3-5 PaleoArtists UOS

Cover: © 1998 Michael Skrepnick, Tyrannosaurus rex and Triceratops (detail),
acrylic on Masonite, 35 1/2" w x 20 3/4" h, The Children’s Museum of

Indianapolis
The Children’s Museum of Indianapolis

The Children’s Museum of Indianapolis is a nonprofit institution dedicated to providing extraordinary
learning experiences for children and families. It is one of the largest children’s museums in the world
and serves people across Indiana as well as visitors from other states and nations. The museum
provides special programs and guided experiences for students as well as teaching materials and
professional development opportunities for teachers. Field trips to the museum can be arranged by
calling (317) 334-4000 or (800) 820-6214. Visit Just for Teachers at The Children’s Museum Web site at
ChildrensMuseum.org.
PALEO ARTISTS:
Bringing Dinosaurs to Life!
A Grade 3 – 5 Unit of Study
Introduction . . . . . . . . . . . . . . . . . . . . . . . . . . . . 2
LESSON 1: Paleo Art — Moments in Time . . . . . . . . . 6

Experience 1 — One Moment in Time . . . . . . . . . . . . . . . . . . . 8
Experience 2 — Moments in Time . . . . . . . . . . . . . . . . . . . . . 10
Experience 3 — Partners: Paleo Artists and Paleontologists . . . . . 14
LESSON 2: Paleo Art Collectors and Artists —

Opening Windows on the
World of Dinosaurs . . . . . . . . . . . . . . . . 22
Experience 1 — John Lanzendorf: Paleo Art Collector . . . . . . . . 24
Experience 2 — Making Creative Choices . . . . . . . . . . . . . . . . 26
Experience 3 — Brian Cooley: Paleo Artist . . . . . . . . . . . . . . . . 29
LESSON 3: Culminating Experience —

Dinosaur Discovery . . . . . . . . . . . . . . . . 37
Resources . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 45
Glossary . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 46
Academic Standards . . . . . . . . . . . . . . . . . . . . . . . 48
artists and artworks . . . . . . . . . . . . . . . . . . . . . . 52
Featured artworks . . . . . . . . . . . . . . . . . . . . . . . . 57
The Children’s Museum of Indianapolis © 2007 1

PALEO ARTISTS:
Bringing Dinosaurs to Life!
A 3 – 5 Unit of Study
© 1975 Sylvia Czerkas, Protoceratops, resin, 4 3/4" high from base, The Children’s Museum of Indianapolis
Mus
Bon
Teac
How does artist Sylvia Czerkas use sculpture to show a dinosaur coming to life?
inosaurs no longer walk the scientists who develop theories about

D earth, but they still have the plants and animals of the past through
Artists use scientific power to fascinate us. We want to learn the study of fossils. Paleo artists use
more about them, and we have many their skills and creativity to translate this
evidence, artistic skills questions: What did they look like? How scientific information about dinosaurs
did they interact with each other? How and other ancient life into works of art.
and creativity to did they thrive and then become
reconstruct the world extinct? Artists share our fascination and
ask the same questions. Like us, they
of the dinosaurs. seek answers from paleontologists,
Paleo artists: bringing dinosaurs to life!

2
This unit of study introduces students to the world of
paleontology and paleo art through three lessons:
© 2004 Michael Skrepnick, T. rex Attack! acrylic on Masonite, 35" w x 22"h,

Paleo Art —
Moments in Time
Students analyze one paleo artwork
and examine the way the artist has

used elements and principles of art to
capture a moment in time. They
compare this artist’s depiction of a T. rex
with an image created in the 1940s and
consider how ideas about dinosaurs
have changed over time.
© 1995 Brian Cooley, Baby Louie, polyester resin,
LESSON 1 Collectors
Paleo Art
and Artists — Opening

Windows on the
World of Dinosaurs
LESSON 2
Students compare the ways artists
use scientific information, make choices
about subject matter and media, and
use their skills to reconstruct the
LESSON 3 dinosaurs and their world.
© 2005 Steve Saulsbury, pencil, 17" w x 11" h, The Children’s Museum of Indianapolis
culminating
experience — LESSON 1
Dinosaur Discovery
In this culminating lesson, students
apply what they have learned about
paleo art to create their own works LESSON 2
of art based on recent dinosaur
discoveries.
LESSON 3
The Children’s Museum of Indianapolis © 2007

3
What will students learn? museum links
INDIANA’s ACADEMIC STANDARDS Dinosphere at The Children’s Museum
The experiences in this unit will help students achieve standards in: offers extraordinary opportunities for
● VISUAL ARTS exploration of paleo art and paleon-
● SCIENCE tology. The Mann Properties Gallery
● LANGUAGE ARTS featuring the Lanzendorf Collection
of Dinosaur Imagery contains one of
This unit of study explores the ways instruction with an arts educator will
that scientists and artists collaborate to result in richer learning experiences for the most extensive collections of paleo
create images of dinosaurs and their students and help to address academic artworks in the country. Here students
world. It enables students to examine standards in visual arts as well as can examine works in depth and use
works of art, carry out research and language arts and science. actual fossils to inspire their own
apply the results of their inquiry as they creations. The state-of-the-art Paleo
create their own artworks.The unit is Additional science standards can be Lab allows both children and adults to
designed for classroom teachers and met by incorporating activities and
interact with paleontologists and paleo
provides a unique opportunity to work background information from
technicians as they examine new
with visual arts teachers. Planning Dinosphere: A 3–5 Unit of Study.
dinosaur finds. See the Resources
section of this unit for a guide to paleo
art and paleontology exhibits that your
students should be sure to see when
What will students be able to do?
they visit the museum. You can also visit
Unit Goals ● Trace the process that one paleo the museum’s Web site for dinosaur
Students will: artist follows to create large information, student activities and
● Use art inquiry skills to examine dinosaur sculptures. Dinosphere units of study containing
specific works of art and interpret ● Examine the impact of public inquiry-based learning experiences and
their meaning. artworks on the surrounding teaching resources for K-2, 3-5 and 6-8
● Examine the connection between community. classrooms. The museum provides print
science and paleo art. copies of the units and a wealth of addi-
● Research recent dinosaur discov-
tional materials through its teacher
● Describe how paleontology and the eries and speculate about how
these discoveries may change professional development programs.
fossil record influence paleo art, and
explain why accuracy is important. current thinking about dinosaurs. For information, see the Teacher
section of the museum’s Web site at
● Compare and contrast different ● Synthesize what they have learned
ChildrensMuseum.org.
works of art by examining the ways about paleo art as they use artistic
artists make choices and use skills to create their own works of
different materials and techniques art.
to convey ideas.
● Explain how viewing a collection

can change the way we think about
paleo artworks.

4
Resource
Connection
© 1995 Donna Braginetz, Juvenile Corythosaurus, acrylic on bristol board, 8" w x 9" h, The Children’s Museum of Indianapolis
© 2003 Gary Staab, Baby Louie, resin, glass and feathers, The Children’s Museum of Indianapolis
Create a Dinosaur Resource Center in the
classroom.The center will assist students
with their investigative work.The area
should have tables and chairs and include
student reading materials suggested in
the Resources section of this unit. Be sure
to include books about paleontologists
who dig for and study fossils as well as
stories about people who have found
fossils accidentally.Work with your media
specialist to locate resources and invite
children to bring dinosaur books from
home to share with the class. Include
materials from magazines, newspapers Paleo art resources
and Web sites that offer accurate informa- See the Resources section for a list of Web
tion about new dinosaur discoveries. It is sites featuring paleo artists and their work.
helpful to have a computer that allows Select some Web addresses to provide to
Classroom teams to access the Internet in order to students so they can investigate these
Environment search for more information. Encourage sites. Be careful to review artists’ sites and
Make your classroom a Dinosaur students to visit the Dinosphere Web site make certain that they are suitable for your
Discovery Environment focusing on the at Dinosphere.org for interactive dinosaur students. The Resources section also lists
Cretaceous Period. Clear space to experiences and current research. books that illustrate how artists have used
display the artworks students will create the fossil record, their skills and creativity
later in the unit. Fill the room with to reconstruct dinosaurs and their world.
dinosaur models, skeletons and plant life The Lanzendorf Collection of Dinosaur
models, books, posters and other items Imagery provides excellent background
dealing with the Cretaceous Period. and beautiful images of the works of paleo
Create a rich visual environment to spark art now housed at The Children’s
students’ imaginations and immerse Museum.
them in a wide variety of media.
© Black Hills Institute of Geological Research, photograph by Neal L. Larson

5
Lesson 1:
Paleo Art — Moments in Time
© 2004 Michael Skrepnick, T. rex Attack! acrylic on Masonite, 35" w x 22" h, The Children’s Museum of Indianapolis
LESSON 1
LESSON 2
LESSON 3
Paleo artists use scientific information to create dinosaurs

and place them in moments of time. Artists’ skills and
imagination are at work not only in reconstructing
dinosaurs and their environment based on the fossil record,
but also in envisioning how they moved, behaved and
interacted. This lesson introduces students to paleo art and
helps them examine the ways scientific discoveries are
constantly changing our thinking about the world of the
dinosaurs.

6
objectives focus questions
Students will: Use these questions to help students ● How do paleo artists use both
focus on key ideas in Lesson 1. scientific evidence and their
● Use art inquiry skills to
creative skills when they recon-
analyze a work of paleo art. ● How do artists provide clues to struct the world of the
● Explain that paleo art is based help us interpret their work? dinosaurs?
on scientific findings. ● What is paleo art? ● Why are accuracy and scientific
● Explain why it is important to ● Why have our ideas about evidence important in paleo
study recorded dinosaur fossils dinosaurs changed over time? art?
in order to create accurate
● What kinds of evidence do ● What are the purposes of paleo
paleo art.
paleo artists use to determine art? Why is it important to us?
● Compare recent paleo Why would it be important to
LESSON 1 have
how dinosaurs might
artworks with those of the past looked and how they interacted scientists, filmmakers and book
to learn how ideas about with their environment and authors?
dinosaurs have changed based other animals?
on new evidence. LESSON 2
● Examine a specific work of art
you will need ...
to determine how the artist
uses scientific information to Materials ● Fossils or fossil casts of various
depict dinosaurs, their envi- LESSON 3
● Reproduction: Tyrannosaurus rex and types, including both plants and
ronments and their behavior. Triceratops, Michael Skrepnick, animals
● Compare direct and indirect acrylic on Masonite (1998) ● Science picture books showing
methods that paleontologists ● Reproduction: Detail from The Age of various types of animals
and paleo artists use to learn Reptiles, Rudolph Zallinger, mural, ● Stapler, sketching pencils
more about how dinosaurs the Peabody Museum (1947)
lived and interacted with each ● Book: The Dinosaurs of Waterhouse
other. Hawkins by Barbara Kerley
time
Three class periods.
● Consider the reasons that ● 8 1/2" x 11" lined notepaper for the
paleo art might be important Dinosaur Record Book, enough for
to scientists, filmmakers, book each student to create a journal of
authors and others. several pages
digging dino words

● adaptation ● paleo art
● color ● paleo artist
● evidence ● paleontologist
● form ● paleontology
● fossil ● realism
● fossil record ● shape
● inference ● texture
● line ● Triceratops
● movement ● Tyrannosaurus rex
● mural

7
experience 1:
One Moment in Time
Students use inquiry skills to examine a work of art and
determine how the artist has created a moment in the life
of a dinosaur. Students learn that paleo art is based on
scientific evidence.
LESSON 1
© 1998 Michael Skrepnick, Tyrannosaurus rex and Triceratops, acrylic on Masonite, 35 1/2" w x 20 3/4" h, The Children’s Museum of Indianapolis
LESSON 2
LESSON 3
How did Michael Skrepnick manipulate the elements of this painting to create a dramatic scene?
Indiana’s Academic Standards

Visual Arts Language Arts
Standard 3: Responding to Art — Standard 5: Writing Applications
Criticism (3.3.1, 3.3.2, 3.3.3, 4.3.1, 4.3.2, (3.4.2, 4.4.1, 5.4.1)
4.3.3, 5.3.1, 5.3.2, 5.3.3)
Standard 13: Integrated Studies
(3.13.2, 4.13.2)

8
EXPERIENCE 1
procedures
Profile of Michael Skrepnick
● Introduce students to the reproduc-
many awards for his reconstructions
tion of the painting Tyrannosaurus rex
and has worked on books, magazines,
and Triceratops (page 57) by Michael
Skrepnick. television programs and murals.
Skrepnick’s fascination with dinosaurs
Guide students in an inquiry process
was sparked by early childhood inter-
using this work as a focus.
ests. He now lives in one of the
● Ask students: What is this painting
world’s centers of fossil discovery:
about?
Alberta, Canada. Like many paleo
● Give students time to suggest artists, he works to educate viewers
answers and then ask: How do you
about the importance of accuracy in
know? What clues in the painting
paleo art. Skrepnick understands the
make you think this?
placement of bones in a dinosaur
● Help students discuss the “moment
skeleton. He knows the size and shape
in time” captured by this work of art.
of the muscles and how the animal
Ask: What is this moment like? What
are the dinosaurs doing? What do probably walked, ran and stood. He
you think the dinosaurs might have studies birds, lizards and other
ichael Skrepnick has been an
M
been doing just before this moment? animals to choose skin colors for his
What do you think they might do artist for many years, but dinosaurs. His works are created using
immediately after this? What started focusing on dinosaurs only acrylic paints, sometimes with the
evidence can you find for your ideas
within the past decade. He has won addition of graphite and ink.
in the painting?
● Discuss the artistic techniques
● Tell students that they each will need
Skrepnick has used to create this
to keep a journal recording what
moment in time. How has he used
they are observing and learning
lines, shapes, textures and colors?
about dinosaurs and paleo art. The
How does he place the dinosaur
journal will help them create their
figures in space and use body posi-
own works of art. Help them put
tions, facial expressions and environ-
together several pages of lined
mental details to make this a
notepaper with a stapler for their
dramatic scene?
journal. Have each student write the
● Ask students: Now that you’ve had title, Dinosaur Record Book, and his
time to examine this work carefully, or her name on the first page.
have your ideas about its meaning
● For their first entry in the Dinosaur
changed? If so, how?
Record Book, have students write
● Ask students how they think Michael down the title of the artwork,
Skrepnick learned how these Tyrannosaurus rex and Triceratops, and
dinosaurs might have looked and then answer two questions:“What is
behaved. happening in this scene?” and “What
● Explain that works of art based on
evidence in the painting supports
scientific evidence about dinosaurs this idea?”
and other forms of ancient life are
called paleo art. The artists who
create these works are paleo artists.

9
EXPERIENCE 2
EXPERIENCE 2:
Moments in Time
This experience introduces students to Waterhouse
Hawkins, the first paleo artist. After considering how ideas
about dinosaurs have changed in the last 150 years,
students then compare the way that Tyrannosaurus rex is
depicted in Rudolph Zallinger’s paleo artwork of the 1940s
and in Michael Skrepnick’s 1998 work. Students learn that
ideas about dinosaurs are continuing to change as more
scientific evidence is discovered and analyzed.
LESSON 1
LESSON 2
Rudolph Zallinger, The Age of Reptiles (detail), mural, 110' w x 15' h, © 1947 The Peabody Museum
LESSON 3
of Natural History,Yale University

Rudolph Zallinger’s 1947 mural inspired new generations of scientists and paleo artists.Would this work look different if Zallinger were painting it today?

