Want to know more about how Ancient Era Artistry works? Learn how we make limited
edition realistic and accurate paleoart model kits, and what sets us apart from the masses.
Ancient era artistry is about creating and delivering the most engaging, impressive, dynamic, and exciting paleoart dinosaur sculptures. My goal is for ancient era models to be the first to capture a viewer's attention amid any vast premium dinosaur model collection. While that is a lofty pursuit in today's rich paleoart arena, that ambitious goal drives me and keeps my eye on the prize. I am constantly checking and re-checking my work. By the time i am willing to debut a model in its final state, I have spent so many hours researching and sculpting that I know the subject intimately, and the sculpture itself has become an extension of my being. Like my kids or my pup, Rex (Tyrannosaurus Rex Ramieri), my models are a piece of me and will forever be as close to me as family.
It brings me untold joy to be able to offer my vision to the world, and that joy is only trumped by my appreciation for you, the collector who deems my work valuable enough to give it a place in your coveted collection.
What is ancient era artistry?
Ancient Era Artistry makes highly accurate, realistic, "scientifically possible" dinosaur figures and dioramas. all of the ANCIENT ERA ARTISTRY modern paleoart model kits are sculpted by Matt Ramieri. His kits are rigorously researched, and with every species he sculpts, he makes it his mission to make each character as scientifically viable as possible. He calls his work "Scientifically Possible."
Matt includes all the known facts and most up-to-date scientific data to breathe life into the fauna of pre-history. Alternately, Ramieri believes that each character should have a personality... an identity that reflects everything from the brutal and tumultuous lives these creatures were forced to live to the freedom and fancy of young beasts at play. Matt means to fill in the gaps between the pages of scientific journals with this philosophical point of view, and he drives the path of speculation with the creative freedom of a character designer.
Each model produced by Ancient Era Artistry is 3d print prototyped by LFS (low force stereolithography), high-resolution resin printing technology. They are printed at a staggering .025 mm layer height. Each model consists of thousands of layers often approaching ( or in excess of ) 10,000 layers!
Matt insists on the highest resolution so that his countless hours toiling over the most delicate details can be realized in the end product. The 3d printing process not only yields the tiny details not obtainable with traditional clay but also allows for delicate, intricate parts that would not survive the molding and casting process. Super fine details like tiny teeth and claws must be fattened up to survive the molding process and make prominent enough voids for cast liquid resin to fill. This makes for "cartoon" almost costume versions of what would have otherwise been beautiful and detailed pieces.
SO, At Ancient Era Artistry, all of these fine details are 3d printed. we do reduce costs by molding and casting some parts of some of the models. We do this if the detail in the part is easily retained through the molding and casting process, and we separate, remove, and print details that won't cast easily. We do not use this process to compromise the finer points; we only do it to reduce cost where it would not affect the beauty and complexity of the model kit.
From the manufacturer of our Grey Model Resin:
With a matte surface finish, opaque appearance, and precise details, Black, White, and Grey Resins are ready to use right off the printer. Their neutral undertone also makes a great base for parts that will eventually be painted or undergo other finishing processes.
Models with very small features and intricate details
What are limited editions?
Limited editions are artworks produced in a finite quantity to retain value and exclusivity. The defining characteristic is that there are only 'x' pieces in the edition, and only 'x' numbers will ever be produced. Limited editions exist in different media, from lithographs and relief block prints to photography and sculpture.
In some cases, like in fine art printmaking, the entire edition is printed at once, then the plate or block used to produce the image is either indelibly marked or destroyed so that it can never re-create the same artwork. This secures the exclusivity of the piece mentioned above.
In other cases, like with sculptural cast pieces like lost-wax casts, the mold created to make the wax castings is destroyed after the last work in the edition is cast. In many cases (since lost wax sculpture is very expensive to produce), each number of the edition is made to order, and the mold remains until the last piece (i.e., number 50 of a limited edition of 50) is cast.
In rare cases, the artwork's artist or owner/producer will publically display the destroyed or damaged mold. Still, ultimately it is incumbent on the consumer to trust the producer to limit the edition. After all, even if a damaged or destroyed mold is displayed, there is no telling if that was the only mold ever made to produce the edition.
