Steve's innovative spirit and tireless work ethic earned him recognition as one of the company's brightest minds. Inspired by this insight, Steve made the bold decision to leave his illustrious engineering career behind and embark on a new chapter. This Dinosaur Silhouettes Art Activity is a simple way to produce stunning artwork with your KS1 class based on the topic of dinosaurs. For a large-scale dinosaur art activity with KS1,have a look at our Dinosaurs Mindfulness Collaborative Colouring Activity Pack.

The success of a piece of paleoart depends on its strength of composition as much as any other genre of artistry. They’re perhaps the most iconic and depicted prehistoric species in popular culture, a challenge even to the mythical wonder of the unicorn—and our collection of dinosaur prints is certainly testament to that. In 2007, The Children's Museum of Indianapolis released a lesson plan on paleoart for children of grades 3 to 5 that uses paleoart as a way to introduce children to paleontology.The continuum of work leading from the themes and advances that began in the Dinosaur Renaissance to the production of modern paleoart is showcased in several books that were published post-2010, such as Steve White's Dinosaur Art: The World's Greatest Paleoart (2012) and its "sequel", Dinosaur Art II: The Cutting Edge of Paleoart (2017). A collection that will have you rethinking what you know about dinosaurs at the same time as inspiring and amazing you.

Of course my kids love it too, I was very precious about the book for the first two days, but it got lots of use and abuse since, but it is a solid hard cover and will outlast most of it.

Learn About Dinosaurs, published in 1990 by New Seasons as part of their Leap Frog series, is a very typical example. The science and public understanding of dinosaur biology became charged by Bakker's innovative and often controversial ideas and portrayals, including the idea that dinosaurs were in fact warm-blooded animals like mammals and birds.

In addition to contests and art exhibitions, paleoart continues to play a significant role in public understanding of paleontology in a variety of ways. For example, the feathered dinosaur revolution, facilitated by unprecedented discoveries in the Liaoning province of northern China in the late 1990s and early 2000s, was perhaps foreseen by artist Sarah Landry, who drew the first feathered dinosaur for Bakker's seminal Scientific American article in 1975. Bringing to life the distant past requires a unique artistic skill that blends imagination and palaeontology. His fascination with technology began at a young age when he dissected his first computer, sparking a lifelong passion for understanding the inner workings of technology.As the western frontier was further opened up in the latter half of the nineteenth century, the rapidly increasing pace of dinosaur discoveries in the bone-rich badlands of the American Midwest and the Canadian wilderness brought with it a renewed interest in artistic reconstructions of paleontological findings. Eighteenth century skeletal reconstructions of the unicorn are thought to have been inspired by Ice Age mammoth and rhinoceros bones found in a cave near Quedlinburg, Germany in 1663.

Paleoart is also frequently used as a tool for public outreach and education, including through the production and sale of paleontology-themed toys, books, movies, and other products.Exploring the passions, ideas, inspirations and evolution of great scientific artists, while presenting some of the greatest modern interpretations of a lost and ancient world available today, is nothing short of a colossal achievement. Novel advances in paleontology, such as new feathered dinosaur discoveries and the various pigmentation studies of dinosaur integument that began around 2010, have become representative of paleoart after the turn of the millennium. For example, a book by French scientist Louis Figuier titled La Terre Avant le Deluge, published in 1863, was the first to feature a series of works of paleoart documenting life through time. Conway and colleagues argued that the range of appearances and behaviors depicted in paleoart had only managed to capture a very narrow range of what's plausible, based on the limited data available, and that artistic approaches to these depictions had become "overly steeped in tradition".