Standard 1: Responding to Art — Standard 4: Writing Process: 3.4.3, 4.4.3,
History: 3.1.1, 4.1.1, 5.1.1 5.4.3

10
EXPERIENCE 2
Rudolph Zallinger, The Age of Reptiles (detail), mural, 110' w x 15' h, © 1947 The Peabody Museum
of Natural History,Yale University
procedures
● Introduce students to the book The much larger and continues to ● Ask students: How are these two
Dinosaurs of Waterhouse Hawkins. grow as scientists make more dinosaurs similar? How are they
discoveries. Ask: Have our ideas different?
● After a preview of the cover, title
about dinosaurs changed? Why?
and illustrations, ask students to ● Point out specific differences in
(See page 13 for a chart of impor-
make three predictions about the two images, such as the posi-
tant dates in dinosaur discovery.)
Waterhouse Hawkins. tion of the tail and the size and
● Introduce the reproduction of a placement of the forelegs.
● Read the book aloud to students.
segment of the mural created at the
(When you are finished ● Ask students: Which differences
Peabody Museum at Yale University
discussing the book, place it in do you think are the result of
by Rudolph Zallinger between 1943
the Dinosaur Resource Center artist’s choices about how to
and 1947.
so that all students have an depict the Tyrannosaurus rex?
opportunity to read it.) ● Explain that a mural is usually Which differences do you think
painted directly on a wall or another are the result of new fossil
● Ask students if their predictions
large surface. This mural was 110 feet evidence?
were accurate or if they had to
long and took over three years to
modify them. ● Remind students how ideas about
complete. Reproductions were
dinosaurs have changed since the
● Explain that Hawkins was the first published in magazines in the 1950s
time of Waterhouse Hawkins. Ask
paleo artist. Have students and were seen by people all over the
students: Can we be wrong about
examine the illustrations closely country.
what we think we know about
and ask: Where did Waterhouse
● Explain to students that this dinosaurs today? Why or why not?
Hawkins get his ideas about
mural was based on the best
dinosaurs? What kind of scientific ● Have students write one or more
scientific information available at
evidence did he use? Do his paragraphs in their Dinosaur Record
the time and that it inspired
depictions of dinosaurs look Book explaining their answers to
future generations of scientists
different from the images we see following questions: Do you think
and paleo artists, such as Michael
today? How? that new discoveries about dinosaurs
Skrepnick and others.
are being made today? Explain. Will
● Point out to students that 150
● Have students examine the image our ideas about dinosaurs continue
years ago scientists had only just
of the Tyrannosaurus rex in the to change in the future? Why or why
begun to study dinosaurs and
Zallinger mural. Have students not?
only a few fossils had been identi-
compare the image with the
fied. Today the fossil record is
T. rex in Skrepnick’s 1998 painting.

11
EXPERIENCE 2
LESSON 1
© 2004 The Children’s Museum of Indianapolis

LESSON 2
LESSON 3
In this illustration of a Tyrannosaurus rex specimen called Bucky, the shaded areas represent actual
fossils.The remainder of the skeleton is made of casts taken from other T. rex fossils. Bucky is considered
to be the sixth most complete T. rex ever discovered. A complete dinosaur skeleton is a rare find.
Paleo art and the fossil record

based on the work of scientists called about the appearance and behavior of
A
paleo artist draws, paints or
sculpts animals, plants and envi- paleontologists who use fossils to dinosaurs develop as a result. This
ronments that existed in earlier study life in the past. Fossils are the new information changes what we
geological periods. The artistic style preserved remains or imprints of know about dinosaurs and also
has developed over the past 150 years plants and animals. Both artists and changes artists’ renderings of
as more and more scientific evidence paleontologists depend upon the dinosaurs. This explains why fossils
about dinosaurs and other ancient life growing fossil record, the accumu- are important in creating an image of
has been discovered and analyzed. lated body of information developed life in the geological past. Paleo art is a
Dinosaurs lived between 248 million by scientists through the long-term wonderful example of how well
and 65 million years ago, an earlier study of fossils. This record is science and art can work together to
geological era called the Mesozoic. constantly changing as more data is educate, inspire, entertain and inform.
This era includes the Triassic, Jurassic collected. New fossil discoveries are
and Cretaceous periods. Paleo art is always being made and new views

12
EXPERIENCE 2
Important Dates in Dinosaur Discovery
600 B.C. Central Asian traders bring stories of griffins, based on the fossil
record of Protoceratops, to the ancient Greeks.
300 A.D. Chinese scholars record the presence of “dragon bones.”
1677 Robert Plot illustrates a thighbone, possibly of Megalosaurus.
1824 William Buckland names Megalosaurus, the first dinosaur to be

scientifically described.
1825 Gideon Mantell and his wife find a dinosaur tooth and name the
genus Iguanodon.
1842 Richard Owen coins the term dinosauria.
1851 Models of Iguanodon, Megalosaurus and Hylaeosaurus, made by

Waterhouse Hawkins, are displayed in the Great Exhibition at the
Crystal Palace in London.
1856 The first dinosaur remains from the United States are described.
1867 Thomas Henry Huxley is the first scientist to suggest that birds
are the direct descendants of dinosaurs.
1858 – 1897 The “Bone Wars,” a fierce scientific rivalry between Othniel C. Marsh
and Edward D. Cope, sparks the discovery of hundreds of new
dinosaur specimens in the American West.
1878 Miners discover dozens of Iguanodon skeletons at Bernissart,

Belgium.
1920s A series of expeditions, led by Roy Chapman Andrews of the

American Museum of Natural History, to Mongolia’s Gobi desert
results in the first discovery of dinosaur eggs and of many new
types of dinosaurs.
1930s The Chinese scientist C.C.Young begins a series of expeditions to

excavate dinosaurs in China.
1969 John Ostrom, of Yale University, publishes a description of

Deinonychus, beginning a revolution in the way scientists and the
public perceive dinosaurs.
1970 – present Increasing evidence suggests that some dinosaurs are indeed the
ancestors of birds. Continued study of specimens shows that
dinosaurs were active, complex animals.
Sources: National Geographic Dinosaurs by Paul Barrett (National Geographic Books, 2001).
Tyrannosaurus Sue by Steve Fiffer (W.H. Freeman and Company, 2000).

13
EXPERIENCE 3
EXPERIENCE 3:
Partners: Paleo Artists
and Paleontologists
In this experience, students learn that artists and paleontologists
work together using the fossil record and observations of living
animals to find clues about the way dinosaurs looked and lived.
They speculate about what aspects of paleo art are based on
scientific evidence and what aspects may be the result of the
artist’s skill and creative abilities.
LESSON 1
LESSON 2
LESSON 3
© 1997 Gary Staab, T. rex, 12" w x 12" h, drawing (mixed media), The Children’s Museum of Indianapolis
A dinosaur comes to life as paleo artist Gary Staab “fleshes out” the skull of a T. rex.

14
experience 3
procedures
l Have students take another look at

Tyrannosaurus rex and Triceratops
(page 57) and ask them: Are the
dinosaurs in this work doing things
that we would expect living animals
to do?
l Point out to students that paleo art

is not fantasy. Paleo artists work very
carefully to show dinosaurs as real
animals interacting in their natural
environment. Paleo artists practice
a style of art called realism, which
strives to create accurate, natural
representations of people, animals
and things.
© 2001 Michael Skrepnick, T. rex skull, lateral view, and Triceratops skull, lateral view, pen and ink on illustration board, 7 1/2" x 10."
l Ask students how Skrepnick uses
line, shape, color and texture to
make the image look as real as
possible.
l Ask students how they think the

artist knows how Triceratops and
Tyrannosaurus rex looked, moved
and behaved.
l Explain that paleontologists and

paleo artists examine fossils of
plants, dinosaurs and other animals
that lived during the same period to
learn how dinosaurs lived and inter-
acted with each other. This is called
direct evidence because scientists
are able to examine the fossils them-
selves.
l Explain that another method scien-

tists and artists use is to observe Paleo artist Michael Skrepnick carries out detailed studies of dinosaur fossils before he begins to paint.
living animals and plants. Since it Fossils provide direct evidence of how dinosaurs looked. In this drawing, Skrepnick has identified the
major bones in the skulls of Tyrannosaurus rex and Triceratops.
isn’t possible to observe dinosaurs,
they have to make inferences,
ideas about the way dinosaurs
behaved and lived in their environ- Science — Standard 2: Scientific Visual Arts — Standard 7, 9 and 10:
ment, based on observations of Thinking (3.2.6, 3.2.7, 4.2.7, 5.2.4) Creating Art — Production (3.7.1, 3.9.2,
living animals. This is called indirect Standard 4: The Living Environment 3.10.1, 3.10.2, 4.7.1, 4.9.2, 4.10.1, 4.10.2,
(3.4.5, 4.4.6, 5.4.7, 5.4.8) 5.7.1, 5.9.2, 5.10.1, 5.10.2)
evidence.

15
EXPERIENCE 3
They lived with the dinosaurs!

lthough dinosaurs may seem strange, we would recognize many of the
A plants and animals that shared their environment. Turtles and river croco-
diles have survived with few changes in their anatomy. This is also true of some
types of fish and crustaceans, such as crabs and lobsters. Insects such as beetles,
cockroaches and dragonflies also have lived since the dinosaur era. Ferns, pines
and ginkgo trees were part of the dinosaurs’ landscape and can be seen growing
today. Flowering plants and trees, including magnolias and dogwoods, first
appeared during the Cretaceous, the last dinosaur period. What characteristics
may have helped these species survive for millions of years?
LESSON 1
LESSON 2
LESSON 3

16
EXPERIENCE 3
What color is your dinosaur?
Doug Henderson, Maiasaura Nesting Ground, pastels, 27 1/2" w x 16 1/2" h, © 2004

o fossil evidence regarding colors ment that would have served the same evidence important in paleo art? Why
N in dinosaurs has been found to functions for dinosaurs as it does for is the artist’s skill also important? Why
date. Until recently, dinosaurs were modern animals. It could have helped is paleo art important to scientists,
depicted in drab shades of grey, brown them hide from predators, attract a mate film makers and book authors? Is it
or green. As a result of observing and recognize members of their own important to you? Why or why not?
animals living today, artists and paleon- group. Today, paleo artists use a wide
● Have students examine the dinosaur
tologists have begun to realize that variety of colors and patterns for the
images in the artworks again and
dinosaurs may have had a variety of dinosaurs in their works of art. Their
identify those features that are prob-
colors and markings. Color could have choices are based on scientific observa-
ably based on evidence from fossils.
been an adaptation to the environ- tion of living animals.
(For example, look for features that
● After discussion, explain to students would leave fossilized remains or an
that new fossil discoveries are made imprint, such as horns, claws or frills.)
constantly and that our view of ● Ask students which features are prob-
dinosaurs changes and becomes more ably based on artist’s choices (such as
complete as we learn more. (For color). What scientific evidence would
example, the recent discovery of an artist use in making such choices?
dinosaur fossils showing feathery
imprints may support the theory that
some dinosaur species were related to
This rare imprint of Edmontosaurus skin was a birds.)
significant discovery on The Children’s Museum’s
● Have students use the Dinosaur
2003 Dino Institute Teacher Dig in South
Dakota. The fossil indicates that the dinosaur Record Book to write one or more
may have had scaly skin, but it provides no clue paragraphs answering these questions:
about its color. Why is accuracy based on scientific

17
EXPERIENCE 3
Paleo art and evidence
How a Dinosaur
becomes a Fossil
STEP 1: LIFE
The dinosaur is alive and
growing.
STEP 2: DEATH
The dinosaur dies.
STEP 3: SEDIMENT

Sediments quickly cover
the dinosaur.
LESSON
STEP 4: 1
TIME
Over a long time more
sediments settle on the
dinosaur.
LESSON 2
STEP 5: FOSSILIZATION
Paleo artists often visit museums to see how paleontologists have reconstructed dinosaur skeletons. Water, sand and minerals
By studying the placement of bones in this Triceratops specimen at The Children’s Museum an artist fossilize the dinosaur.
can determine how the animal might have moved.
LESSON
STEP 6: 3
EXPOSURE
ost artists who create scientific They also observe the movements and The fossil remains are
M works about dinosaurs prefer to behavior of living animals for indirect
revealed and found after
wind and water remove
use the term “paleo art” rather than evidence about how dinosaurs might
layers of sediment.
“dinosaur art” to identify works of art have interacted with each other and
that are based on research, not fantasy. their environment. Paleo artists strive to
Paleo artists study fossils for direct make their works as realistic as possible
evidence about a dinosaur’s size, shape, by blending current scientific evidence
form and behavior. Throughout a based on fossils and observation of
project, an artist may consult with pale- modern animals and plants with artistic
ontologists and other experts, read the skills and imagination.
scientific literature and even visit a dig
site. Fossils serve as the structural guide
for artists, helping them create lifelike
images based on skeletal material, plant
material, tracks or other remains. The
fossil record is informative, but it does
have limitations. Complete fossil
remains of dinosaur specimens are
rarely found. Because paleo artists
sometimes have few clues to go by, they
have to rely on the accumulated
evidence about specific dinosaur species.

18
ASSESSMENT
ASSIGNMENT 1: SCORING RUBRIC
DECONSTRUCT A DINO! This rubric provides a framework for

assessing a student’s ability to make
careful observations, use drawing as a
medium to record observations and
apply criteria to evaluate personal
work and that of other artists.
Partial: The student makes general

observations and produces a drawing
based on those observations but does
not show attention to detail or care
and control in executing the drawing.
The drawing may be rudimentary and
© The Children’s Museum of Indianapolis

lack connection with the subject.The
student can make only general state-
ments comparing his or her work to a
fossilized skeleton of the same
dinosaur species.
Essential: The student examines the

subject carefully and produces a
Students can examine and sketch the skeleton of Stan, the T. rex, in Dinosphere at The Children’s Museum. detailed drawing based on observa-
tions.The drawing shows good control
Provide this scenario to students: answers to this question: Based on the of the media and makes specific refer-
You are a member of a team of artists fossil evidence, what would you ences to the subject.The student can
and paleontologists. Your mission is to change in your sketch?
give valid examples comparing his or
determine if a work of paleo art is as ● Compare the T. rex in Skrepnick’s her work to a fossilized skeleton of the
accurate as possible based on current painting with the fossil evidence. same dinosaur species and can explain
fossil evidence. What features of the dinosaur might the rationale for judging the accuracy
● Focus on the T. rex in Michael be the result of the artist’s choices of another artist’s work.
Skrepnick’s Tyrannosaurus rex about how to show his subject? What
and Triceratops. Examine the scientific evidence might have been Exceptional: The student examines
body carefully. the basis for these choices? the subject with great care and
produces a drawing that shows
● “Deconstruct” the T. rex by using
unusual attention to detail.The
drawing pencils to sketch the
SCORING CRITERIA drawing is closely referenced to the
skeleton that supports the
subject and demonstrates care, reflec-
dinosaur’s body. Keep in mind that by This assignment will be evaluated tion and control of media to a high
“deconstructing” the dinosaur, you are based on a student’s ability to: degree.The student can compare his
reversing the process followed by the
● Carefully examine the details of or her work to a fossilized skeleton of
artist when he used a fossilized
skeleton to recreate a “fleshed out” a work of art the same dinosaur species, citing
dinosaur. ● Control selected media
numerous specific examples and indi-
cating changes that are needed based
● Evaluate your work: Compare your ● Exercise care and attention to
on the fossil evidence. In a similar way,
sketch to the skeleton of Stan, the T. detail in the execution of work
the student can use fossil evidence to
rex on The Children’s Museum Web ● Evaluate his or her work and that evaluate the accuracy of another
site at ChildrensMuseum.org. Use of others artist’s work.
The Dinosaur Record Book to write