As with all things, some bad players defraud their clients and customers by producing more pieces than should exist to profit, but I believe they are the exception rather than the rule.
At ancient era artistry, we produce artwork sculpted digitally and realized via 3d printing. Although we mold some parts, the molds have very little to do with our ability to reproduce the artwork. We can quickly produce any piece into perpetuity.
However, Ancient Era is born from the mind and passion of a traditional representational artist whose reputation is an asset and whose scruples are more remarkable than his talents.
At Ancient Era Artistry, we hereby swear that any designated limited edition will be limited to only the number specified upon it, with the possible addition/exception of no more than five artist's proofs. See the explanation for the artist's proofs below.
Not all models produced by ancient era artistry are limited editions. Typically our limited editions apply to only 1:20 scale and above (lower numbers are larger sculptures, so 'above' means below numerically. for instance: 1:40 is on a smaller scale than 1:20, so it will not be a limited edition. 1:15 is higher than 1:20, so it will be a limited edition.) There may be exceptions to this rule. However, all limited edition models will be marked as such, with the total number prominently displayed. It will also appear on the model itself with a number designating the individual piece it represents in the edition. The number will be printed sequentially as the edition is ordered. That number set will be expressed as in the following example:
The fourth order, thus the fourth print of the edition will be expressed on the model as 4/50. The '4' represents the fourth print out of fifty that will ever be produced.
limited editions and scale:
each limited edition applies only to that particular scale. So, a 1:20 scale 'twinning' model is a limited edition of 50. if 20 have been sold, then only 30 more can ever be printed. However, that does not affect the possibility of a 1:15 scale version of 'twinning' existing or being produced. That would constitute its own set of 50 pieces.
Certificate of authenticity:
Every piece produced under a limited edition will come with a certificate of authenticity produced by ancient era artistry and signed by artist Matt Ramieri. The certificate will demonstrate the unique number that your piece represents in the edition and will prove that you are the owner of an authentic ancient era paleoart model by M. Ramieri.
What are artists' proofs?
An artist's proof (expressed as ap) is a small set that acts as an exception to the finite edition quantity of a limited edition. Typically the purpose of an ap is to allow one of the following:
The artist wants to experiment with minor changes in the edition.
-this is typically within fine art printmaking, where modifications have to be made on a plate or block, then a print on paper memorializes that version.
The artist wants to keep a copy of the edition himself/herself or gift it to someone without reducing the sellable quantity.
the artist wants to produce a slight variation of an addition (a slightly different size, including a base or excluding a base...)
An artist's proof should be expressed similarly to the edition with the letters 'ap' preceding the individual number of 'ap', which should proceed a slash and then the finite number of 'ap's that will be produced. For instance:
the second 'ap' that the artist is producing out of five 'aps' allowed would be:
Again, some disreputable players will use the concept of 'ap's to defraud their audience. some will use the ambiguous 'ap' preceding the slash repeatedly to avoid depleting the official edition size. for instance, they will make their pieces:
As you can see, this illustrates that there is no way of telling how many 'ap's are out there at any time.
We do not do that and hereby swear that there will only ever be 5 'ap's for any edition produced by ancient era artistry.
Why different kit options? (and what are the different resins about?)
We offer different kit options so that we can suit the needs of our customers.
By default, our models come "disarticulated" and unpainted so that the collector can build the piece themselves. this also keeps costs down vs. the costs associated with building and painting a model... or the costs associated with a finished limited-run artist's sculpture.
tHE "dISARTICULATED W/ sUPPORTS" IS THE CHEAPEST OPTION BECAUSE IT REQUIRES LESS LABOR TO PREPARE FOR SHIPPING. When A PART IS 3D PRINTED VIA lfs, SUPPORTS ARE REQUIRED TO BE BUILT AROUND THE MODEL. tHESE SUPPORTS HAVE TO BE REMOVED IN ORDER TO USE AND ASSEMBLE THE MODEL. sUPPORT REMOVAL IS NOT DIFFICULT, BUT IT CAN BE TIME-CONSUMING, AND A LITTLE BIT TRICKY AROUND DELICATE PARTS LIKE CLAWS AND TEETH.
