Batman Comic Page

I haven't drawn a comic book page in a long time, but recently I've wanted to develop that skill again. My normal illustration style is pretty cartoony, so one of my goals was to work in a somewhat more realistic style. Another goal was to try a new digital coloring technique I'd just discovered. So this was an experiment more than anything else.

I read a few tutorials just to refresh my brain on drawing a comic book page. This tutorial on drawing Copper by Kazu Kibuishi was the most helpful by far. I discovered it a few years ago and have read it a few times since, but this last time it really got me jazzed up to try doing a comic page. I went out and bought an 11x17" smooth Bristol pad, pre-lined for comic books (something that didn't exist the last time I drew a comic page, fifteen or so years ago), a non-repro blue pencil (never really used those, but I thought it would be nice not to have to erase my pencil work), a new eraser (for erasing pencil errors), process white paint and a brush for errors in the inking (which I never used), a Hunt number 102 Crow Quill nib pen (as mentioned in the Copper tutorial), and Higgins Black Magic India Ink (also mentioned in the tutorial). I also had a few of my handy Tombow brush tip markers handy - I've been using those or similar models since the early 90's.

I decided to do a page featuring Batman, my favorite superhero - just to make things simpler. Using an existing character let focus more on my style and the page, rather than creating an original character (and likely, a costume) for this project. I can draw Batman almost without thinking. Because the character is so iconic, and I was just winging it and not working from a script with pre-defined panel descriptions, I started penciling with the non-repro blue right on the page, laying out some panel divisions, then adding the character and some backgrounds. Unfortunately, I didn't scan those pencils, but you can get a sense of them from this raw scan of the linework (yes, I'm jumping ahead) - and you can also see that I made the rookie error of inking to the full page size instead of the live area - I'll definitely have to avoid making that mistake next time.

Next, I tried inking using the nib pen, but - unfortunately again - it just didn't feel right. Lest it seem like I didn't give it much of a shot, I actually diverted myself to a few separate pages in the midst of this experiment. Call it laziness, or habit, or comfort, but I reverted to my Tombow brush tip pens, and it just felt right. I like my linework to be bold and that wasn't happening with the nib pen. Though I have to say, working at only 150% of the final size made fine feathering and detail very difficult - especially in the panels where the character was smaller (hey, it's not like your pen tip reduces proportionately to fit). I made many blobby errors that I later cleaned up in Photoshop. I also did thinks like filling the sky in the first panel solid black (see the image above) which I later undid in Photoshop. Here's the eventual result of the inking process, after removing the non-repro blue pencils and darkening the inks until they were almost pure black and white:

And a closeup of one inked panel:

I think I hit the style I was going for - my figure wasn't very cartoony in his composition, but my linework was chunky and varied in the way I like it. I'm not a crosshatchy kind of illustrator, and I don't feel comfortable working with a totally clean line - I think it makes me feel too exposed. I also wound up with many more solid black shapes than I was hoping for, which was somewhat disappointing because I wanted to focus on digital coloring, and that's harder when solid blacks handle much of the shading. Kinda hard to draw Batman without using a lot of black, though. These things are just part of the constant artistic struggle of trying something new vs. knowing your innate style. I've grown comfortable with that struggle.

I did have a problem with the non-repro blue pencil - in some places it didn't let my brush tip (and water-based) ink sit correctly, so I had to clean the linework up later (again, see the first image above). The light blue template lines in the page did the same thing in places, so I think I'll be avoiding both in the future, which is a darn shame - both are convenient. 

For the coloring, I watched a few tutorials on YouTube, this one by Tony Aviña being the most helpful. Even though the style he was demonstrating was something he used more in the past (he said it was the house coloring style for WildStorm Comics), I stuck with this method - starting with dark, flat colors, then adding cuts and gradients - rather than trying a more brush-based coloring technique. I typically work light-to-dark, and I wanted to try a different, more efficient coloring method. Check out the tutorial for details. I can say that by forcing myself to work this way - and not creating dozens of "safe" layers for highlights and shadows - I was eventually making better coloring decisions and getting the page done without constantly making slight tweaks and trying to make everything look consistent. And of course, I used my Wacom Intuos tablet for this coloring work, so things moved along fairly quickly.