19
ASSESSMENT
ASSIGNMENT 2: SCORING RUBRIC
Adaptation This rubric provides a framework for

evaluating the student’s ability to use
others, speaks clearly and presents
main points in an organized way. The
research and communicate ideas in student can use sketches to help
Provide this scenario to students: planning a paleo artwork. communicate ideas and can make
You are planning a work of art, such as meaningful suggestions for depicting
Michael Skrepnick’s painting or Partial: The student can identify one or the dinosaur under study based on
Rudolph Zallinger’s mural. Return to more dinosaur features and can scientific clues.
these works and identify specific compare them to those in an animal
dinosaur features such as skin, tails, living today. The student demonstrates Exceptional: The student has a broad
horns, claws or frills. Your assignment is understanding that adaptations help understanding of adaptation in
to determine the function of one of animals to survive in their environ- animals, can provide numerous exam-
these features. Since it is not possible to ment. The student shows minimal ples of how a specific feature helps an
observe dinosaurs directly, you will understanding of direct and indirect
have to make an inference based on means of gathering evidence and does
LESSON 1
animal survive and can make infer-
ences about the possible function of a
the behavior of animals that live today. not make the connection between similar feature in a species of dinosaur.
scientific evidence and how it informs Because the student understands the
● Prepare an oral report using informa-
paleo artworks. The student listens to nature of inferential evidence, he or she
tion from science books, articles and LESSON 2
others and can explain basic ideas but is also able to suggest alternative ideas
online resources and compare the
may not be able to use sketches to regarding the function of a dinosaur
dinosaur feature you have selected
illustrate his or her main points. feature. Drawings are used effectively
with a similar feature in a living
to illustrate specific points in the
animal. Your report should:
Essential: The student shows under-
LESSON 3
report. The student is able to make a
● Identify the dinosaur feature you are standing of how adaptations help number of suggestions for depicting
studying and a species of dinosaur animals survive in their environment, the way the dinosaur under study
that displays this feature can give examples about how a specific should look, move, behave and interact
● Identify a living animal that has a feature functions in a living animal and with other dinosaurs based on scien-
similar feature can make inferences about how a tific clues. The student listens carefully
similar feature may have functioned in to others and speaks clearly. Orally
● Explain how this feature is an adap-
a species of dinosaur. The student presented information is well-organ-
tation that helps the animal survive
understands the difference in evidence ized and explained in ways that are
in its environment
gathered directly and evidence gath- easy for listeners to understand.
● Explain why evidence about ered indirectly. The student listens to
dinosaurs gathered by observing
living animals is different from direct
evidence gathered from fossils
SCORING CRITERIA
● Make suggestions, based on your
This assignment will be evaluated based on a student’s ability to:
research, about the way the dinosaur
should be depicted in the artwork ● Make valid inferences about the function of a specific dinosaur feature based
you are planning on similar features in living animals
● Explain on how this feature may have helped the dinosaur adapt to its
● Provide sketches to support and help
explain the ideas in your report environment
● Explain the difference between direct and indirect evidence
● Use sketches to help communicate plans for a work of paleo art

20
EXPERIENCE 1
Bonus
● Have students use the Dinosaur
© 1994 Donna Braginetz, Omnivorous Ornithomimids, acrylic on bristol board, 23" w x 18" h,
Record Book to make observa-
tional sketches and label
different types of plant and
animal fossils. (Visual Arts
Standard 7: 3.7.1, 4.7.1, 5.7.1)
● Use Lesson 2, Experience 1 from

the Dinosphere 3-5 unit of study
(pages 20 – 23) to examine the
meaning of dinosaur names. Ask
students: What features can you
find in the artwork that relate to
this name? How do you think the
artist knew that the dinosaur had
What kinds of adaptations might have helped these ornithomimid specimens, painted by Donna
Braginetz, survive in their environment? this feature? Why was this feature
important for the dinosaur?
Teacher tips (Science Standard 4: 3.4.1, 5.4.7)
Allow students to respond to the works of art featured in this lesson on the basis of
● Ask students to give examples of
personal interpretation and an examination of the properties of the artworks them-
how plants and animals today
selves. Help students understand that there may be several plausible interpretations of a
grow, die and decay, and how
work. Some teachers may wish to introduce background information during the first
new organisms are produced.
viewing of the works. Other teachers may prefer to seek student responses first and later
Ask students: Do you think that
introduce background information to provide a context for reinterpreting some of the
some remains of plants and
works. See Notes on Artists and Artworks in the Resources section for information.
animals living today may
If students have not already learned how fossils are formed, introduce them to the
become fossils in the future?
concept. (See: Dinosphere: A 3–5 Unit of Study,“How a Dinosaur Fossil Forms,” pages 8–10.)
Why or why not?
Museum links — See the real thing!

While it is helpful for students to view reproductions, there is no substitute for
seeing original works of art. Viewing originals allows students to examine the
ways that artists have used elements and principles of design and how they have
handled the art media. For example, when students view an original painting,
they will be able to see how the paint was applied and experience a truer repre-
sentation of the colors the artist intended. Visit the Gallery to see John
Lanzendorf ’s collection of original paleo art. Here students can experience orig-
inal works by Michael Skrepnick and other paleo artists. In Dinosphere, they can
also examine one of the most extensive collections of dinosaur fossils in the
United States and begin to understand how artists and paleontologists work
together to recreate the world of the dinosaurs. Use Dinosphere: A 3-5 Unit of
Study and The Children’s Museum Web site at ChildrensMuseum.org to learn
more about the science of dinosaurs.

21
Lesson 2:
Paleo Art Collectors and
Artists: Opening Windows
on the World of Dinosaurs
LESSON 1
LESSON 2
© 2004 Michael Skrepnick, Watering Hole, acrylic on Masonite, 35" w x 22" h, The Children’s Museum of Indianapolis
LESSON 3
Paleo art requires that artists work within important parameters. They “Artists are the eyes of
must accurately represent the evidence that paleontologists and other paleontologists and paintings
scientists have discovered about the structure and behavior of dinosaurs. are the window through
On the other hand, paleo artists make creative choices when they choose which nonspecialists can see
a subject, the materials they will use and the ideas they will convey. In the dinosaurian world.”
this lesson, students learn how a collection of paleo art can introduce
viewers to the world of dinosaurs and compare and contrast works by — Dale A. Russell,
Dinosaurs Past and Present,
two different paleo artists. They will read an interview with paleo artist
Volume I, page 117
Brian Cooley and examine the process he followed and the decisions he
made in creating the Alamosaurus sculpture at The Children’s Museum.

22
objectives focus questions
Students will: Use these questions to help students ● What is public art? Is the
focus on key ideas in Lesson 2. Alamosaurus sculpture by Brian
● Consider the ways that a
● What is a collection? How is Cooley public art?
collection can provide insights
viewing a collection of paleo art
into the work of a single artist ● How does this sculpture change
different from viewing a single
or group of artists the way people think about the
work of art?
museum building?
● Identify the choices that paleo
● How is a sculpture different from
artists have to make in creating ● What difference does the sculp-
a painting? How are they similar?
a work of art ture make for the neighborhood
● What are some of the differences and surrounding community?
● Compare the ways artists use
you can see in the two works by
painting and sculpture to ● How have the three works of art
Donna Braginetz and Sylvia
portray dinosaurs you’ve examined in this lesson
Czerkas? How are they similar?
changed the way you think about
● Compare and contrast works of
● What choices did the artists make dinosaurs?
art by two different paleo
when they created these works?
artists
● Examine Cooley’s Alamosaurus you will need ...

sculpture as public art and
consider its impact on the Materials ● Student Handout 2 — How to Build
museum and its surroundings ● Student Handout 1— John Really Big Dinosaurs in 12 “Easy”
Lanzendorf: Paleo Art Collector Steps, page 35. See The Children’s
● Read an interview with Brian Museum Web site for photographs
page 34
Cooley and identify the choices of Cooley’s process in creating large
● Juvenile Corythosaurus, Donna
he makes and the steps he sculptures at ChildrensMuseum.org
Braginetz, acrylic on bristol board
follows in creating a large ● Student Handout 3 — An Interview
(1995)
outdoor sculpture with Brian Cooley, page 36
● Protoceratops, Sylvia Czerkas, resin
(1975)
digging dino words ● Alamosaurus, Brian Cooley, fiberglass
and paint, The Children’s Museum of time
● Alamosaurus Two or three class periods.
Indianapolis (2004)
● armature
● collection ● Photographs of The Children’s
● Corythosaurus Museum of Indianapolis before and
● drawing after the installation of Cooley’s
● media Alamosaurus sculpture
● mural
● painting
● photorealism
● proportion
● Protoceratops
● public art
● realism
● scale
● sculpture

23
EXPERIENCE 1
EXPERIENCE 1:
John Lanzendorf:
Paleo Art Collector
In this experience students read a short biography of paleo
art collector John Lanzendorf and discuss how his early LESSON 1
interests became an important part of his adult life. They
examine the meaning of the word collection and consider
LESSON 2
how viewing a collection can affect the way we think about
works of art.
LESSON 3
Paleo art collector John Lanzendorf with a few of the artworks in his collection.

24
EXPERIENCE 1

John Lanzendorf has been fascinated with dinosaurs since he was 5 years old and began to collect toy models.
● Examine the artworks on the Web site ● Ask students how Lanzendorf’s inter-
procedures
and ask students to point out some of ests as a boy influenced him later in
● Explain that the painting students the differences in the works, such as life. How did he pursue his dreams?
examined in Lesson 1, Tyrannosaurus different types of dinosaurs, different
● Ask why they think John Lanzendorf
rex and Triceratops by Michael environments, uses of different mate-
and others are interested in dinosaurs
Skrepnick, is part of a collection of rials, colors, etc. Ask students what the
and paleo art. What purpose do they
paleo art put together over a number works have in common.
think paleo artworks serve?
of years by a collector named John ● Ask students: How is viewing a collec-
● Ask students to view the artworks
Lanzendorf. tion of paleo artwork different from
again and think about them as part of
● Ask students what the word collec- viewing a single work of art? What
a collection as well as individual
tion means to them. Do any students can you learn about dinosaurs from
works. Ask: Why do you think
collect special items? seeing a collection of paleo art? What
Lanzendorf might have collected
can you learn about an artist or a
● Have students use the Dinosphere each one?
group of artists when you view a
link on The Children’s Museum Web ● Have each student choose one work
collection of works?
site to view a number of works from and pretend that he or she is a friend
the collection. ● Provide the biography of John
who saw the work before John
Lanzendorf and have students read in
Lanzendorf collected it. Each student
pairs.
should use the Dinosaur Record
Book to write a persuasive letter to
Indiana Academic Standards
John Lanzendorf stating the reasons
that he should or should not add this
Standard 1: Responding to Art — Standard 5: Writing Applications
specific work to his collection.
History (3.1.2, 4.1.2, 5.1.2) (3.5.3, 4.5.6, 5.5.4)
Standard 6: Responding to Art —
Aesthetics (3.6.2, 4.6.2, 5.6.2)

25
EXPERIENCE 2
EXPERIENCE 2:
Making Creative choices
In this experience, students compare and contrast two
works of art, one a painting and the other a sculpture, and
consider the creative choices made by the artists. LESSON 1
LESSON 2
LESSON 3
Photorealism
Juvenile Corythosaurus, by Donna Braginetz, is an example of photorealism.
It seems so much like a photograph that it might be compared to a National
Geographic magazine cover photo. Works of art in this style pay great attention to
detail and use photographic techniques, such as contrasting images in sharp focus with
those in soft focus. How is this painting similar to and different from a photograph?

26
EXPERIENCE 2
Indiana’s
Academic Standards
© 1975 Sylvia Czerkas, Protoceratops, resin, 4 3/4" h from base, The Children’s Museum of Indianapolis
Visual Arts
Criticism (3.3.3, 4.3.3, 5.3.3)
Aesthetics (3.6.2, 4.6.2, 5.6.2)
procedures
● Introduce reproductions of two works
of art, Protoceratops by Sylvia Czerkas
and Juvenile Corythosaurus by Donna
Braginetz. Explain that they are part of
the Lanzendorf collection.
● Ask students: What do you think these

two works are about? What clues
make you think this? What are the
dinosaurs doing at this moment? What is a sculpture?
What do you think they were doing a
elp students understand that a sculpture is a three-dimensional
moment ago? What do you think they
will do a few moments from now? H drawings and paintings are work of art. Visit The Children’s
How do you know? two-dimensional or flat. A sculpture Museum Web site for 360 degree
has three dimensions: height, width views of sculptures or visit the
● Ask students to compare and contrast
the subjects of the two works, the and depth. Provide models or sculp- museum to see Protoceratops and
baby Protoceratops and the young tures to help students understand that other paleo art sculptures.
Corythosaurus. Ask students: How are
these two dinosaurs similar? How are
● Ask students: What can sculpture show ● Have students consider what they can
they different? Can you tell anything
that a painting or drawing cannot? tell about the surroundings of the two
about their behavior? What are some
What can a painting or drawing show dinosaurs. Ask: Can you tell anything
other ways the artists could have
that a sculpture cannot? If you were about the way these dinosaurs might
shown these two dinosaurs?
going to create a paleo artwork would have lived and behaved? What are
● Point out to students that one of the you choose to make a drawing, painting some things that you might not see?
works is a painting and the other is a or sculpture? What might you have to imagine?
sculpture. Discuss the different types
● Ask: Do the two works appear realistic? ● Ask students to research and answer
of materials and processes used in
Why or why not? How have the artists this question in their Dinosaur Record
drawing, painting and sculpting.
used color, texture, line and shape or Book: What kind of scientific evidence
● Have students speculate about why the form to make the images seem real? do you think guided the artists in
artists chose these different Which one appears to be the most real- creating these two works? For example:
approaches. Ask: Why do you think istic? (Point out that if students could What evidence might there be that
Sylvia Czerkas chose sculpture to see Czerkas’ actual sculpture, it might Protoceratops hatched from eggs or
portray a hatching Protoceratops? appear to be real because it is three- that Corythosaurus lived in herds?
Why do you think Donna Braginetz dimensional.) Ask: How has Braginetz
chose to create a painting of the made her painting look almost like a
Corythosaurus? What clues can you find photograph of a living animal? What
in the artworks about why the artists effect does this have on the viewer?
might have made these choices?

27
EXPERIENCE 2
Doug Henderson, Maiasaura Nesting Ground, pastel, 27 1/2" w x 16 1/2" h, © 2004 The Children’s Museum of Indianapolis
LESSON 1
LESSON 2
LESSON 3
What creative choices did paleo artist Doug Henderson make when he painted
Maiasaura Nesting Ground?
Artists’ Choices
ne of an artist’s most important about the nature of the dinosaur.
O choices is to select a subject and Besides showing what a dinosaur is
decide what to express about that doing, an artist also must decide what
subject in a work of art. To help materials to use, how to use these
students examine the choices the artist materials (technique), how to use line,
has made, ask them to think of other shape, form, color and texture (the
ways that the artist might have shown elements of design) and how to
the dinosaur. The dinosaur may be organize the parts of the artwork
shown protecting its young, but the using balance, repetition, movement,
artist could have decided to show the proportion and other art principles.
same dinosaur sleeping, drinking All of the choices an artist makes add
water or playing. Each of these choices up to the message or key ideas
would have conveyed different ideas communicated by the work of art.

