even afford to pay - why not find a way to market to the rich? All these private collectors who buy dinosaur fossils for a start - the field largely hates them, but consider that they'd also be willing to pay top dollar for some top-notch live scene paintings of those same dinosaurs. And they're just the tip of the iceberg. This will take (I think) a lot of sales skills, some bravado, and really good paintings to show that this is not some crappy textbook "illustration".

The whole illustration market is flooded with talent and people unprepared to pay. Illustration and art are generally undervalued to begin with because of the ignorance of people who think it requires no effort to make an artwork. It' not 'real' work, 'anyone' can pick up a paintbrush. This is compounded by the ease of copying the digital age has brought, further devaluing the work of artists.

To be honest, I think it's naive to expect original works by Paleo'artists' to sell in the mainstream Art market. Even standard wildlife art is considered a niche market, albeit a popular one.
(Gallery)'A'rt is a humanist pursuit, and while there's a reasonably significant market for 'traditional' realism, portraits, landscapes etc. 'A'rt is interested in progression, interpretation and politics. Big purchasers want an individual statement in the art which will accrue value over time.

First off, Great Article, Great Blog, and Great Comments. Now my take;

I don't think that Paeloart is dead anymore than Art itself is dead, although some folks have been trying to preach the end times of both for an eternity. Why will it never be dead, the question I ask is, are we going to stop finding fossils and are they going to magically artistically restore themselves???

Paleoart as Fine art has always been spotty I would guess and Scientific Illustration has always been a competitive field, this is not news. There will always only be so much market for the abundant supply and I think a mixture of work ethic, networking, and talent all factor into it.

Now for Mr. Paul. I must admit that I was very influenced by Mr. Paul from an early age. Although I think his restorations are too skinny now that I am a little older, he did revolutionize the dinosaurs image along with advances in the scientific sector. I still thus respect him as an artist and researcher and I also appreciate his hard work in doing skeletal reconstructions that have helped out so many artists.

That being said I agree with several comments here that Mr. Paul is getting a bit out of line by trying to copyright a little too much. As an aritst, fine art and paleoart, I understand completely how one can be protective, even overprotective of their work, but I think he is asking a bit much. Any artist should have the right to use skeletons as references for their restorations, you can't copyright science and discovery, the entire concept is ludicrous.

As far as the complaints Mr. Paul makes, I think that he needs to up his game plain and simple. You can't expect to rest on your laurels forever and simply continue to get gigs. The international market has affected all artists, not just Mr. Paul, and I haven't seem much coming from him lately (am I missing something?) while I constantly see all sorts of new stuff coning from many other great artists. So, yes, he is a victim of his own hubris in my opinion, the market determines the value, not him, and I would take a more proactive approach to defend my position if I were him rather than being threatening and negative. Thats just my take.

Great points Nima,

I think Paleo Art is alive and thriving. Specially now with the maturing of Paleontology. The Paleo Art world will blowup once geneticist clone dino's. Probably 8-10 years out to get the first one out. From there on, people will be so infatuated with these beast, Photography and Art will soon follow.