I also used Kazu Kibuishi's method of filling each panel with a base color (mine was orangey) to bring all the colors together and avoid them looking too separate and kaleidoscopic (his term). This made it easy to easily experiment with and adjust that global hue afterward. I tried some greener colors, but this orange layer, with the mode set to Hue and at 30% opacity, worked best. It took some time, but the whole coloring process flowed much more than it has in the past for me.

The final colored page:

The only real "special effects" I did beyond the typical coloring method was adding stars in the sky with a slight outer glow, and the shadow on panel two. 

Now, I've been reading some new comics - more than I have in the past decade. In both Sweets by Kody Chamberlain and The Cape published by IDW, there's a strong halftone effect used to add to the tone. I liked how both artists used this effect - the last time I used halftone for illustration work, it was called Zip-a-Tone and you had to cut it with an X-acto knife and place it right on your illustration. And the funny thing was, back then I wished it could be a smaller, finer pattern - and now the style I was going for was the same big, obvious dot pattern effect I'd used in the past. Crazy how things change, huh?

I created a halftone in Photoshop, filled then panels, then (mostly) erased away the parts I didn't want. I tried to keep the halftones to the edge of the black areas, though I did use it for the entire skyline in the first panel. I was very loose with that pattern, and I really like the grungy effect it gave me. In the end I made it dark blue instead of black, and set the layer to Multiply instead of Normal. Try doing that with Zip-a-Tone (don't really try - you can't).

Oh - and I created a subtle texture that I laid over the color. I filled a layer with 50% gray, added a lot of noise, then set it to overlay. It gives the color a little more of a natural media effect, especially when viewed at a large/close-up size.

I composed the text afterward, which really isn't fair - if something didn't fit, I just edited it down. I know - cheating. For the lettering itself, I used Comic Book Commando (regular) on top of some dingy yellow boxes. The boxes were on their own layer, and I gave that layer a Stroke effect (so I didn't have to keep re-outlining them every time I resized a box), and a little inner glow (really a shadow) and a noisy, subtle drop shadow. Pretty ostentatious stuff.

Here's the full, finished page, with the bottom two panels I haven't shown yet:

And a couple closeups of finished panels. You can really see that overlaid noise layer in these.

I was reasonably happy with the final piece. Of course, I found many reasons to work on my sketching, anatomy, backgrounds, coloring... but it was a nice workout, flexing muscles I haven't flexed in a while. More comics to come!

Rosies

Illustration parody of Rosie the Riveter. Click for larger image.

Once more, an atypical project - but maybe since I've posted so many of these "oddball" projects that I don't think of as being typical, I have to acknowledge that the weird ones come along more often than I think or remember. I'm coming to terms with it.

An agency approached me (that sounds funny - like they snuck up on me or something) and asked if I could help them create a parody of the famous WWII Rosie the Riveter illustration, which you've certainly seen, but just in case you haven't - here it is...



Now, the agency took a stab at it on their own, and they didn't do a bad job, in my opinion - I think this could have passed as the final product...



...but they just didn't like it enough to present it to the client - who, as you may have figured out by the logo, owns a tank cleaning business named Rosies - hence the poster as the inspiration source. It wasn't a far reach in terms of parody, but it was appropriate. So I selected a subdued color palette and started rendering in Freehand, using my Wacom tablet.


Super duper closeup detail.

The funny thing is, I didn't have much direction other than to follow than the comp the agency provided and a few rounds of feedback on my work - which was fine, but as I look at it now, their version is a burly man with ruddy skin, his eyes mysteriously hidden by the hat like the Marlboro Man. My version looks like Joel Grey in Remo Williams: The Adventure Begins (and why did the adventure never continue, by the way? I loved that movie when I was a teenager), but with huge biceps. I asked if I should avoid linework, to make this vector version look more like the original painting, but the agency and client wanted line - so they got line, and a chunky line at that.

So the agency liked the piece, and the client liked it, too. But the real question is: would Joel Grey like it? I hope so.

USA Today Holiday Promotion

Click for larger image. You'll be able to see the doggie's nose in more detail.

I've shown examples of two fairly recent illustrations that I said I felt pretty happy with, in terms of using Photoshop and my Wacom Intuos graphics tablet. I mentioned that in the 90's up until around 1999 or 2000, I was using only traditional materials - brush-tip pens for linework, which was photocopied and then colored with PrismaColor markers. Then I plunged into the world of digital illustration in the late 90's, first using a $99 Wacom Graphire, which was still totally fine for my purposes. I was really happy with how close I could come to my traditional style, even after only a few weeks, but in retrospect I think I sacrificed some of the imperfect qualities of natural media (especially the coloring) in these earlier digital pieces.