28
EXPERIENCE 3
EXPERIENCE 3:
Brian Cooley: Paleo artist
This experience introduces Brian Cooley, the artist who
created the Alamosaurus sculpture that appears to be bursting
out of Dinosphere at The Children’s Museum. After reading
an interview with Brian, students identify some of the choices
he made and the processes he followed to create the sculpture.
Students then examine this work as an example of public art
and consider how it changes the architecture of the building
and what it means to the surrounding community.
Brian Cooley, Alamosaurus Family, fiberglass, life-size, © 2004 The Children’s Museum of Indianapolis
Brian Cooley’s sculpture of an Alamosaurus family appears to be breaking out of Dinosphere.

29
EXPERIENCE 3
Indiana Academic Standards

Language Arts
Standard 2: Reading Comprehension (3.2.2, 3.2.3, 4.2.1, 4.2.2, 5.2.1)
Visual Arts
Standard 1: Responding to Art — History (3.1.2, 4.1.2, 5.1.2)
Science
Standard 6: Common Themes — Models and Scale (3.6.3, 4.6.3)
LESSON 1
procedures
ask an Artist
● Introduce students to the Brian Cooley LESSON 2
Alamosaurus sculpture on The
Brian Cooley, Alamosaurus Family (detail), fiberglass, life-size, © 2004 The Children’s Museum of Indianapolis
Children’s Museum Web site.
● Point out to students that the sculp-

LESSON 3
ture is life-size. A fourth grade student
might stand only “knee-high” to the
adult Alamosaurus. Ask students how
the artist knew what size to make the
adult and young dinosaurs.
● After examining images of the sculp-

ture, ask students what questions they
would like to ask the artist and record
these questions on chart paper or the
chalkboard.
● After discussing the questions, tell

students that The Children’s Museum
interviewed Brian Cooley by e-mail
and asked some similar questions. n general, the following questions ● What specific steps do you take in
● Give each student a copy of the I provide important insights about developing the artwork? (Artists
have specific processes for different
Student Handout An Interview with the way an artist works:
Brian Cooley on page 36. ● How do you come up with ideas for types of artwork.)
your works of art? (Artists work ● How do you decide when to stop
● Have students read the interview
with ideas.) working on your artwork? (Artists
aloud in pairs, with one student
playing the role of the interviewer and ● Once you have an idea, what do judge their own works of art.)
asking the questions. The other you do? (Artists develop their ideas ● How has your artwork changed
student should read Brian Cooley’s in different ways.) over time? (Artists reflect on their
responses. ● What are some of the important completed works of art and make
● When pairs have finished reading, choices you have to make as you are changes in subsequent work.)
discuss the questions focusing on planning the work? (Artists have to
Cooley’s comments about proportion make decisions about the subject,
and scale. ideas, materials, techniques and use
of art elements and principles.)

30
EXPERIENCE 3
● Introduce students to the handout on

Brian Cooley’s process for making the
proportion and scale Alamosaurus sculpture, How to Build
hen Brian Cooley discusses measurement might represent a foot
W proportion, he is referring to
the size of the dinosaurs and their
or several feet. Students should have
encountered the idea of scale meas-
Really Big Dinosaurs in 12 “Easy” Steps,
page 35 (also available with photos on
The Children’s Museum Web site).
size in relationship to each other and urement in maps, where an inch may
● Show students a photo of the museum
the environment. It is also important represent several miles. Introduce the
before the sculpture was installed. Ask
to know the size of the different parts idea of scale measurement of three-
students: What are your impressions of
of a dinosaur so that the head is the dimensional objects by using models
the museum? Would you like to visit?
right size for the body, and the legs of cars or other familiar large objects.
What do you think you might find
and tail are the right lengths. This is Ask students: How do artists know
inside?
an important principle in creating a what size the dinosaurs were and
work of art. To make certain that what their body parts were like? ● Show students a photo of the museum
proportions are correct, sculptors How do they know what trees, plants since Brian’s sculpture has been
often create a scale model. In such a and other parts of the environment installed. Ask students: How has the
model an inch or another small looked like? sculpture changed the way you think
about the museum? Do you want to
visit the museum more now than you
did before? What would you expect to
see inside? Is the building itself more
interesting to you now?
● Explain to students that works of art

placed where people in the community
can easily experience them are consid-
ered public art. Often public artworks
are located outdoors or inside buildings
that are used by large numbers of
people. These works may be sculptures,
murals or other art forms. Buildings
themselves may be considered a kind
of public art.
Photograph by Gary Campbell
● Ask students: Do you think the

Alamosaurus sculpture is public art? Why?
● What impact do you think this
sculpture has on the surrounding
community?
Brian Cooley and his wife, Mary Ann Wilson, work together on sculpture projects and chil-
dren’s books. They spend as much time as possible with their daughters and do creative ● Would you like to live nearby? Why
activities as a family. or why not?

31
ASSESSMENT
ASSIGNMENT
plan A DINOsaur
Provide this scenario to students:
Your principal has invited students to
submit plans for a piece of public art for
your school. You have decided that a life- LESSON 1
Brian Cooley, Alamosaurus Family (detail), fiberglass, life-size,

size dinosaur sculpture would be the
perfect project. Select a dinosaur species

and develop a plan for integrating a
dinosaur sculpture into your school LESSON 2
setting.
● Research your dinosaur, paying

special attention to body type, size
and behavior. LESSON 3
● Make a sketch and then create a
three-dimensional scale model of
your dinosaur in clay using correct SCORING RUBRIC
proportions.
● Choose a location inside or outside This rubric provides a framework for location for the sculpture. The student
the school building for the sculpture. evaluating the student’s ability to use can also describe the purpose of the
Make a brief oral presentation to research, a preliminary sketch and a sculpture and its importance for the
explain your plan. Be sure to: scale model to communicate ideas for school.
a proposed life-size sculpture.
● Defend your choice of subject and
Exceptional: The student carefully
location for the sculpture
● Use your sketch and model to
Partial: The student selects a dinosaur researches the physical characteristics
help communicate your ideas but demonstrates little evidence of and behavior of the selected dinosaur
● Explain what purpose the sculp- research into the characteristics of this species and makes modifications in
ture will serve for your school and species. Sketch and model are plans if necessary.The sketch and scale
why this will be a public art simplistic and show poor attention to model show special attention to
project proportion and scale.The sketch and proportion and are used effectively to
model are not used effectively to communicate ideas for the sculpture.
SCORING CRITERIA communicate ideas and the student’s The student can defend his or her
This assignment will be evaluated oral presentation does not demon- choice of subject and location and can
based on a student’s ability to: strate an understanding of the func- explain the purpose of the proposed
● Use the results of research to tions and the potential impact of a sculpture as a piece of public art.The
develop a plan for a life-size large sculpture in the school setting. student demonstrates understanding
dinosaur sculpture of the impact of such a work on the
● Create a sketch and a scale Essential: The student selects and school and surrounding community
model sculpture using appro- researches a dinosaur species.The and includes appropriate responses in
priate proportion results of this research are evident in the proposed plan. (For example, if the
● Use the sketch and model to the student’s sketch and scale model, student anticipates that a large sculp-
help communicate ideas in an
which take proportion and dinosaur ture outside the school will make the
oral presentation
behavior into account.The student is building a community landmark, plans
● Explain the purpose of the
able to use the sketch and model to might be made to accommodate
proposed sculpture as a piece of
explain his or her choice of subject and people who want to view the work.)
public art

32
ASSESSMENT
Bonus
Doug Henderson, Maiasaura Nesting Ground, pastels, 27 1/2" w x 16 1/2" h,

Extending Experiences
● Have students use the Web to
research other paleo artists and

their works.
● Use the interpretation of artworks

featured in this lesson to increase
students’ vocabulary. Have them
start a “collection” of contrasting
descriptive words inspired by the
works, such as mysterious/ordinary,
dangerous/safe, fierce/timid,
rough/smooth, dark/light,
warm/cool. Teacher tips
● After a visit to the paleo art gallery Seeing Brian Cooley’s Alamosaurus sculpture at The Children’s Museum is the only
at The Children’s Museum, have way students can fully appreciate the size and impact of this work. A visit to the
students write an article for the Gallery of Dinosaur Imagery will allow them to examine Sylvia Czerkas’ 4-inch-high
school newspaper or parent Protoceratops and understand that sculptures can be also be very small. See the
newsletter describing the collection museum Web site for an overview of the process of making the Alamosaurus sculpture
and telling why it is important. (How to Build Really Big Dinosaurs in 12 “Easy” Steps) and Douglas Henderson’s
(Visual Arts Standard 1: 3.1.2, 4.1.2, creative process for creating a pastel drawing of a Maiasaura family group.
5.1.2; Language Arts Standard 5:
3.5.2, 4.5.3, 5.5.4)
Brian Cooley, original sketch for Alamosaurus Family, pencil, © 2002 The Children’s Museum of Indianapolis
● Some students may want to bring
their own collections and show
them to the class. Students may also
want to start a collection in the
classroom so that everyone can
participate. As students begin to
produce their own artworks,
encourage them to begin a repre-
sentative collection of works.This
collection could become an art
exhibit that can be shared with
other classes, parents and commu-
nity members.
● Have students create their own

dinosaur sculptures. See the
Resources section for the book
Make-A-Saurus by Brian Cooley and
After he completes his research on a dinosaur species, one of Brian Cooley’s first steps in
Mary Ann Wilson. Brian describes the creating a sculpture is to draw a sketch.
process of making a dinosaur sculp-
ture and gives step-by-step instruc-
tions that can be used for classroom
dinosaur sculpture projects.

33
STUDENT HANDOUT 1
John Lanzendorf
Paleo Art Collector
paleontologists. He met many artists,
worked with paleontologists digging
for fossils and talked with scientists in
LESSON 1
their labs. John was careful to collect
the most scientifically accurate works
of art. As a result his collection of paleo
LESSON
art became2known as the finest in the
nation.
Soon John’s collection included more

LESSON 3
than 300 paintings, sculptures, prints
and drawings. When paleo art
completely filled his apartment he
realized that he needed to find a new
home for his collection. In 2002, John
Lanzendorf’s collection came to The
John Lanzendorf and his cat pose with a T. rex sculpture from his collection of paleo art. Children’s Museum, where people of
all ages can see it and learn about the
inosaurs have always fascinated At last, John could see how the world
D John Lanzendorf. When he was of the dinosaurs might have looked!
world of the dinosaurs.
5 years old, he found a little green toy This famous mural inspired a lot of kids John is on the museum’s International
dinosaur in a cereal box. He began to like John. Some grew up to become Paleo Advisory Board and says he still
collect whole sets. He drew dinos, read paleontologists or other scientists. likes dinosaurs.“I became obsessed
comics and put together plastic Others became artists or collectors. with dinosaurs like a lot of kids do, but
dinosaur skeletons.“I was fascinated by They grew up to study, draw, paint, I’ve never grown out of them,” he says.
their shapes and their stories,” he says. sculpt and collect works of paleo art. He hopes that his collection at The
“My whole bedroom was dinosaurs!” Children’s Museum will inspire a new
When John grew up, he became a generation of kids to become scien-
In 1953, John saw a photo of a successful hairstylist on Chicago’s tists, artists and collectors.
dinosaur mural by the artist Rudolph Michigan Avenue and also a serious
Zallinger in Life magazine. The mural, paleo art collector. He bought his first
painted for the Peabody Museum, was dinosaur sculpture in 1986 and his first
called The Age of Reptiles. Zallinger had paleo painting in 1993. This was a time
worked with scientists to get the latest when new scientific discoveries were
information on dinosaurs, reptiles and inspiring wonderful paleo artworks.
ancient plants. It took him over three
years, from 1943 to 1947, to finish the As John’s collection grew, he learned as
110-foot-long mural. much as he could about dinosaurs. He
read, studied and went to lectures by

34
STUDENT HANDOUT 2
how to build really big

dinosaurs in 12 “easy” steps
These are the steps in the process Brian Cooley uses to create his big dinosaur sculptures:
1 5 9
Sketch dinosaurs. Spray foam on top of the Spray more fiberglass
wire mesh. Wait for it to inside the rubber mold. All
dry, and then start carving the details on the mold are
the dinosaur’s shape. picked up by the fiberglass
once it hardens.
2 Make a model of the

dinosaurs. Now is the
6 Spread clay on top of the
10
Take off the fiberglass on
time to make careful foam. You can sculpt details the outside, and then peel
measurements that will in clay, like skin texture or away the rubber mold.
help you “scale up” the the shape of a dinosaur’s There’s your dinosaur!
dinosaurs to full size. eye.
3 Build a metal frame,

7 To make a mold, spray
11
called an armature. The liquid rubber on top of the Give your dino a bath to
armature supports the clay. The rubber mold picks clean it. Then apply paint.
sculpting materials, clay up even the tiniest details
and foam, as you work. carved in the clay.
4 8 Spray fiberglass on top

of the rubber mold.
12
Wrap the armature When the fiberglass hardens Load the dinos on big
in wire mesh. it will hold the rubber mold in trucks and take them to
place. Take out the armature. the museum.
The fiberglass will hold every-
thing together.

35
STUDENT HANDOUT 3
an interview with brian cooley

This interview between sculptor Brian Cooley and staff members of
The Children’s Museum was conducted by e-mail on April 16, 2004.
Question: If you have never drawn or sculpted a particular dinosaur, how do you start?
LESSON 1
Do you look at the fossils? Do you measure the bones?
Brian Cooley: I always start by finding out how much information there is on a particular
dinosaur: size, bone measurements, and which paleontologists are most
familiar with that dinosaur. LESSON 2
Question: Is there a connection between the fossils and your artwork?
Brian Cooley: LESSON 3

I like to think there is a very close connection between my work and the fossils
I’m basing it on. Sometimes I visit the museum that has the most fossils of the
dinosaur and draw the bones. If I can’t go there, I try to get someone to send
me as much information as possible. Sometimes I have to guess. For example,
no one has ever found a skull of Alamosaurus, but the skull of a similar type of
dinosaur was found in Madagascar. So, when I was designing the sculpture for
The Children’s Museum, I gave the Alamosaurus a head like the Madagascar
dinosaur.
Question: When you first draw a dinosaur, what do you start with, a shape or a basic
skeletal outline?
Brian Cooley: When I first draw a dinosaur, I do a bunch of little sketches of the rough shape
and position. Once I get a pose I like, I do a light drawing of the skeleton in the
right proportions. Then I draw in the fleshed-out dinosaur on top.
Question: Scale seems to be a crucial part of your work. How do you start with a small
drawing and then scale up to a big sculpture?
Brian Cooley: Scaling up is done with a ruler, measuring tape and calculator. For the adult
Alamosaurus I used a laser level and a laser distance finder.

36
Lesson 3:
culminating experience —
dinosaur discovery
In this culminating lesson students apply what they have
learned about paleo art as they research and create their own
works of art based on recent scientific discoveries.
Robert Bakker, pen and ink drawing, color by Pat Redman, 17" w x 11" h, © 2005 The Children’s Museum of Indianapolis
Only the skull of Dracorex hogwartsia, a new genus and species of Pachycephalosauridae,
has been found. Dr. Robert Bakker’s drawing suggests how this plant-eating dinosaur may
have looked and interacted with others.