Parts with supports attached
If you chose "Disarticulated w/ Supports", you will receive your parts with some or all of the supports still attached. This is the lowest-cost option because we don't have to spend time removing the supports to get them to you.
Models may arrive in any color resin depending on supplies on hand at the time of the order.
Alternatively, with the "Disarticulated Model" option, all of the supports will be removed for you, and all the parts will be tested and adjusted accordingly.
If this option is chosen, your parts may arrive in any color resin and/or painted with primer.
The "Build-Up and primer" option is the most expensive because either the model is printed in parts and then hand-joined and re-textured to make it ready for paint, or it is printed on the larger printer in bigger pieces so that less buildup is required, and then made ready for paint. some combination of the two is also possible. This option makes the model paint ready in as few parts as possible for shipping and assembly.
This is the best option if your goal is not to build the model yourself but to have someone else build your model. Our build-up option is likely cheaper then what you would pay a professional painter to paint.
"1/1 paint by (name of the artist": This option will appear in a listing only if we have had a copy of the model painted by a professional for marketing purposes. We are referring to the unique model in the associated images built by Ancient era Artistry and painted by the painter named within the listing. The price shown is for delivering that unique sculpture that has been entirely built up and painted by a professional. The price also includes our cost to ship back and forth from Ancient era to the artist and back.
For instance: The listing under "Right Where it Ends" for "1/1 paint by jaume bonnin" gets you the completed model with the paint illustrated in the painted version shown in the listing. you will get the actual model that was painted and photographed for the listing.
what are the different resins about?
the different resin options consist of "Model-Grade" and "Impact" resins. We offer both options because our collectors' needs vary.
"Model-Grade" resin is premium 3d printing resin and/or cast liquid resin designed to build and display models. it has properties that align perfectly with our needs, like ultra-high detail retention, paintability, and lightweight. small parts are, however, delicate, and model-grade resins are prone to breakage once built-up. shipping built-up model-grade sculptures can be complicated. they require a lot of good packaging material and good planning. Pieces that don't have much contact with the base are particularly prone once built-up.
"Impact" resin is embued with all of the above features except that it is very strong and resistant to impact. Due to the added engineered strength and durability, impact resin is more expensive. however, delicate parts and low-contact designs fair much better during shipping and handling than the model-grade resin.
Which to Choose?
If you plan to get the model, build it at home, and put it on a shelf, then model-grade is a perfect choice.
However, if you plan to ship your model to a professional painter, have it built and painted, then shipped back to you, we highly recommend that you use our impact grade resin to mitigate the likelihood of damage in shipping.
Why are the model kits so expensive?
putting aside the value of the finite nature of ancient era artistry's limited edition pieces (which will never be reproduced once exhausted), Ancient Era Artistry models are made by hand by the artist. Matt spends a tremendous amount of time in their development and execution. Each digital sculpture takes in the neighborhood of 100+ hours to research and sculpt. Every manner of tiny detail including correct muscle placement, correct flexion and extension, boney landmarks, scales, wrinkles, facial expressions, wounds, pathologies, poses, environments, and dynamic compositions are all deeply considered, researched, and labored over. Add to that, Matt spends even more time devising and executing the "cut" ( the way the model is sectioned and keyed for build-up), then printing and troubleshooting until a successful master prototype is realized.
Dan, from Dan's Dinosaurs (a distributor of Ancient Era Artistry models), put it best:
"They (the models) represent the artist's uncompromising vision of the subject, focused on the aesthetics and science without having to please marketing teams or business executives.
The artist can take their time to add layers of depth, blending, and specialized attention that is typically found only in world-class museum exhibits.
Their (the model's) pricing reflects the outstanding quality and craftsmanship of the model. Resin models capture details in a crisper, sharper manner than most mass-produced figures."
Add to that, 3d printed resin models require the use of very expensive resins, machines, and consumable parts. To get the best prints, you must use the best machinery and material available, and that is exactly what Ancient Era Artistry is all about. We are no venture capitalist firm with a 400% return on investment. Our margins are pretty thin. we aim for 40% (give or take) before any available discounts, promotions, or pre-order pricing.