I did the piece above in 2000 for an agency who were developing an online campaign for USA Today. They just wanted a simple illustration that would look good when reduced - a little scene that promoted the newspaper's doorstep delivery service. I did a sketch, it was approved, and I proceeded to create the digital rendering.


Detail of the lady's face. Pretty smooth colors - maybe a little too smooth?

It took me a few illustrations to get the right feel for creating linework with the Wacom. I also remember messing up many times, not locking layers and creating nice, solid black lines... in the sketch layer. I got over that pretty quickly. I like some random, chunky variation in my lines when working with a brush-tip marker, so it was fairly easy to replicate that feeling with the Wacom.

The only real issue I had was what I call (in my head) "pulling" - there are some directions that, when I'm inking on paper, don't feel natural when the page is oriented perfectly vertically, so I rotate the paper a bit to get into a better position. I can't do that with the Wacom, so I found myself at times (especially on big, round shapes) drawing some of the lines at the wrong angle (but one that felt oh-so-right), then cutting, pasting, and rotating that linework to make it blend. That was pretty painful - over time, I got better at making it work without using that technique.


Awwww! This guy was modeled after
my Mom's dog Bandit at the time it was drawn.

Coloring with the Wacom allows for a lot more experimentation, which is not necessarily a good thing. In the "good old days", I'd lay down color with my PrismaColor markers, which I knew intimately in terms of their blending qualities. In the very early days - say, up until 1996 or so - if I made a mistake, I'd have to live with it or start the coloring over. Then at some point, I had a computer with a scanner and I'd sometimes recolor part of a piece I wasn't happy with on a separate photocopy of the linework, then use Photoshop to meld the two pieces together. Ouch - that was even more painful.

By the time I was able to color digitally, it felt like taking the training wheels off - it was freeing, but possibly a bit too freeing. I was putting a lot of color elements on their own layers, allowing myself near-endless amounts of time to adjust colors. And that's time I did spend, tweaking things a bit, then tweaking other colors to fit the newly-adjusted elements... I was taking days on just color. Also, it was too easy to keep darkening and lightening without using different colors for the shadows and highlights, so elements weren't varied in hue as much as they would have been with markers.

Most significantly, I was able to create totally smooth color transitions, highlights, shadows and gradients, which winds up giving the piece a very airbrushed look. I liked that look back then, ten years ago - probably because it wasn't a look I could get with my markers - but now it looks too smooth and perfect to my eyes, especially when combined with my idiosyncratic linework. It wasn't messy enough, to put it simply. I remedied that over time, but this piece is a little to stiff for me.

Oh, and the lady has man-hands - I must have been watching Seinfeld when I was sketching this one out.


The offending digits.

So there you go - some self-criticism, just like you requested (not really). I have to use it in moderation, in case my clients begin reading this blog - I don't want to hurt anyone's feelings, especially anyone who hired me to complete a job - one they may still be happy with. I don't hate this piece (I don't expect I'll be posting anything here that I've come to truly loathe - those pieces do exist, though) but I think it could have been improved. That's a pretty common feeling when looking at old work, though. I am large; I contain volumes. And trebles.

The Mystery of the Small Town Ruby

Click for larger image. You know you want to.

I've done a lot of work for jewelry magazines - something I never planned to do, but it just kind of happened and I ran with it. This particular jewelry-oriented article was about the history of one little ruby, which went through a series of wacky The story was kind of like The Red Violin, except you can't play the ruby, because it's a precious stone. I mean, I guess you could, but it would sound pretty bad.


Original sketch, done with a real pencil. Sickly green tone added in Photoshop.

I took a couple risks with this illustration - minor risks, maybe, but I did stray from what I might typically do. For one, because of the episodic nature of the article, I decided to include three thought balloons in the illustration. I don't believe I've ever done this in an editorial illustration before, but it seemed to call for it. So in they went, next to the fictional investigator I created to symbolize the searching element of the piece. I am all about symbolism - me and Dali.


These are lines. Thick black lines, made with ink... digital ink, that is.