37
LESSON 1
objectives before you start
Lesson 3 will enable students to: Make the classroom and the Dinosaur finds might include the Dracorex
Resource Center ready for student hogswartsia skull specimen at The
● Use research skills to collect LESSON 2
inquiry projects. Be sure that at least Children’s Museum, the discovery of
data about recent dinosaur one computer with Internet access is soft tissue in Tyrannosaurus rex fossils in
discoveries. available for students to use. Have a northeastern Montana and the
number of magazine and newspaper discovery of Sinosauropteryx fossils in
● Use journals to record impor-
LESSON 3
articles on hand that deal with current China that show imprints of feathery
tant written and visual obser-
dinosaur discoveries. Recent scientific scales.
vations for reference later in
the project.
● Explain why it is important to you will need ...

make careful and accurate
notes and sketches. Materials ● A variety of media for student
● Current magazine, newspaper arti- artworks: Markers, crayons, colored
● Describe the role paleontolo- cles and Internet sources on recent pencils, paints, clay, paper
gists play in collecting data dinosaur discoveries
about the past.
● Scrap paper for making preliminary time
● Describe the role of paleo notes and sketches Approximately three class periods.
artists in interpreting this data.
● Explain how new discoveries

may change the way people
focus questions
think about dinosaurs.
Use these questions to help students ● What ideas would you want to
● Use new scientific information
focus on key ideas in Lesson 3. convey to someone who views
in an original work of paleo art.
● What does an artist need to your artwork?
● Present their artwork along know before creating a work of
● How would you plan to commu-
with a written statement art about dinosaurs?
nicate the information you have
explaining their choices as
● What recent discoveries may in an artwork? What materials
artists.
change some of our ideas about and techniques would you use?
dinosaurs?
● How have your ideas about
● How will you use what you have dinosaurs changed since the
digging dino words
learned to create your own work beginning of this project? How
of art? might they change in the future?
● anatomy
Why?
● biped
● basic needs
● habitat
● interpretation
● media/medium
● mixed media
● Pachycephalosauridae
family
● quadruped

38
Indiana Academic
Standards
Science
Standard 1: The Nature of Science
and Technology (3.1.3, 3.1.4, 3.1.5,
4.1.3, 5.1.2).
Standard 2: Scientific Thinking
(4.2.5, 4.2.6, 4.2.7, 5.2.4)
Language Arts

Standard 2: Reading
Comprehension (3.2.2, 3.2.3, 4.2.1,
4.2.5, 5.2.1, 5.2.3, 5.2.4)
Standard 4: Writing Process (3.4.4,
4.4.4, 4.4.7, 5.4.5)
Visual Arts
Standard 3: Responding to Art:
Criticism (3.3.3, 4.3.3, 5.3.3)
Standard 8, 9 and 10: Creating Art
— Production (3.8.1, 3.9.1, 3.9.2,
3.10.1, 4.8.1, 4.9.1, 4.9.2, 4.10.1,
4.10.2, 5.8.1, 5.9.1, 5.9.2, 5.10.1,
This fossilized skull of Dracorex hogwartsia is a recent discovery on exhibit at The Children’s Museum
of Indianapolis. The first of its kind to be found, this unique specimen is creating great excitement in
5.10.2)
the world of paleontology. Standard 13: Integrated Studies
(3.13.2, 4.13.2, 5.13.2)
procedures
● Remind students that all the images
● Introduce students to the story of ● Have students use magazines, news-
we see of dinosaurs are artists’ inter-
“Pachy” on the Dinosphere page of papers and the Internet to research
pretations. In paleo art these ideas
The Children’ Museum Web site. The recent dinosaur fossil discoveries and
are based on scientific evidence but
discovery of the “flat-headed” skull of record important data in their
the artist uses his or her artistic skills
a new species of the Dinosaur Record Book. Students
and creativity to interpret or explain
Pachycephalosauridae family is should keep an accurate record of the
the information.
causing great excitement among sources they have used.
paleontologists. ● Tell students it is their turn to play the
● When students are finished with their
role of paleo artists by researching a
● After studying the 360 degree view of research, have them answer these
new dinosaur discovery, recording the
the skull, ask students to speculate questions in the Dinosaur Record
information they find and inter-
about the anatomy (body structure) Book: What is one important thing
preting their findings in a work of art.
of Dracorex hogwartsia. you have learned about a recent
● Provide Student Handout 1: Dinosaur dinosaur discovery that you would
● Explain to students that paleo artists
Discovery Research Guide to help like to show in your work of art? What
are also examining the newly discov-
students focus on specific research would you want viewers to under-
ered skull to determine what the
questions. stand? What questions would you
dinosaur may have looked like.
want viewers to think about? How
will this work change the way that
people think about dinosaurs?

39
LESSON 1
ASSIGNMENT
DINOsaur Discovery
LESSON 2
LESSON 3

This pachycephalosaur cast with the Dracorex hogwartsia skull shows how the skeleton of the
recently discovered dinosaur may have looked. The Children’s Museum had the honor of naming this
species. Can your students describe the meaning of the name?
Provide this scenario to students: ● Consider what to show about the ● Execute your work carefully, keeping in
Now that you have inquired into a recent dinosaur’s behavior. Will the dinosaur mind your intended messages to the
dinosaur discovery, plan and carry out a be alone or with other animals? How viewer.
work of art that will help others under- will it interact with others? ● Prepare a written artist’s statement
stand the significance of this new infor- ● Decide how much of the dinosaur’s describing your process and
mation. environment you will show and how explaining the choices you made in
● Choose a medium that you believe you will show it. Be prepared to order to convey the major ideas you
will help convey your ideas. You might explain why you made these choices. want the viewer to discover. Draft, edit
choose to draw, paint or sculpt your and revise your statement so that it
● Consider how you will use art elements
dinosaur or use mixed media. can be displayed with your work.
and principles to communicate your
● Decide how you will show your ideas. How will you use line, shape,
dinosaur so that the viewer will under- form, color, texture and space? How will
stand the significance of the discovery. you organize the elements of your work
You may decide to show a fully in space and use principles such as
fleshed-out dinosaur or a detailed proportion and movement to provide
skeleton. important information about your
dinosaur?

40
SCORING CRITERIA Teacher tips
Expressing ideas from classroom research
This assignment will be scored
in a work of art may be difficult for some
based on the student’s ability to:
students. It may be helpful for students
● Use results of inquiry into current scientific research in developing a work of
to read additional interviews with paleo
paleo art
artists to learn about the ideas they were
● Use subject matter, visual elements, composition, media and techniques to
convey ideas about how a recent discovery may change views of dinosaurs trying to convey and the strategies they
● Write an artist’s statement explaining the process followed and the choices used in specific works of art to get these
made in the production of a paleo artwork ideas across. See the Resources section
for listings of artists’ Web sites.
SCORING RUBRIC Some students may want to do further

research. Share the information on
This rubric provides a framework for planning and good control of the
Discoveries from Paleontologists and
determining a student’s ability to medium but may be inconsistent in
communicate ideas in a work of art using visual elements and organiza- Dinosaur Hunters (page 42) with them.
and to reflect in written form on tion effectively. In the written artist’s They may be interested to learn that not
choices of subject, media, and use of statement, the student is able to give all dinosaur discoveries are made by
art elements and principles. at least some specific examples of paleontologists.
how he or she attempted to use
Partial: The student locates current artistic tools and techniques to
information on scientific research communicate ideas. The written piece
about dinosaurs but has difficulty shows evidence of editing and revi-
translating this information into an sion but some minor errors may
artwork that effectively conveys ideas. remain.
The student has difficulty controlling
the medium, techniques and Exceptional: The student’s under-
processes needed to execute the standing of a recent scientific
artwork. The work may also suffer from discovery is translated into a paleo
lack of care and planning. In the artwork that effectively conveys signif-
written artist’s statement, the student icant ideas to the viewer. The artwork
is unable to make the connection is carried out with care, thoughtful-
between appropriate selection of ness, attention to detail and origi-
subject matter and artistic elements nality. Subject matter, visual elements,
and the ideas he or she is attempting organization and techniques are used
to communicate. The student may fail to convey key information and under-
to edit and revise the statement so standings to the viewer. The artist’s
that it is suitable for display along with statement is well-written and demon-
the artwork. strates the student’s ability to reflect
upon and assess his or her own work.
Essential: The student shows a good The student can provide several
understanding of a recent scientific strong examples connecting his or her
discovery about dinosaurs and is able choices of subject matter, media, tools
to focus on specific ideas to be and processes with the ideas being
communicated in a work of art. conveyed.
Execution of the artwork shows care,

41
LESSON 1
discoveries from paleontologists
and dinosaur hunters
LESSON 2
These scientists and dino hunters have all made discoveries that changed the way we think about dinosaurs.
Robert Bakker
© Black Hills Institute of Geological Research, photograph by Neal L. Larson

LESSON 3
Robert Bakker is one of the best
known paleontologists in the United
States. In the late 1960s, he presented
new evidence supporting the idea that
dinosaurs were warm-blooded, active,
fast-moving animals. This revolution-
ized views of dinosaurs for paleontol-
ogists, paleo artists and members of
the public. Bakker is also one of the
leading proponents of the theory that
modern birds are related to some
Bucky Derflinger
Not all dinosaur discoveries are
dinosaur species. He has authored
made by paleontologists. Bucky
several books and often appears on
Derflinger found his first dinosaur
television science programs.
bone at age 9 while growing up on

his family’s ranch in South Dakota.
This sparked his long-term interest
in dinosaurs. In 1998, when he was
20, the young cowboy discovered
the fossilized skeleton of a juvenile
Tyrannosaurus rex specimen now
Philip Currie and known as “Bucky.” This important
Eva Koppelhus find is the sixth most complete T.
Philip Currie is a Canadian paleon- rex fossil ever discovered and the
tologist. He has worked extensively first found with an identified
in Canada and Asia and recently furcula or “wishbone.” This and
excavated feathered dinosaurs in other fossil evidence indicates a

China. He is a leading proponent relationship between theropods like
of the connection between the T. rex and birds. Bucky
dinosaurs and birds. He discovered continues his work as a rancher
a number of new dinosaur species, and dinosaur hunter while his
including Albertosaurus. His wife, namesake is on display in
Eva Koppelhus, is a paleobotanist. Dinosphere at The Children’s
They travel the world in search of Museum.
fossils and have coauthored several
books about dinosaurs.

42
STUDENT HANDOUT 1
Dinosaur discovery research guide

Use these research questions to help you find the information you will need to create your work of art:
1 What is unusual or new about this dinosaur discovery? 3 How did this dinosaur interact with its environment?
How will it change the way people think about ● How did your dinosaur meet its basic needs for
dinosaurs? food, protection and a place to live? Is your dinosaur
a meat eater or a plant eater? Will you show it
eating, drinking or sleeping?
● How did it live with other dinosaurs? Will you show

2 What is known about the anatomy of the dinosaur you it alone, grazing with a herd, or hunting another
are researching? animal? Will you show it playing, fighting or running
from a predator? Are there other ways you might
● Skeletal Structure — Were the bones thick or thin?
show it?
What was its size compared to other familiar objects
or animals? Was it a biped or quadruped? How do
we know?
● What was its habitat like? Will you show it in a

forest, by a river or sea, or on a dry plain? What other
types of habitat might you choose?
● Teeth — What kind of teeth did the dinosaur have, if

any? What does this suggest?
4 What kinds of evidence do we have that suggest

answers to these questions?
● Does the dinosaur have any other special features?

Did it have feathers, horns, plates, frills, scales or
claws?
5 Do you have other questions about this dinosaur?

43
resources for children Museum
Bonus
Books Kerley, Barbara. The Dinosaurs of *Shealy, Dennis R. Dinosaurs Alive! The
Waterhouse Hawkins. New York: Dinosaur-Bird Connection. New York: Teache
Arnold, Caroline. Dinosaurs All Around: An Scholastic, 2001. Brian Selznick, using Random House Inc., 2001. Michael
Artist’s View of the Prehistoric World. New original sketches by Hawkins as inspira- Skrepnick, illustrator. This book explores
York: Clarion Books, 1993. This book for tion, beautifully illustrates this account of the possible relationship between
Grades 4 – 6 uses photos and text to the life of Waterhouse Hawkins. dinosaurs and birds and theorizes that
describe the way that sculptor Stephen birds are the only type of dinosaur still
Czerkas recreates dinosaurs, including Kudlinski, Kathleen V. Boy, Were We Wrong
alive.
some that are as big as life! About Dinosaurs! New York: Dutton, 2005.
S.D. Schindler, illustrator. There is always
Barrett, Paul. National Geographic more to learn about dinosaurs. Kudlinski
Dinosaurs. Washington, D.C.: National *Illustrations in these books are by artists
helps children move from fantasy to
Geographic Society, 2001. Raul Martin, whose work is part of The Lanzendorf
scientific inquiry by making it clear that
illustrator. Collection.
even the most recent ideas about
Cooley, Brian and Mary Ann Wilson. dinosaurs may change as we discover
Make-a-Saurus: My Life with Raptors and more.
Other Dinosaurs. Toronto: Annick Press Lambert, David. The Giant Dinosaur Book. web sites
Ltd., 2000. New York: Kingfisher, 2001. Jeremy
Dinosphere: This link on The Children’s
Farlow, James Orville. Bringing Dinosaur Gower, illustrator. This dinosaur reference
Museum Web site allows students to
Bones to Life: How Do We Know What provides readers with general informa-
access dinosaur information, take part in
Dinosaurs Were Like? New York: Franklin tion about all species of known
webquests and see how a fossil is
Watts, 2001. James E. Whitcraft, illustrator. dinosaurs.
prepared in the Paleo Prep Lab.
This source explains how artists and Lambert, David. The Ultimate Dinosaur Dinosphere.org
scientists create art featuring dinosaurs Book. New York: DK Publishing, Inc., 1993.
using the fossil record as a guide. This reference book provides information Enchanted Learning: This is a reference
*Gillette, J. Lynett. Dinosaur Ghosts: The about every dinosaur species, including site where kids can explore dinosaurs. It
Mystery of Coelophysis. New York: Dial visuals and descriptions. It also contains provides fact sheets, printouts and other
Books for Young Readers, 1997. Douglas a section explaining how dinosaurs go materials.
Henderson, illustrator. This book explores from being buried to being discovered http://www.enchantedlearning.com/
the death of a large group of Coelophysis and then exhibited. subjects/dinosaurs
dinosaurs by presenting readers with *Lessem, Don. Seismosaurus: The Longest
several theories of how they might have Age of the Dinosaurs: This BBC interac-
Dinosaur. Minneapolis, Minn.: Carolrhoda
died en masse. This is a good resource for tive site provides photos and complete,
Publications, 1996. Donna Braginetz, illus-
exploring the process of scientific up-to-date information on dinosaurs.
trator. Lessem focuses on the discovery
inquiry. http://www.bbc.co.uk/sn/prehistoric_
and excavation of the fossils that led to
life/dinosaurs/
*Horner, John R. Maia: A Dinosaur Grows the identification and classification of
Up. Bozeman, Mont.: Museum of the Seismosaurus. The text is easy to read for
Rockies, 1998. Doug Henderson, illus- upper elementary and middle school
trator. Suitable for Grades K–4, this book students and includes photos, charts and
traces a baby duckbill dinosaur, living 80 full-color illustrations. Also included are
million years ago, as she is born, leaves facts about other dinosaurs, dino digs,
her mother’s nest and grows up to have and the history of fossils.
offspring of her own.