Paleoartists are artists who specialize in creating visual representations of prehistoric animals. To create accurate and realistic reconstructions, we need to have a deep understanding of and access to the science regarding anatomy, behavior, and the ecology of the extinct animals that we are recreating. This is what sets a paleoartist apart from a creature creator or special effects artist who creates for entertainment like blockbuster movies and video games.
Most paleoartists have limited access to and limited resources for investigation some of the more rigorous aspects of the science, such as anatomical measurements and the biomechanics of musculature. in reference to the work created at ancient era artistry; this is where the incredible works of Gregory S. Paul, Scott Hartman, and Matt Dempsey come in to play.
Gregory S. Paul has been a great contributor to my early work and a significant factor in my interest in and excitement for dinosaurs in general. Mr. Paul's work was the only work of its kind when I was growing up, and the start black silhouettes with contrasting white bone diagrams within sparked wonder and amazement in my budding young artistic mind.
Paul helped establish the "new look" of dinosaur art associated with the Dinosaur Renaissance and what has become the consensus for how dinosaurs must have looked and moved.
He has authored many books with countless rigorous skeletal reconstructions, and his reconstructions have been imitated by artists everywhere.
Scott Hartman is a paleontologist and paleoartist known for his detailed and accurate skeletal reconstructions. Like Paleoartist Gregory S. Paul before him, Mr. Hartman creates these reconstructions with impeccable attention to detail and a deep understanding of the animals he illustrates.
These days Hartman's work is widely regarded as the authority, thus he is highly respected in the scientific community. His work is referenced and leveraged by paleoartists across the globe, and it is often appropriated, duplicated, and copied by all manner of would-be "reconstructionists" all over the internet.
Mr. Hartman's reconstructions have been invaluable to my work. I would scarcely be able to tout "scientific accuracy" without Hartman's work as reference, no matter how much effort I put into accurately defining things like integument, musculature, and behavior. Without the access, time, and (frankly) the deep scientific understanding required to recreate an extinct animal's mass and proportions, my work would be marginal at best.
Hartman's work is the foundation for great paleoart, far and wide, and his work has had the same significant impact on most (if not all) of the best paleoartists working today.
Matt Demsey is a palaeontologist studying for a PhD in musculoskeletal biology as part of the University of Liverpool’s Evolutionary Morphology and Biomechanics lab. He is also part of the Natural History Museum's fossil reptiles research group.
Mr. Demsey employs various artistic tools to supplement his research and create anatomical reconstructions, as well as creating his own palaeontological artwork.
As far as Ancient Era Artistry is concerned, it is Demsey's incredible muscle studies and ecorche's that inform the work. I look to demsey's illustrations and 3d models to determine the most likely attachment points and positioning of all of the major saurian muscle groups. his work is also widely admired, appropriated and imitated across the paloart genre, and without the use of his work, I would find mine far more difficult. the results would also likely be far less convincing.
I would like to thank all three of these great scientists and artists for their contributions to my work, and their contributions to the field of paleoart writ large.
Other Influential Paleoartists who have contributed to the look and feel of the work of Matt Ramieri:
David Krentz: For his sculptural prowess and attention to detail, David's work is the pinnacle of paleoart sculpture which I strive to match. I am forever challenged to produce work that can stand beside the work of david krentz, and for that, I am grateful. Krentz's work inspired me to enter the field, and what he does continues to push the boundaries of what we are capable of as artists and sculptors.
Julius Csotonyi: One of the most talented illustrators in the profession, Csotonyi's work is dynamic, beautiful, and awe-inspiring. His command of the medium, understanding of dinosaur anatomy, composition, and the importance of action and dynamics makes his work some of the most sought-after in the industry. You can find his work in all kinds of publications. I have often looked to csotonyi's work for inspiration and ideation when conceiving my own.
Andy Fraser: author of the Incredible Dragons of Wales and other publications, it is Fraser's work with the more theoretical aspects of paleoart reconstruction that I find inspiring. Fraser produces scientifically accurate reconstructions as well as scientifically informed creatures of fancy. His capacity for an imaginative point of view grounded within the "scientifically possible" makes Fraser's work unique and innovative.