Then, to emphasize these three word bubbles, and to prevent the background from competing with them too much, I gave a very heavy greenish-brown tone to the background, only letting a tiny bit of the color details there to come through. I also thought this would let the ruby itself - shown in four places - gain more emphasis. So down went the color in a fairly heavy manner.


Detail of the hapless private eye. The man has no hap.

I think it worked. The story went back to the late 1700's (where the ruby was thought to have been first sold), and I felt like the kind of dark, slightly grungy greens, yellows, and browns all lent a feeling of that era's mood. I even added a greenish-yellow layer in Photoshop over everything, which made the skin colors and other hues a little queasy-looking.

I liked it - it was a change for me, but a change determined by an unusual subject and article. However, I'm not sure if the magazine liked it. This was the last piece I did for them (back in 2007), and unlike every other piece, I never heard from the Art Director after the issue was printed. Usually he'd e-mail or call to let me know how good a piece looked printed, or how happy the editorial staff was with the illustration - but here, nada. Maybe I pushed it too far (or maybe I'm just being paranoid) but I'm still pleased with how the piece turned out.

Why Reinvent the Flex-Shaft?

Click for larger image and you'll be able to see the instructor's
five o'clock shadow in more detail. And you know how awesome that is.

I swear that I really understood what a flex-shaft was when I was working on this illustration. The magazine article was really about a few different educational programs for jewelers, but the Art Director wanted the visual to play off the title, actually depicting a class learning about the flex-shaft, a jeweler's tool used for grinding down materials. I wish they would have given me one for free - it seems cool.

A quick google search showed me all I needed. And you can see just how knowledgeable I became by looking at the text on the chalkboard, where I just scribbled lines (instead of actually using real text descriptions) for each broken-down piece of the tool. Never let it be said that I don't take the easy way out (actually, I just don't like too much text in an illustration - it's distracting).


Original sketch for the illustration. Not sure why I didn't finish drawing
the teacher's legs. That was pretty lazy of me.

Using Photoshop and my Wacom tablet, I sketched out a classroom environment. The Art Director for the magazine had requested (as he usually did) a horizontal layout, so I kept the instructor near the center and spread a few students across the environment, making them all look either frustrated or disinterested, as students should be represented. I really cheated the girl on the left, facing her away from the teacher - I wanted at least one of the student's faces to be clearly visible to the viewer, so her angry expression could be easily seen. That's just how I am.

From what I recall, I only supplied one sketch (the timeframe may have been short for this project - possibly a couple weeks) and it was quickly approved with no changes. I rendered the linework with the Wacom/Photoshop combo, tracing over the sketch layer. I always make sure to lock the sketch layer, and then the line layer when it's complete, so that elements don't get mixed up. This Art Director liked to enrich the black line by adding 30% Cyan to it - keeping the line isolated on its own layer made that super easy.

Linework for the illustration, all created digitally. The blackboard
drawing wasn't part of the this - it had its own layer with a diffusion
effect, to give it that chalk-on-board feel.

I hadn't done a digital illustration in a while at this point. My services tend to fluctuate - sometimes I'm working on a few illustrations at once; other times, I'm doing only logo design, or website design or other types of projects, and I've got no illustrations going on. And that's not a bad thing, either, because that little dry spell made me more open to experimentation when this project came along.


Detail of the instructor. He may have been modeled after
a teacher friend of mine, but I'm not copping to it.

Some of my previous digital illustrations were too smooth in the coloring and tonal work - I felt like I was trying to replicate the look of the Prismacolor markers I'd used before "going digital", but in really examining my old and new work side-by-side, it was easy to see that the marker-colored work wasn't totally smooth, even though they're a wet media. The little imperfections - areas where one marker's color bleeds into another and creates a visible stratification - might have been aspects of hand-coloring I wanted to minimize and avoid while I was working that way, but in reviewing the older work, I couldn't deny that those touches added some depth and personality to the piece - aspects that my earlier digital illustrations usually didn't have.

So I let myself be messier on this one. I didn't create discrete layers for every little color or element (though in checking the Photoshop file, it seems the five o'clock shadow did have own layer - I guess I really wanted to control that one). I created a brush with a harder edge than usual, and just let things bleed (get it? like the way markers bleed). I liked the results - it took a little longer to build up the layers of tone and shadow, and a couple areas look like too harsh a transition to my eye now (like the gradient on the blackboard), but all things considered, it was a nice leap forward for me. I've done a couple other pieces in this style since, and I used what I learned on this one. Because I allowed myself to grow, I rewarded myself with ice cream. I think I totally deserved it.