44
resources for teachers
Books web sites The Web sites listed below provide infor-
mation about some of the paleo artists
Katter, Eldon and Marilyn G. Stewart. Art: The following sites are suggested for whose works are part of the Lanzendorf
A Community Connection. Worcester, teachers but also may be useful for Collection. Be sure to screen all Web
Mass.: Davis Publications, 2001. This student research. Preview all sites to sites to make sure that they are appro-
outstanding resource will enhance the make certain they are suitable for your priate before offering them to your
understanding of visual arts for both arts students. students.
educators and classroom teachers.
Dinosauria On-Line: This is a reference Michael Skrepnick:
Lanzendorf, John. Dinosaur Imagery: The
site for adults and older children, http://www.dinosaursinart.com
Science of Lost Worlds and Jurassic Art.
focusing on every aspect of dinosaurs
San Diego, Calif.: Academic Press, 2000.
including ancient birds, dinosaurs, evolu- John Bindon:
This book showcases the paleo art
tion, fossilization, extinction, even legal http://www.bindonart.com/
collected by John Lanzendorf and
issues surrounding many discoveries.
features biographical information about
http://www.dinosauria.com Stephen and Sylvia Czerkas:
many of the artists in the collection. It
also explains the role that John http://www.dinosaur-museum.org
Dinosaur Illustrations: This site helps
Lanzendorf has in the fields of paleon-
visitors locate dinosaur illustrations Brian Cooley:
tology and paleo art.
posted on the Internet. http://www.dinosaur.org/dinodel/
Norell, Mark A. et al. Discovering http://www.search4dinosaurs.com dinodelcooley.htm
Dinosaurs in the American Museum of
National History. New York: Knopf, 1995. The Dinosaur Interplanetary Gazette: Luis V. Rey:
This reference book for young adults and There is a lot to explore on this site. The http://www.luisrey.ndtilda.co.uk
adults provides comprehensive informa- Dinosaur Links page provides links and
tion about dinosaurs from the American background information on various Michael Trcic:
Museum of Natural History’s collection dinosaurs, paleontology, recent and past http://www.trcicstudio.com/
and research. discoveries, museum exhibits, paleo art
and more. Listings of paleo artists do not James Gurney:
Palmer, Douglas, ed. The Simon & Schuster always have supporting information and http://www.dinotopia.com
Encyclopedia of Dinosaurs & Prehistoric images. Those that are available are
Creatures: A Visual Who’s Who of worthwhile. Tony McVey:
Prehistoric Life. New York: Simon & http://www.dinosaur.org http://www.menagerieproductions.com
Schuster, 1999. Using outstanding
images and limited text, this source
Robert Walters:
provides extensive general information
http://www.dinoart.com
about specific dinosaur specimens.
Rey, Luis V. Extreme Dinosaurs. San John Gurche:

Francisco: Chronicle Books, 2001. Luis V. http://www.gurche.com/
Rey, illustrator. This book explores the content_dinosaurs.htm
relationship between science and
creativity, showing how the fossil record Douglas Henderson:
provides paleo art with up-to-date, accu- http://gallery.in-tch.com/~earthhistory/
rate scientific information.

45
Museum
Accurate — an emphasis on being Corythosaurus — a duckbill dinosaur Inference — an opinion or idea about
Bonus
careful, exact and precise; free from with a hollow bony crest on top of its something based on indirect
mistakes or errors head that lived in western North evidence (for example, ideas about
Teache
America in the late Cretaceous period how some dinosaurs may have
Adaptation — a body part (feathers,
behaved have been developed by
scales, teeth, horns) or behavior Cretaceous period — the third and final
observing present-day animals)
(living in groups, hibernation) that period of the Mesozoic era, lasting
gives an animal species an advantage from 144 million years ago to 65 Inquiry — an investigation into some-
and helps it survive in its environ- million years ago, in which the thing
ment dinosaurs were one of the dominant
Interpretation — a person’s conception,
life forms
Alamosaurus – a long-necked, whip- explanation or translation of an idea,
tailed plant eater, about 69 feet long Design elements — basic components subject or work of art
and weighing approximately 33 tons, of an artwork, such as line, shape,
Line — a thin, straight or curved mark
that lived during the late Cretaceous form, color, value, space and texture
made by pencil, pen, chalk or other
period. This dinosaur originated in
Design principles — the different ways medium; one of the design elements
South America, but fossils have been
artists organize or use elements of an that an artist manipulates to achieve
found in New Mexico, Texas and Utah.
artwork. Examples include balance, a certain effect
Anatomy — the structure of an contrast, emphasis, pattern, propor-
Media — the materials an artist uses,
organism, such as an animal or plant tion, movement, rhythm, unity and
such as pencil, chalk, oil paints, clay,
variety
Armature — a framework for metal, glass, etc. (singular: medium)
supporting the clay or other material Environment — the conditions that
Mesozoic era — an era of geological
used in modeling a sculpture make up one’s surroundings
time ranging from 248 million years
Art — creative work, its principles or Evidence — data that proves support ago to 65 million years ago and
outcomes; human activity that may for a hypothesis divided into three shorter periods,
include many different art forms, the Triassic, the Jurassic and the
Form — an element of design. Any three
such as painting, sculpture, architec- Cretaceous
dimensional object. A form has
ture, theatre, dance or music
height, width and depth Mixed media — the use of different
Artist — a person who uses the skills media, such as watercolors and
Fossil — the preserved remains, imprint
and processes of an art form to pencil, in the same composition
or trace of an ancient plant or animal
create works of art
Movement — the suggested motion in
Fossil record — the accumulated body
Basic needs — the minimum that an an artwork achieved by the way an
of information developed by scien-
animal needs to survive, such as food, artist arranges the components of
tists through the long-term study of
water and protection the work or uses media in a specific
fossils
technique
Biped — an animal that uses only its
Habitat — the region or environment
hind legs for locomotion Mural — an image painted on a wall or
where a plant or animal naturally
other large surface
Carnivore — an animal that feeds grows or lives
primarily on the flesh of other Observation — a fact about a specimen
Herbivore — an animal that eats only
animals that can be directly observed
plants
Collection — a group of things Painting — a form of art that uses oil,
Hypothesis — an unproved proposition
purposely collected that share a water or acrylic paints to develop an
about how something in nature
common theme image on a two-dimensional, flat
works that can be tested by further
surface
Color — the visual sensation caused by investigation, experiments or obser-
the refection of light waves of vations
different length; one of the elements
that an artist selects and manipulates
to achieve a certain effect

46
Pachycephalosauridae family — a Quadruped — an animal that uses all Tyrannosaurus rex — A two-legged
family of plant-eating dinosaurs. four legs for locomotion theropod from the late Cretaceous
Some species in this family have period
Realism — an artistic style that empha-
domed heads made of solid bone
sizes the representation of people
and a series of bony knobs at the
and things are they really are
back of the skull and along the snout.
The newly discovered, flat-headed Scale — the proportion that a map,
dinosaur skull at The Children’s model, etc., has to the thing that it
Museum is a new genus and species represents; the ratio between the
of the Pachycephalosauridae family dimensions of a representation and
called Dracorex hogwartsia. those of the actual object (for
example, 1 inch equals 1 mile)
Paleo art — an artistic style that recon-
structs life in earlier geologic periods Sculpture — an art form that uses mate-
based on scientific evidence rials such as wood or metal to build
three-dimensional arrangements
Paleo artist — an artist who works with
paleontologists and uses scientific Shape — a two-dimensional natural
evidence to reconstruct life in earlier (curved or irregular) or geometric
geologic periods (circle, triangle, square) figure created
by a line that surrounds a space
Paleontologist — a scientist who
studies fossils and other evidence to Sinosauropteryx — a theropod living in
understand life in earlier geologic the early Cretaceous period whose
periods skin was covered with downy struc-
tures that may have evolved into
Paleontology — the study of life in
feathers
earlier geologic periods, focusing on
fossils for clues Texture — the surface qualities of a
work of art or the appearance of
Photorealism — a style of late 20th-
surface qualities that appeal to the
century painting that explores the
sense of touch
way people and objects are seen by
the camera, rather than the human Three-dimensional — art forms that
eye have length, width and depth, such
as architecture, sculpture, pottery, etc.
Proportion — the comparative relation-
ship between things, parts or Theory — a set of principles or circum-
elements with respect to size, stances that explains an observed
amount, degree, etc.; the relationship phenomenon and is supported by
between parts of a whole; balance, considerable evidence
harmony Theropod — a suborder of dinosaurs
Protoceratops — a plant-eating that walked upright on their hind
dinosaur that lived in herds in legs and ate meat
lowland habitats of Mongolia during Triceratops — a three-horned, four-
the late Cretaceous period. legged plant eater from the middle
Protoceratops had a parrot-like beak to late Cretaceous Period
and a large frill extending back from
its face. Two-dimensional — Art forms that
have length and width but not depth,
Public art — art created to be viewed in such as drawing, collage, painting
public spaces and print

47
Museum links
Bonus
The Paleo Artists unit of study addresses the 4.4.4 Use common organizational struc-
Teacher Tips
appeals; follow a simple organizational
following state and national academic tures for providing information in writing, pattern, with the most appealing state-
standards: such as chronological order, cause and ments first and the least powerful ones
effect, or similarity and difference, and last; and address reader concerns.
Indiana Standards posing and answering a question.
Research and Technology
Indiana Language Arts Standards 4.4.7 Use multiple reference materials and Indiana Visual Arts Standards
online information (the Internet) as aids to
Grade 3 Language Arts Standards Grade 3 Visual Arts Standards
writing.
Comprehension and Analysis of Grade- Responding to Art: History
Different Types of Writing and Their
Level-Appropriate Text 3.1.1 Identify visual clues in works of art
Characteristics
3.2.2 Ask questions and support answers and artifacts that reflect characteristics of
4.5.6 Write for different purposes (infor-
by connecting prior knowledge with a given culture and speculate on where,
mation, persuasion) and to a specific audi-
literal information from the text. when and by whom the work was made.
ence or person.
3.2.3 Show understanding by identifying 3.1.2 Speculate on the function or
answers in the text. purpose of a work of art and make
Grade 5 Language Arts Standards
Organization and Focus connections to the culture.
Structural Features of Informational
3.4.2 Discuss ideas for writing, use Responding to Art: Criticism
and Technical Materials
diagrams and charts to develop ideas, and 3.3.1Identify and describe sensory, formal,
5.2.1 Use the features of informational
make a list or notebook of ideas. technical and expressive properties in the
texts, such as formats, graphics, diagrams,
3.4.3 Create single paragraphs with topic work.
illustrations, charts, maps and organiza-
sentences and simple supporting facts 3.3.2 Construct meaning in works of art
tion, to find information and support
and details. based on personal response, properties
understanding.
Research and Technology found in the work and background infor-
Comprehension and Analysis of Grade-
3.4.4 Use various reference materials (such mation about the work.
Level-Appropriate Text
as a dictionary, thesaurus, atlas, encyclo- 3.3.3 Use appropriate art vocabulary.
5.2.3 Recognize main ideas presented in
pedia and online resources). Responding to Art: Aesthetics
texts, identifying and assessing evidence
Different Types of Writing and Their 3.6.2 Reflect on personal response to a
that supports those ideas.
Characteristics work of art and identify personal prefer-
5.2.4 Draw inferences, conclusions, or
3.5.3 Write personal, persuasive, and ence.
generalizations about text and support
formal letters, thank-you notes, and invita- Creating Art: Production
them with textual evidence and prior
tions that show awareness of the knowl- 3.7.1 Demonstrate observational skills in
knowledge.
edge and interests of the audience; estab- the production of artwork.
Organization and Focus
lish a purpose and context; and include 3.8.1 Apply elements (line, shape, form,
5.4.1 Discuss ideas for writing, keep a list
the date, proper salutation, body, closing texture, color and space) and principles
or notebook of ideas, and use graphic
and signature. (repetition, variety, rhythm, proportion,
organizers to plan writing.
movement, balance, emphasis) in their
5.4.3 Write informational pieces with
Grade 4 Language Arts Standards work that effectively communicates their
multiple paragraphs that present impor-
Structural Features of Informational ideas.
tant ideas or events in sequence or in
and Technical Materials 3.9.1 Identify differences between media
chronological order; provide details and
4.2.1 Use the organization of informa- and the visual characteristics of each
transitions to link paragraphs; and offer a
tional text to strengthen comprehension. medium.
concluding paragraph that summarizes
4.2.5 Compare and contrast information 3.9.2 Identify and control different media,
important ideas and details.
on the same topic after reading several techniques and processes to effectively
Research and Technology
passages or articles. communicate ideas, experiences, and
5.4.5 Use note-taking skills.
Organization and Focus stories.
Different Types of Writing and Their
4.4.1 Discuss ideas for writing. Find ideas 3.10.1 Demonstrate evidence of reflec-
Characteristics
for writing in conversations with others tion, refinement and care in completion of
5.5.4 Write persuasive letters or composi-
and in books, magazines, newspapers, work.
tions that state a clear position in support
school textbooks or on the Internet. Keep
of a proposal; support a position with
a list or notebook of ideas.
relevant evidence and effective emotional

48
3.10.2 Identify and apply assessment 4.10.1 Demonstrate the ability to success- communicate ideas, experiences, and
criteria for studio work (craftsmanship, fully generate an idea, select and refine an stories.
control of media, communication of ideas) idea, and execute the idea. 5.10.1 Demonstrate evidence of reflec-
and reflect on the evidence of those qual- 4.10.2 Identify and apply criteria for tion, thoughtfulness and care in selecting
ities in their work. assessment in their work, in peer critiques ideas and completing work.
Integrated Studies and in self-assessment. 5.10.2 Identify and apply criteria for
3.13.2 Demonstrate the ability to create a Integrated Studies assessment in their work, in peer critiques
work of art integrating concepts, subject 4.13.2 Create a work of art using subject and in self-assessment.
matter or the sign systems (such as words matter, concepts or sign systems (words, Integrated Studies
or numbers) of another discipline. numbers) of another discipline. 5.13.2 Create products or performances
(debates, critiques, papers) that communi-
Grade 4 Visual Arts Standards Grade 5 Visual Arts Standards cate in-depth knowledge gained through
Responding to Art: History Responding to Art: History integrated study of a theme, historical
4.1.1 Identify the relationship between a 5.1.1 Identify the relationship between a period or event.
work of art and the geography and char- work of art and the geography and char-
acteristics of the culture; and identify acteristics of the culture, and identify Indiana Science Standards
where, when and by whom the work was where, when, why and by whom the work
Grade 3 Science Standards
made (focus: Indiana history). was made (focus: North America).
The Nature of Science and Technology
4.1.2 Research and identify the function of 5.1.2 Identify and compare works of art
3.1.3 Keep and report records of investi-
a work of art or artifact and make connec- and artifacts with similar functions.
gations and observations using tools,
tions to the culture (artifacts from Students describe, analyze and interpret
such as journals, charts, graphs and
Indiana). works of art and artifacts.
computers.
Students describe, analyze and interpret Responding to Art: Criticism
3.1.4 Discuss the results of investigations
works of art and artifacts. 5.3.1 Analyze the artist’s use of sensory,
and consider the explanations of others.
Responding to Art: Criticism formal, technical and expressive proper-
3.1.5 Demonstrate the ability to work
4.3.1 Analyze sensory, formal, technical ties in a work of art.
cooperatively while respecting the ideas
and expressive properties in a work of art. 5.3.2 Construct meaning in the work
of others and communicating one’s own
4.3.2 Construct meaning based on prop- based on personal response, properties
conclusions about findings.
erties found in the work, personal found in the work, and background infor-
Scientific Thinking
response and research on the work and mation on the context of the work.
3.2.6 Make sketches and write descrip-
its context. 5.3.3 Use appropriate art vocabulary.
tions to aid in explaining procedures or
4.3.3 Use appropriate art vocabulary. Responding to Art: Aesthetics
ideas.
Responding to Art: Aesthetics 5.6.2 Understand that personal preference
The Living Environment
4.6.2 Understand that personal preference is one of many criteria used in making
3.4.5 Give examples of some kinds of
is one of many criteria used in making judgments about art.
organisms that have completely disap-
informed judgments. Creating Art: Production
peared and explain how these organisms
Creating Art: Production 5.7.1 Demonstrate refined observational
were similar to some organisms living
4.7.1 Demonstrate refined observational skills through accurate rendering of repre-
today.
skills in their work. sentational objects and subject matter
Common Themes
4.8.1 Apply elements (line, shape, form, from life.
3.6.3 Explain how a model of something is
texture, color and space) and principles 5.8.1 Apply elements (line, shape, form,
different from the real thing but can be
(repetition, variety, rhythm, proportion, texture, color, value and space) and princi-
used to learn something about the real
movement, balance, emphasis) in work ples (repetition, variety, rhythm, propor-
thing.
that effectively communicates their ideas. tion, movement, balance, emphasis and
4.9.1 Identify differences between media unity) in work that effectively communi-
and the visual characteristics of each cates their ideas.
medium. 5.9.1 Discriminate between visual charac-
4.9.2 Identify and control different media, teristics of a variety of media and selec-
techniques and processes to effectively tively use these in their work.
communicate ideas, experiences and 5.9.2 Identify and control different media,
stories. techniques and processes to effectively

