Minmi paravertebra is a basal ankylosaurid from Cretaceous Australia.
This scene was inspired by old English paintings of livestock, wherein sheep and cows are posed in front of trees and theatric clouds.
This is a personal piece, inspired by the flocks of wild turkeys that roam through my parents’ countryside yard. The landscape was first sketched from life, and then a suitable turkey surrogate was found to bring this Canadian scene millions of years into the past. Sauronitholestes was a mid-sized theropod from the Late Cretaceous, and likely had the same full wings as its close relative, Velociraptor (whose fossilized ulna sports quill knobs: attachment site for secondary feathers).
ROM Palaeo lab
Gryposaurus, like most hadrosaurs, likely had a preference for wet coastal environments, as their fossils are disproportionately found washed out to sea.
It was a priority to depict a colouration that, though bold, would have been a realistic possibility. Inspiration came from the Galápagos pink land iguana, a large and poorly known reptile.
This illustration is part of a completed project for the Royal Ontario Museum’s paleolab - fossil illustrations were also done, but will not be uploaded until the research is published in late. 2019.
Youngblood Illustration Award
This print of four Ceratopsids, loosely inspired by moth and butterfly patterning, won the Applied Arts Youngblood Illustration award in 2017.
The designs were also made into a line of enamel pins.
The Coelurosauria print was commissioned by Crate Monster, a monthly crate subscription that delivers curated artist goods.
The design appeared both on risograph prints, and on printed shirts.
These four extinct hermit crabs were done as a private commission for an Australian enthusiast. As Annuntidiogenes worfi was found on a fossil reef, it was used in this print to demonstrate a miozene bryozoan symbiotic relationship.
This bookplate was commissioned to accompany a palaeontology thesis about the competition of creodonts and carnivores. Specifically, it shows Hemipsalodon and Dinictis.
Note the constellations visible - Ursa Major and Ursa Minor. Creodonts were typically quite large, with carnivorans running on the smaller side, so it’s just a fun piece of background symbolism.
I’ve included the digital pre-print to show how risograph printing adds texture and vibrancy to the image.
To see the concept sketches and creative process, check out this blog post.
This illustration was made for the February 2019 edition of Palaeo Poems.
It accompanies a poem by Glenn Jepsen, in which an argument is had over whether a fossilized braincase belongs to an ancient bat or a miacid:
“A curious beast is the Tillybat It surely seems odd and quite silly that With a brain shape so batty, We’d find glenoids so catty! You see why we call it a dilly, Pat? “The midbrain is hilly, — and further”, says Tilly, “Look here quick and see Those colliculi! It had to squeak, not mew, — it never walked, it flew! Jep, don’t be so placid, It’s not a miacid!”
Camera Trap "Photos"
These illustrations were made for a black & white monster-themed zine put together by Julian Miholics. Camera trap photos make me deeply uneasy, so the idea was mythological creatures (a harpy & a manticore) captured unintentionally on trail cams.
This is a Slake Moth, the antagonistic monster from Perdido Street Station by China Miéville.
It was done purely as a fan illustration (as all existing slake moth depictions did not match what I had in my head, and that situation needed correcting!)
There are two versions of this print, with black versus violet outlines.