Love Is In The Air - Part Two

Click image for larger version. You can even see a fancy animation
showing the sketch fading into the final image!

I've finished my wedding invitation piece, and the client was delighted with it, as was her fiance. I was a little worried that the fanciful color scheme - especially the trees - would cause her concern, but she really liked the effect. The only revision she requested (actually, it came from her fiance) was that the flowers get more definition - the original version of the bouquet was more amorphous, but in the final version I defined the shapes as roses.

In my first pass vectorizing the piece (using the long-defunct but much-loved Freehand and my trusty Wacom tablet), some of the pieces in the front - the stone pilings and stand for the sculpture - were gray, and the ground was kind of a concrete color (which is what it really looks like - see comparison below) but those literal colors were boring and didn't convey the kind of romantic, whimsical feel my client was going for - so I deviated.

I kept a jazzy, loose feel to the structures - it didn't make sense to create totally perfect perspective and angles for a piece like this. I think that kind of treatment would have come off as looking too technical and less artistic. Elements were simplified into mostly monochromatic versions of their real-world counterparts. I also reduced the width of the water so it could fit completely into my piece - I didn't want anything to overshadow the couple. I considered adding the fountain's spume, but it was another element that might have competed with the bride and groom - and I really needed the sky color to provide contrast behind the bridal gown - a light or white fountain shooting up there would have been a problem.

My only regret is, because of the bride's dress and the shape of the letter, the L is pretty heavily obscured. I couldn't find a way out of that one, so I've got assume that the ubiquity of the landmark, combined with the fact that people know how to spell the word "love", will help the viewer's mind complete the image.

And here's a comparison - my version versus reality. I've already designed the invitations and RSVP cards, using a couple different croppings of the piece. Maybe I'll even get invited - if not, hey - I'll just print an extra invitation. Don't tell.

Last Time You Took Me Back - Restraining Order CD Cover

My band Restraining Order put out our first CD in 2001. It was a collection of mostly hard rock songs, with a few lighter acoustic tracks and even a ska and punk tune mixed in. That's what happens when you have four guys writing songs. We went through a bunch of proposed album titles, and my suggestion was "Last Time She Took Me Back". I liked the title because it could be taken as, "The last time this happened, she took me back" but also, "This is absolutely, positively the last time she'll ever take me back." See how that works?

The other guys seemed to warm to it as well, though our guitar player Phil suggested making it more generic (and less gender-specific) by changing "She" to "You". It was a good suggestion, making the phrase even more ambiguous. Since we weren't on a label and would be self-releasing the disc, we locked down the title between the four of us - "Last Time You Took Me Back" it was. And, since I was the lone designer/illustrator in the band, I agreed to put together a cover image that would illustrate the concept.

About a year earlier, I'd first started using a graphics tablet - A Wacom Graphire, which you could get back then for $99 in any CompUSA or similar store. The tablet's working area was only 4x5", but it turned out that was plenty for me. I loved it immediately. Going from doing digital illustration with a mouse or trackball (which seems insane now) to using a pressure-sensitive tablet was a huge leap, and I was doing all sorts of experiments in Photoshop, learning to sketch, apply color, render linework and do other illustrative and photographic techniques in a whole new way. It didn't take long to get used to my new tool.

So a Wacom-inspired illustration was a natural for the Restraining Order album cover. I don't believe I even did a sketch first (digital or traditional) - I think I filled the screen with what was then our theme color - a magenta-heavy purple - and started dodging and burning like a fiend.


I'm not big on using a wide range of colors for an illustration or design - I tend to use a very limited color scheme whenever possible, often just working on tints and shades of just one hue. That's where I started with the Last Time piece, and I never varied. It can drive some people crazy - "Why is it only one color?!" - but it creates instant cohesion in the elements, pretentious as that sounds. A realistic, full-spectrum color scheme can come off looking generic and boring. Using limited colors brings everything together in a brute force kind of way.