49
Museum links
Bonus
Indiana Science Standards Continued Visual Arts 5–8
Teacher Tips
National Standards
Grade 4 Science Standards Content Standard 1: Understanding and
The Nature of Science and Technology National Standards for Art Education applying media, techniques and
4.1.3 Explain that clear communication is processes
an essential part of doing science since it Visual Arts K–4 a) apply media, techniques and processes
enables scientists to inform others about Content Standard 1: Understanding and with sufficient skill, confidence and sensi-
their work, to expose their ideas to evalua- applying media, techniques and tivity so that their intentions are carried
tion by other scientists and to allow scien- processes out in their artworks
tists to stay informed about scientific a) know the difference in materials, tech- b) conceive and create works of visual art
discoveries around the world. niques and processes that demonstrate an understanding of
Scientific Thinking c) use different media, techniques and how the communication of their ideas
4.2.5 Write descriptions of investigations, processes to communicate ideas, experi- relates to the media, techniques and
using observations and other evidence as ences and stories processes they use
support for explanations. d) use art materials and tools in a safe, Content Standard 2: Using knowledge of
4.2.6 Support statements with facts found responsible manner structures and functions
in print and electronic media, identify the Content Standard 2: Using knowledge of b) evaluate the effectiveness of artworks
sources used and expect others to do the structures and functions in terms of organizational structures and
same. a) know the differences among visual functions
4.2.7 Identify better reasons for believing characteristics and purposes of art in Content Standard 3: Choosing and eval-
something than “Everybody knows that ...” order to convey ideas uating a range of subject matter, symbols
or “I just know” and discount such reasons b) describe how different expressive and ideas
when given by others. features and organizational principles b) apply subjects, symbols and ideas in
The Living Environment cause different responses their artworks and use the skills gained to
4.4.6 Explain how in all environments, Content Standard 3: Choosing and eval- solve problems in daily life
organisms are growing, dying and uating a rage of subject matter, symbols Content Standard 5: Reflecting upon
decaying, and new organisms are being and ideas and assessing the characteristics and
produced by the old ones. a) explore and understand prospective merits of their work and the work of
Common Themes content for works of art others
4.6.3 Recognize and describe how b) select and use subject matter, symbols b) describe meanings of artworks by
changes made to a model can help and ideas to communicate meaning analyzing how specific works are created
predict how the real thing can be altered. Content Standard 4: Understanding the and how they relate to historical and
visual arts in relation to history and cultural context
Grade 5 Science Standards culture c) reflect analytically on various interpre-
The Nature of Science and Technology b) identify specific works of art as tations as a means for understanding and
5.1.2 Begin to evaluate the validity of belonging to particular cultures, times evaluating works of visual art
claims based on the amount and quality
and places Content Standard 6: Making connec-
of the evidence cited.
Content Standard 5: Reflecting upon tions between visual arts and other disci-
Scientific Thinking
and assessing the characteristics and plines
5.2.4 Keep a notebook to record observa-
merits of their work and the work of b) compare characteristics of visual arts
tions and be able to distinguish inferences
others within a particular historical period or
from actual observations.
a) understand there are various purposes style with ideas, issues or themes in the
The Living Environment
for creating works of visual art humanities or sciences
5.4.7 Explain that living things, such as
c) understand there are different
plants and animals, differ in their charac-
responses to specific artworks
teristics, and that sometimes these differ-
Content Standard 6: Making connec-
ences can give members of these groups
tions between visual arts and other disci-
(plants and animals) an advantage in
plines
surviving and reproducing.
b) identify connections between the
5.4.8 Observe and describe how fossils can
visual arts and other disciplines in the
be compared to one another and to living
curriculum
organisms according to their similarities
and differences.

50
National Science Education Standards Standards for the English Language
Arts
Content Standards K–4
Content Standard A — Science as
Standard 1: Students read a wide range
Inquiry: As a result of activities in grades
of print and non-print texts to build an
K–4, all students should develop
understanding of texts, themselves and
Abilities necessary to do scientific inquiry
the cultures of the United States and the
Understanding about scientific inquiry
world; to acquire new information; to
Content Standard C — Life Science: As a
respond to the needs of and demands of
result of activities in grades K–4, all
society and the workplace; and for
students should develop understanding
personal fulfillment.
of the characteristics of organisms, life
Standard 3: Students apply a wide range
cycles of organisms, organisms and envi-
of strategies to comprehend, interpret,
ronments
evaluate and appreciate texts.
Content Standard E — Science and
Standard 4: Students adjust their use of
Technology: As a result of activities in
spoken, written and visual language (e.g.,
grades K–4, all students should develop
conventions, style, vocabulary) to commu-
Understanding about science and tech-
nicate effectively with a variety of audi-
nology
ences and for different purposes.
Abilities to distinguish between natural
Standard 5: Students employ a wide
objects and objects made by humans
range of strategies as they write and use
Content Standards G — History and
different writing process elements appro-
Nature of Science: As a result of activities
priately to communicate with different
in grades K-4, all students should develop
audiences for a variety of purposes.
understanding of science as a human
Standard 7: Students conduct research
endeavor
on issues and interests by generating
ideas and questions and by posing prob-
Content Standards: 5–8
lems.They gather, evaluate and synthesize
Content Standard A — Science as
data from a variety of sources (e.g., print
Inquiry: As a result of activities in grades
and non-print texts, artifacts, people) to
5-8, all students should develop abilities
communicate their discoveries in ways
necessary to do scientific inquiry, under-
that suit their purpose and audience.
standing about scientific inquiry
Standard 8: Students use a variety of
Content Standard C — Life Science: As a
technological and informational resources
result of activities in grades 5-8, all
(e.g., libraries, databases, computer
students should develop understanding
networks, video) to gather and synthesize
of structure and function in living
information and to create and communi-
systems, regulation and behavior, popula-
cate knowledge
tions and ecosystems, diversity and adap-
tations of organisms
Content Standard E — Science and
Technology: As a result of activities in
grades 5-8, all students should develop
understanding about science and tech-
nology
Content Standards G — History and
Nature of Science: As a result of activities
in grades 5-8, all students should develop
understanding of science as a human
endeavor, nature of science, history of
science

51
Artists and Artworks
The Mann Properties Gallery featuring nicely, the overall composition held it Other artworks at
the Lanzendorf Collection of Dinosaur together and the encroaching intruder The Children’s Museum
Imagery at The Children’s Museum opens up the ‘What’s gonna happen Michael works in several different media,
gives students the opportunity to experi- next?’ response in the viewer,” Michael including pen and ink, pencil,
ence original paleo artworks, including says. ”One of the more challenging Prismacolor and paint. For the painting
works by the artists featured in this unit. things about the painting was rendering process, he usually works in acrylics on
Because of the large number of items in the Triceratops’ right brow horn, which Masonite. He has completed three paint-
© 2004 Michael Skrepnick, T. rex Attack!, The Children’s Museum of Indianapolis

the collection, works are rotated on a was extremely foreshortened, and to try ings that reconstruct the three major
regular basis. to get the feeling that it was advancing fossil scenarios in Dinosphere at The
Children’s Museum: T. rex Attack, The
MICHAEL W. SKREPNICK Watering Hole and Scavenger or Predator?.
“I’ve been interested in dinosaurs since I The original paintings and several other
was a little kid,” Michael Skrepnick points of his works can be viewed in the Mann
out in a 2001 interview for Properties Gallery.
PaleoPortfolio, a paleo art Web site.
Growing up in Canada, his first inspira- In an April 2004 interview with museum
tion as an artist was Rudolph Zallinger’s staff, Michael describes how he develops
mural Age of Reptiles. Michael graduated works like these and the effect that he
from art school in the 1970s. When the hopes to have on the viewer: “Once I
Royal Tyrrell Museum of Paleontology have worked out the anatomy of the
opened near the fossil fields in the Tyrannosaurus rex and Triceratops dinosaurs (having fleshed out the
badlands of Alberta, he started doing Medium: Acrylic on Masonite skeletal mounts), having amassed refer-
volunteer fossil preparation there. This Date: 1998 ence material regarding the specific
led him to do drawings of some of the Dimensions: 35 1/2" W x 20 3/4" H plants involved as well as generic land-
fossil material and then dinosaur illustra- scape imagery that reflects similar
tions. Soon he had commissions from through the picture plane.” lighting and time of day that will appear
paleontologists for illustrations in In Dinosaur Imagery, Michael comments in my reconstruction, I begin the actual
popular publications and, by 1993, he on the scientific background that serves painting process. The sky is always laid in
had begun to work full-time as a paleo as the foundation of the painting: first, and after ‘blocking in’ the ground, I
artist. Today, Michael is considered one of “Tyrannosaurus rex was a fierce predator most often work from the distant back-
the world’s leading interpreters of and an unmistakably efficient oppor- ground into the foreground. As the land-
ancient life. His drawings and paintings tunistic scavenger. The painting depicts scape is being developed, I will reach a
appear in museums, scientific institu- this majestic carnivore over a recent point at which the outlines of the
tions, numerous publications and books, carcass of Triceratops along a river dinosaurs are dropped into the scene.
including covers for The Encyclopedia of embankment.” Michael points out that Color and light are rendered onto the
Dinosaurs and John Lanzendorf’s the T. rex probably didn’t kill its unfortu- dinosaurs to reveal their three-dimen-
Dinosaur Imagery. He particularly enjoys nate meal and is simply a scavenger in sional form and must replicate the light
working on recent discoveries with pale- this case. Triceratops weighed several source (the sun) in the same manner as
ontologists to reconstruct “soon to be tons, had three sharp lance-like horns they light appears to be falling on the
described” species.“When I recall my and would be a hard animal to kill, but background surroundings in order for
interest in dinosaurs and dino art as a that doesn’t mean there won’t be a fight! the entire scene to appear ‘correct.’ If all
kid,” Michael says,“it now just seems to Michael describes the painting’s the research and technical problems are
me that events in my life have taken me dramatic tension:“The Tyrannosaurus has handled in a careful and methodical
full circle.” just begun to feed and has been discov- manner, the resulting image should tran-
ered by another of its kind patrolling the scend the actual physical diorama
In the same 2001 interview, Michael river’s edge. Perhaps a skirmish over the components, allowing the viewer to be
admits that Tyrannosaurus rex and prize will ensue, the outcome of which ‘drawn in’ to the image, experiencing a
Triceratops is one of his favorite works, a will be observed by a lone turtle, hidden state of ‘suspended disbelief’ in which for
preference that is shared by the public amidst the shoreline detritus.” a few moments they feel as though they
and other paleo artists.“I think the domi- have been transported back in time to
nant pose of the predator worked out the Cretaceous!”

52
SYLVIA J. CZERKAS Whether they are sculpting hatching
© 1975 Sylvia Czerkas, Protoceratops, resin, 4 3/4" high from

Born in 1943, Sylvia Czerkas is a sculptor, babies or the largest carnivores, the
book author, editor and researcher. She Czerkases first carry out a painstaking
base, The Children’s Museum of Indianapolis

and her husband, paleo artist Stephen study of fossils, living animals and
Czerkas, usually work as a team. Together modern animal behavior. This is funda-
they founded The Dinosaur Museum in mental to the process of fleshing out a
Blanding, Utah, where they tell the story dinosaur, creating the skin, choosing
of dinosaurs through fossils, graphics color and markings and deciding on real-
and sculptures, including reconstructions istic action poses. When they reconstruct
of dinosaur specimens from the Four life-size dinosaurs, they first create small-
Corners area of New Mexico, Arizona, Protoceratops scale models. Then they scale the figure
Utah and Colorado. Sylvia and Stephen Medium: Resin up, construct an armature and sculpt the
have developed several traveling exhibits Date: 1975 dinosaur’s body in clay. A mold is made
and often spend their summers digging Dimensions: 4 3/4" H from base from the clay sculpture. When it is dry,
for fossils. Sylvia served as guest curator the mold is filled with fiberglass. The
for Dinosaurs Past and Present, a major This small sculpture is one of Sylvia’s fiberglass sections are clamped together,
exhibit and scientific symposium organ- early works. Created in 1975, when scien- the body is assembled and the seams
ized by the Natural History Museum of tists had only begun to study dinosaur where the sections join are sealed.
Los Angeles in 1986. She was also co- eggs, this area of research would later Finally, color and details are added to
editor of the two-volume book by the become a focus for her as well as for a complete the sculpture. For more infor-
same name. In 2005, both Sylvia and number of other artists and paleontolo- mation on how these two paleo artists
Stephen received honorary doctorates gists. She has captured the moment bring dinosaurs to life, see their book, My
from the California Academy of Arts. when a hatching Protoceratops first Life With the Dinosaurs, or read Dinosaurs
forces its way out of the egg. Fragments All Around: An Artist’s View of the
As a result of their meticulous study of of the egg shell lie near the base of the Prehistoric World (Grades 4 – 6) by
rare fossilized skin samples, the sculpture. The relatively smooth surface Caroline Arnold.
Czerkases have developed a reputation of the egg contrasts with the wrinkled
for their realistic reconstructions of both texture of the dinosaur’s sturdy little DONNA BRAGINETZ
dinosaur anatomy and skin features. forelegs. The forelegs are bent, Donna Braginetz is a freelance painter
Most recently the Czerkas team has suggesting that in the next moment and illustrator known for her precise
worked on a National Geographic another strong push will split the egg to renderings of dinosaurs and other
project with paleontologist Paul Sereno pieces and free the hatchling for good. ancient life. She began her career while a
to reconstruct a scale model of one of Sylvia has tinted the resin sculpture in student at Colorado State University.
Paul’s most dramatic discoveries, the soft, delicate yellows and pinks. Today, she works at her studio in
most complete spinosaur skeleton ever Protoceratops communicates both the northern Colorado. Her drawings and
found. They spent days with Paul docu- fragility and determination of this paintings have appeared in many books,
menting and discussing every inch of the emerging dinosaur life. including The Encyclopedia of Dinosaurs
fossil. They sculpted every single bone (1997) and The Complete Dinosaur (1997)
and muscle. When the body structure Other artworks at and in magazines such as Natural History
was complete, they sculpted the surface The Children’s Museum and Ranger Rick. She has also illustrated a
features of the dinosaur and created a The sculptures of Sylvia and Stephen series of children’s books about
skin in soft earth tones, making it as Czerkas are exhibited in museums dinosaurs for Carolrhoda/Lerner
natural and realistic as possible. around the world. In addition to Sylvia’s Publications. Currently she is working on
Commenting on National Geographic’s Protoceratops, several of Stephen’s paleo landscape paintings for the Denver
Web site, Sylvia says:“This was probably smaller sculptures are part of the Museum of Nature and Science and for
the most fun project we’ve ever had!” Lanzendorf collection at The Children’s the National Science Museum in Tokyo.
Museum. His two versions of
Tyrannosaurus rex demonstrate how new Donna began to receive a great deal of
scientific discoveries have changed our attention in the paleo art world when
ideas about how the body of the T. rex she painted the first landscape in the
looked and functioned. Ancient Denvers series. This project is a

