Gregory Paul
| Gregory S. Paul | |
|---|---|
Gregory Paul in 2011
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| Born |
December 24, 1954 Washington DC |
| Residence | Baltimore, Maryland, United States |
| Nationality | American |
| Fields | Paleontology, Paleoart, Sociology, Theology |
| Institutions | Independent |
| Known for |
Accurate dinosaur restorations |
| Influences | Charles R. Knight, William Scheele, Bill Berry |
| Influenced | Artists during and after the "Dinosaur Renaissance" |
Accurate dinosaur restorations
Pioneering feathered theropods during "Dinosaur Renaissance"
Gregory Scott Paul (born December 24, 1954) is an American freelance researcher, author and illustrator who works in paleontology, and more recently has examined sociology and theology. He is best known for his work and research on theropod dinosaurs and his detailed illustrations, both live and skeletal. Professionally investigating and restoring dinosaurs for three decades, Paul received an on-screen credit as dinosaur specialist on Jurassic Park and Discovery Channel's When Dinosaurs Roamed America and Dinosaur Planet. He is the author and illustrator of Predatory Dinosaurs of the World (1988), The Complete Illustrated Guide to Dinosaur Skeletons (1996), Dinosaurs of the Air (2001), The Princeton Field Guide To Dinosaurs (2010), Gregory S. Paul's Dinosaur Coffee Table Book (2010), and editor of The Scientific American Book of Dinosaurs (2000).
Paul's recent research on the interactions of religion and society has received international press and media coverage.
Paul helped pioneer the "new look" of dinosaurs in the 1970s. Through a series of dynamic ink drawings and oil paintings he was among the first professional artists to depict them as active, warm-blooded and – in the case of the small ones – feathered. Many later dinosaur illustrations are a reflection of his anatomical insights or even a direct imitation of his style. The fact that he worked closely with paleontologists, did his own independent paleontological research and created a series of skeletal restorations of all sufficiently known dinosaurs, lead many to regard his images as a sort of scientific standard to be followed. This tendency is stimulated by his habit of constantly redrawing older work to let it reflect the latest finds and theories. Much of it is in black-and-white, in ink or colored pencil. Sculptors have used these anatomical templates as a resource for decades, and still do today many unauthorized and uncredited Even one of his scientific critics, Storrs L. Olson, described him in a review in the Scientific American as "a superior artist". He was inspired by classic paleoartists such as Charles R. Knight, and has a fondness for the dinosaur restorations of the little-known artist Bill Berry.
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