I showed the partially-completed piece to the band - an impressionistic image of what is ostensibly the character who's thinking the album's title, dressed in a shirt, tie, and overcoat, carrying flowers in one hand and an umbrella in the other. I lived alone in a small apartment at this point, so I modeled the image on my front porch and the parking lot across the street. My aim was to make the illustration vague enough so that it didn't hit you all at once, but once you stared at it for a minute, you start seeing more of the scene. I added rain for dramatic effect (the umbrella seemed to call for it) and showed it to the band.

They all liked the piece, and seemed to think it conveyed the kind of doomed/failed relationship theme our songs were typically about (don't worry; we're all happily married now, despite our lyrics). I prepped the artwork for the rest of the album - the other five panels of the insert, the on-disc printing and the tray card interior and exterior, all using this same magenta-purple color scheme. I like to beat the viewer into submission as much as possible. It's all worth it when someone sees your album and says, "It's really purple" or "You sure like purple!" I consider that to be my reward as a visual artist.

Once the album was out, we'd managed to place a small quantity in a few local music stores on consignment. Months after they'd stocked our CD, I went into the Cherry Hill Tower Records (now an empty shell) to shop for a gift. I was crouched in an aisle, flipping through CDs, when I realized I knew the song playing over the store's sound system very well - I was subconsciously tapping the beat, and getting it right. Yes, they were playing our CD in the store. I looked from person to person, perhaps hoping to see that movie-like moment where everyone starts tapping their feet, maybe dancing around a little, and - of course - demanding the employees tell them, "Who IS this band?!" It didn't happen. I tried to call my bandmates on my then-new cell phone, so they could hear the big moment - none of them were around. It sucked. This is not how things happen in movies.

I guess that wasn't punishment enough, so when I made my way through the line to pay, I asked the cashier (a young girl with bluish-black hair filled with more butterfly barrettes than you'd expect to find on a five-year-old's head), "Hey, who's this band playing?" To my surprise, she said, "Oh, it's Restraining Order. They're like, well not totally hard but they have some fast songs and a couple slower ones." I think she may have even added, "They're cool" or "I like them", but I can't be sure. I was happy enough that she had some idea of who we were, and seemed to have listened to the CD previously. I left well enough alone, and walked out of the store feeling pretty cool. If only I could have known then that when I'd return to the store more than a year later to close out our consignment, they'd have sold only one of the five CDs we gave them - I think to one of our friends, too. Maybe they should have played it more in the store.

We went on to put out two more CDs (EPs, actually), both of which I designed the covers for, though not using illustrations or the Wacom. I'm now using a bigger tablet - the Intuos (which is nice - it's bigger and has more functionality)- and maybe someday I'll splurge for the amazing Cintiq, which lets you draw directly on the monitor. I could probably lay down even more purple with that thing.



Last Time You Took Me Back on Amazon

"She's My Girl", the song that even people who don't like us seem to enjoy:

Fossil Hunter

A hand-drawn illustration from a simpler time. This piece was for a feature article in "The Lapidary Journal", a gem and jewelry magazine, about the dangers that online fossil purchases were causing to the field of paleontology. Amateurs were purchasing fossils at high prices (they didn't know any better), and it was driving up the market. Who knew? I drew a dinosaur purchasing a bone via the internet, because that, my friends, is comedy.

This was one of the last illustrations I drew in a completely non-digital style. Back when this piece was done (the late 90's), I would mail the original art off to the magazine's Art Director, who would scan it, adjust colors, and send me back my original. That seems so quaint now, as does the idea of laying down color and not being able to adjust it ad infinitum on its own layer in Photoshop.


Look at all that sweet natural color variation from the markers.

Of course, because of the limited tweakability of the art, these analog illustrations were turned around much faster than they would be today. Back then it was sketch (and approval, or changes), line work, and color. Now the color stage can go on for days as I keep adjusting.

There are certainly many illustrators who still work completely on paper. Sometimes I envy their process. There's something to be said for committing something once and for all to the page. On the flipside, though, I was a lot more hesitant when selecting colors back when I worked this way - I used to do little color studies on another sheet of paper first. And I was much more likely to be unhappy with the final result in one way or another. I remember asking an Art Director if he could "make the green less green" on another piece. It's nice to have that level of control on my end now.

I'm not sure what dates this illustration the most - the big, beige monitor, the flip-out card Rolodex, or the image of a dinosaur eating fast food. Dinosaurs are much healthier these days than they were a decade ago. Thank The Discovery Channel for that.



Fossil Hunter on Zazzle