53
reconstruction of how the Denver area Donna demonstrates the intense atten- sharper focus than the misty green back-
may have looked in different geologic tion to detail that is the hallmark of her ground. To appreciate the range of
periods. Positive public response led to work in this painting of a young duckbill Donna’s work, see her illustrations in
the expansion of the project to include dinosaur. The image almost appears to children’s books such as Seismosaurus:
13 additional works. be a close-up seen through the lens of a The Longest Dinosaur (1996) by Don
camera, with the head and neck of the Lessem, or visit the “Landscapes” section
For the expanded Ancient Denvers subject in sharp focus while other of the Ancient Denvers exhibition at:
project, Donna was part of a team members of the herd form soft focus http://www.dmns.org/main/minisites/
including sculptor and painter Gary patterns of shape and color in the back- ancientDenvers/landscapes.html
bristol board, 23" w x 18" h, The Children’s Museum of Indianapolis

Staab, muralist Jan Vriesen, geologist Bob ground. Donna shows every wrinkle and
© 1994 Donna Braginetz, Omnivorous Ornithomimids acrylic on

Raynolds, and Kirk Johnson, curator of bump in the texture of the young
paleontology at the Denver Museum of dinosaur’s skin and captures an expres-
Nature and Science. The process of sion that is both curious and wary. The
creating past landscapes involves the young Corythosaurus seems to be staring
skills and expertise of both scientists and back into the camera’s eye, trying to
artists. Paleontologists excavate fossils decide whether to investigate or flee. The
and, sometimes with the help of a scien- entire herd is on alert, their eyes dark
tific illustrator, make sketches of indi- and intent in the background. In the next
vidual fossils and what the organism may moment they may bolt.
have looked like when alive. Geologists
Omnivorous Ornithomimids
provide information on rock layers and Behaviors of this type can be seen in
Medium: Acrylic on bristol board
topography. Plant and animal biologists herds of prey animals today. Scientific
Date: 1994
contribute information based on their observation of living animals may also
Dimensions: 23" W x 18" H
studies of existing plants and animals as be the basis for the distinctive markings
well as those that existed during the and colors of Corythosaurus, rendered in
time of the dinosaurs. The paleo artist acrylics in this painting. While there is no
uses this data to make an initial sketch to direct evidence of dinosaur coloration,
BRIAN COOLEY
Brian Cooley grew up loving the wide-
develop the composition of the painting scientists and paleo artists speculate that
open spaces of his home in Alberta,
and the look of the plants and animals. it may have served the same purposes as
Canada. As a boy, he hiked for miles to
Scientists give critical feedback and the it does for living animals. Diversity in
observe plants and wildlife. He also
artist makes revisions before beginning color allows different species to recog-
enjoyed reading science fiction and
to paint. This exchange of ideas between nize each other and often plays a role in
dinosaur stories.“I started collecting
scientists and the artist continues until a mating behavior. It allows herding
plastic dinosaurs at age 5,” Brian says in a
painting emerges that is as scientifically animals to distinguish between
February 2004 e-mail interview with The
accurate as possible. members of their group and predators
Children’s Museum.“I made environ-
who may be stalking the herd. It can also
ments for them and also drew and
serve as camouflage that makes them
bristol board, 8" w x 9" h,The Children’s Museum of Indianapolis
sculpted dinosaurs throughout child-

© 1995 Donna Braginetz, Juvenile Corythosaurus, acrylic on
more difficult for predators to see.

hood. I used to enter my dinosaur
dioramas in the local fair every year.
Other artworks at
Who’da thought?”
The Children’s Museum
In addition to Juvenile Corythosaurus,
Brian’s parents encouraged him to draw,
another of Donna’s works, Omnivorous
paint and sculpt. Unlike some children,
Ornithomimids (1994) is part of the
he never stopped. After graduating from
Lanzendorf Collection. This painting
high school, he attended the Alberta
shows two ornithomimid specimens that
College of Art in Calgary, where he
appear to be feeding on both plants and
Juvenile Corythosaurus majored in sculpture and met his wife,
small animals. In this work, Donna
Medium: Acrylic on bristol board Mary Ann Wilson, a painter. Mary Ann
continues to use the techniques of
Date: 1995 was born in Whitehorse, Yukon, and
photorealism by placing the figures of
Dimensions: 8" W x 9" H moved to Alberta at the age of 13. Her
the dinosaurs in the foreground in

54
mother was a painter so, like Brian, Mary When Brian has finished his research, he
Ann was encouraged to draw and paint makes sketches of the dinosaur in
Brian Cooley, Alamosaurus family (detail), fiberglass, lifesize,

at an early age. different poses. When he is satisfied with
the pose, he creates an armature to

Brian’s first job after graduating from art support the sculpture by cutting steel
school was sculpting a volcano for the rods to the exact size of the bones they
Calgary Zoo’s Prehistoric Park. That led to represent. Then he welds the rods
working with Mary Ann to construct a together in the pose he has selected and
dinosaur for a company in Vancouver. In begins sculpting, usually in clay.
the course of doing research for the
project, the couple met Dr. Philip J. Constructing a life-size dinosaur may
Currie, one of the world’s most promi- require special materials and procedures.
Alamosaurus family (Detail)
nent paleontologists. Dr. Currie’s enthusi- To create Alamosaurus family, Brian
Medium: Fiberglass
astic accounts of new discoveries and covered the armatures with sprayed
Date: 2004
theories renewed Brian’s love of urethane foam, carved the foam and
Scale: Life size
dinosaurs. then finished the sculpting process in
clay. He textured the clay to recreate the
It is now hard to imagine The Children’s
Since that time, Brian and Mary Ann have skin. The finished sculptures were cut
Museum without Brian’s sculptures of a
completed many major projects, often into sections and rubber molds were
70-foot adult and two 25-foot juvenile
working with Dr. Currie. Brian’s sculptures made. When the rubber hardened it was
sauropods. The Alamosaurus family
are in private collections and museums, removed and the inside of the molds
appears to be bursting through the wall
including The Royal Tyrrell Museum of were sprayed with fiberglass. The fiber-
of Dinosphere as if to run wildly into the
Paleontology, The Nature Museum of glass pieces were joined together and
nearby intersection. Installed in 2004, this
Canada, The Academy of Natural painted to complete the dinosaurs.
work of public art has become a commu-
Sciences in Philadelphia and the Field
nity focal point and a new museum icon.
Museum in Chicago. He is also well- The entire process, from initial design to
Visitors often stop to take photographs
known for bringing life to new fossil completion, took a year and a half. The
or simply to look.
discoveries, such as his reconstructions sculptures were shipped from Brian’s
of baby dinosaurs in eggs (1996) and studio to Indianapolis on large flatbed
While the setting is playful and dramatic,
feathered dinosaurs (1998 and 1999) for trucks. The largest of the three dinosaurs
the sculptures are not a work of fantasy.
National Geographic magazine. had to be shipped in sections and
Brian begins a dinosaur sculpture by
assembled on site. Cleverly, Brian also
talking to scientists, measuring skeletons
Brian and Mary Ann have two daughters sculpted fiberglass pieces, painted to
and reading whatever information is
and spend as much time with them as match the walls of Dinosphere, that
available about a dinosaur species. He
possible, remembering the encourage- appear to be crumbling away from the
takes photographs and does sketches of
ment they received from their own side of the building as the dinosaurs
fossils. Often fossils are incomplete.
parents. They often do creative projects break free. Viewers can’t believe their
Under these circumstances Brian works
together as a family, one of which was eyes when they first see this Cretaceous
with paleontologists to determine what
the inspiration for the book, Make-a- escape under way at the corner of 30th
the missing parts may have looked like.
Saurus: My Life with Raptors and Other and Illinois streets! Creating this kind of
Clues can often be found in the fossils of
Dinosaurs. In this easy-to-understand reaction must be rewarding. As Brian
related dinosaurs. This is the case with
guide for children, Brian and Mary Ann says in Make-a-Saurus, “It’s still great fun
Alamosaurus. No fossilized skull of this
explain how scientists determined that for me to imagine what dinosaurs really
dinosaur has ever been found, so Brian
some dinosaurs had feathers, and Brian looked like and how they lived — and to
used the skull of a related specimen as a
shows how he reconstructs life-size create that world with my own hands.”
model. He used titanosaur skin impres-
feathered models. Photographs help chil-
sions as a sample for the skin texture and
dren see how they can use Brian’s profes-
pattern of Alamosaurus.
sional model-building process to create
their own works of art.

55
© 1995 Brian Cooley, Baby Louie, polyester resin, The Children’s Museum of Indianapolis
Sculpture of Oviraptor embryo “Baby Louie” by Brian Cooley
Other artworks at
The Children’s Museum
Brian’s small sculptures Triceratops and
Albertosaurus & ornithomimids are part of
the Lanzendorf Collection. His sculpture
of “Baby Louie,” a rare, intact articulated
fossil of a dinosaur embryo, is featured in
the “Nests and Babies” area of
Dinosphere. Brian reconstructs the
embryonic Oviraptor as it may have
appeared in the egg. A photograph of
this fleshed-out model appeared on the
cover of National Geographic magazine
in May 1996. © 2004 The Children’s Museum of Indianapolis
The outline of the fossilized skull of the Oviraptor embryo called “Baby Louie” can
be seen in a matrix of rock.The embryo was discovered in China by paleontologist
Charlie Magovern in 1994.

56
57 The Children’s Museum of Indianapolis © 2007
Tyrannosaurus rex and Triceratops
Date: 1998
Artist: Michael Skrepnick
Medium: Acrylic on Masonite
Dimensions: 35 1/2" W x 20 3/4" H

© 1998 Michael Skrepnick, Tyrannosaurus rex and Triceratops, acrylic on Masonite, 35 1/2" w x 20 3/4" h, The Children’s Museum of Indianapolis
Featured artworks
58
The Age of Reptiles (Detail)
Date: 1947
Medium: mural
Artist: Rudolph Zallinger
Dimensions: 110' L x 15' H

Rudolph Zallinger, The Age of Reptiles (detail), mural, 110' w x 15' h, © 1947 The Peabody Museum of Natural History,Yale University
Featured artworks
Featured artworks
Juvenile Corythosaurus Artist: Donna Braginetz

Medium: Acrylic on bristol board
Date: 1995
Dimensions: 8" W x 9" H

59
Featured artworks
© 1975 Sylvia Czerkas, Protoceratops, resin, 4 3/4” h from base, The Children’s Museum of Indianapolis
Protoceratops Artist: Sylvia Czerkas

Medium: Resin
Date: 1975
Dimensions: 4 3/4" H from base

60
61 The Children’s Museum of Indianapolis © 2007
Alamosaurus family
Date: 2004
Scale: Life-size
Artist: Brian Cooley
Medium: Fiberglass
Brian Cooley, Alamosaurus Family, fiberglass, life-size, © 2004 The Children’s Museum of Indianapolis
Featured artworks
62
“Before” photo of The Children’s Museum Dinosphere (Cinedome) view, prior to the installation of the Cooley sculpture

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Cover: © 1998 Michael Skrepnick, Tyrannosaurus rex and Triceratops (detail),

acrylic on Masonite, 35 1/2" w x 20 3/4" h, The Children’s Museum of

The Children’s Museum of Indianapolis

LESSON 1: Paleo Art — Moments in Time . . . . . . . . . 6

LESSON 2: Paleo Art Collectors and Artists —

LESSON 3: Culminating Experience —

artists and artworks . . . . . . . . . . . . . . . . . . . . . . 52

The Children’s Museum of Indianapolis © 2007 1

inosaurs no longer walk the scientists who develop theories about

Paleo artists: bringing dinosaurs to life!

© 2004 Michael Skrepnick, T. rex Attack! acrylic on Masonite, 35" w x 22"h,

The Children’s Museum of Indianapolis

© 1995 Brian Cooley, Baby Louie, polyester resin,

and Artists — Opening

The Children’s Museum of Indianapolis © 2007

● Explain how viewing a collection

Paleo artists: bringing dinosaurs to life!

The Children’s Museum of Indianapolis © 2007

Paleo artists use scientific information to create dinosaurs

Paleo artists: bringing dinosaurs to life!

digging dino words

The Children’s Museum of Indianapolis © 2007

Indiana’s Academic Standards

Paleo artists: bringing dinosaurs to life!

The Children’s Museum of Indianapolis © 2007

of Natural History,Yale University

Indiana’s Academic Standards

Paleo artists: bringing dinosaurs to life!

The Children’s Museum of Indianapolis © 2007

© 2004 The Children’s Museum of Indianapolis

Paleo art and the fossil record

Paleo artists: bringing dinosaurs to life!

Important Dates in Dinosaur Discovery

300 A.D. Chinese scholars record the presence of “dragon bones.”

1677 Robert Plot illustrates a thighbone, possibly of Megalosaurus.

1824 William Buckland names Megalosaurus, the first dinosaur to be

1842 Richard Owen coins the term dinosauria.

1851 Models of Iguanodon, Megalosaurus and Hylaeosaurus, made by

1878 Miners discover dozens of Iguanodon skeletons at Bernissart,

1920s A series of expeditions, led by Roy Chapman Andrews of the

1930s The Chinese scientist C.C.Young begins a series of expeditions to

1969 John Ostrom, of Yale University, publishes a description of

The Children’s Museum of Indianapolis © 2007

Paleo artists: bringing dinosaurs to life!

l Have students take another look at

l Point out to students that paleo art

l Ask students how they think the

l Explain that paleontologists and

l Explain that another method scien-

The Children’s Museum of Indianapolis © 2007

They lived with the dinosaurs!

Paleo artists: bringing dinosaurs to life!

What color is your dinosaur?

Doug Henderson, Maiasaura Nesting Ground, pastels, 27 1/2" w x 16 1/2" h, © 2004

The Children’s Museum of Indianapolis © 2007

Paleo art and evidence

© 2004 The Children’s Museum of Indianapolis

Paleo artists: bringing dinosaurs to life!

ASSIGNMENT 1: SCORING RUBRIC

DECONSTRUCT A DINO! This rubric provides a framework for