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Reconstruction	of	
pterosaur	skeletons	
using	light,	cheap	and	
recyclable	material
Helder	da	Rocha
XXIV CONGRESSO	BRASILEIRO	
DE	PALEONTOLOGIA
Originally	presented	at
(updated	december/2017)
Scientific	sculptures	in	XPS
Paleosculpture	
Paleoart:	paleontological	art	+	references	
References	are	essential	to	justify	decisions:	the	
skeletons	are	representations	of	scientific	theories	
It's	a	scientific	process	
Paleontological	research	

+	research	of	materials	(test,	error,	learning)	

+	execution
Pterosaur	reconstructions
Research	based	on	
Photographies	(one	or	more	visions)	
Drawings	&	diagrams	
Descrip,ons,	publications,	specialized	opinions	
Goals	
Scien,fic	accuracy	&	high	level	of	detail	
Lightness	and	resistance	
Flexibility	to	be	assembled	in	different	positions	
Production	time	(depends	on	quality,	research,	details,	size)	
Skulls:	3-15	days	
Full	skeletons:	4-12	weeks
Helder	da	Rocha
Paleosculptor	since	2012	
Only	pterosaurs	
Only	sculpture	in	XPS	
4	full	skeletons	+	4	different	skulls	
Works	exhibited	in	museums	and	congresses	
Pterosaurs	
Guidraco	(skeleton),	Anhanguera	(skull),	Tupandactylus	(skull),	
Dsungaripterus	(skull),	Tupuxuara	(skeleton),	Caupedactylus	
(skull),	Tapejara	(skulls	and	skeleton),	Tropeognathus	(skeleton)
Guidraco	venator	(2012)
"frankenstein" model;
not scientifically
accurate
Anhanguera		
piscator	(2012)
Based on publication by

Kellner & Tomida, 2000
Tupandactylus	

imperator	(2013)
Based on specimen from
Museu de Ciências da
Terra (Rio de Janeiro)
(teeth	still	missing)
Dsungaripterus	weii	(2013)
Tupuxuara	leonardii	(2013)
Tupuxuara	leonardii
First	prize	(category	sculpture)	
in	the	Paleoart	Contest	
sponsored	by	Colecionadores	de	
Ossos	(2012)	website/blog	
Exhibit	in	I	Simposio	de	
Dinossauros	e	Rio	Ptero	2013	
(International	Symposium	on	
Pterosaurs)	&	Museu	de	
Geociências	USP	(Universidade	
de	São	Paulo)	
Mentions	in	Tetrapod	Zoology	
blog	SciaAm	(Darren	Naish)	and	
Pterosaur	Heresies	(David	
Peters)
Caupedactylus	ybaka	
(2013)
Source: Paleodirect website
Tapejara	
wellnhoferi	(2014)
Museu de Dinossauros in Peirópolis, in Brazil
Instituto
Geológico de
Lisboa, in
Portugal
Tapejara	wellnhoferi	(2015)
Very	detailed	skull	
(based	on	three	
specimens	and	
publications)	
Exhibit	"O	Pterossauro	
Imaginário"	(2016)	and	
Museu	de	Geociências	
(USP)	(2017)
Tropeognathus	mesembrinus	(2016)
Giant	8	meter	wingspan	pterosaur	(3,5kg)	-	Museu	de	São	José	dos	Campos	(São	Paulo),	Brazil
It was installed in
December 2016,
but exhibit has
not opened yet
Characteristics	of	a	replica
How	is	it	going	to	be	used?	
Indoors	or	outdoors	
Exhibition	or	manipulation	
Quality	
Scientific	accuracy	and	level	of	detail	
Resistance	
Weight	
Durability	
Cost	of	maintenance
What should be considered?
Sculptural	processes
Additive		
Process	of	adding	material	(ex:	ceramics,	metal)	
Subtractive		
Process	of	removing	material	(ex:	rock)	
Cast	(ex:	part	+	rubber	cast	+	resin)	
High-cost	one-time	casting,	many	low-cost	copies	
Digital:	3D	scans	or	3D	modeling	+	3D	printing	
High-cost	one-time	3D	modeling,	many	low-cost	copies
Paleosculpture	in	XPS
Very	light,	durable,	resistant,	for	indoor	exhibits	
Can	be	built	for	extra	robustness,	for	handling	(heavier)	
Easy	to	sculpt	details,	allows	for	precision	of	measurements	
(easier	in	large	models)	
Durable,	does	not	retain	humidity,	does	not	crack	or	shrink	
Relatively	resistant,	flexible;	resistance	and	flexibility	may	be	
increased	with	acrylic	and	epoxy	layers	
Additive	and	subtractive	sculpture	+	mixed	techniques	
"Drawing"	in	3D:	replica	by	comparison	(no	casts)
Cons
Learning	curve	requires	manual	skills	
Handmade	process	
Each	part	has	to	be	built	from	scratch	every	time	
Parts	need	to	be	copied	(by	comparing)	without	casts	
Material	resistance	is	relative	
Sufficient	for	installations	and	simple	handling	
Not	sufficient	for	outdoor	use	and	"resistance	test"	handling	
Adequate	for	indoor	use
Techniques
Plaster,	resin,	fiberglass	
Ideal	for	casts	
Wax	and	electrotyping	
Wood,	paper	and	card	
Also	recyclable;	safer	
construction	process	
Rock	(subtractive	sculpture),	
metal	(aditive),	etc.	
Digital	3D	sculpture	+	3D	printing	
in	metal,	resin,	PVC	...	
Mixed	techniques
Kai-Xiang Xhong
Philippe Pasqua
Chicago O´Hare

by Field Museum (fiber-glass)
(recycled
cardboard)
(chrome)
Jeffrie Parker
(3D printer)
Other
Modeling	and	sculpture	with	XPS
Additive	(modeling	using	thin	sheets)	and	subtractive	
(sculpted	with	a	box	cutter	and	fire	on	thick	blocks)	
Copy	by	comparison	(doesn't	use	casts)	
Preferably	hollow	
Much	lighter	(only	contains	air)	
For	objects	with	a	lot	of	internal	space	(large	vertebrae)	an	
internal	structure	can	be	created
Material
XPS	:	eXtruded	PolyStyrene	
Easy	to	model,	squish,	fold	
Easy	to	cut	(with	a	box	cutter)	
It's	not	the	same	thing	as	
"common	foam"		(EPS:	
expanded	polystyrene)	
Hard	to	cut	with	a	box	cutter	
Fragile	(hard	to	work	with	thin	
sheets,	hollow	parts,	etc.)
Light	and	resistant
Tension-resistant	
Compression	reduces	fragility	and

softens	material	which	allows	

squishing,	folding	and	modeling.	
Thin	sheets	allow	modeling	of	hollow	bones	
Tapejara	skull:	90g	

Complete	skeleton:	300	-	350g	
Tupuxuara	skull:	250g	

Complete	skeleton:	950g
Cheap
A	120cm	x	60cm	x	2.5cm	insulation	block	~5	USD	
Not	very	dense,	thicker,	used	for	adding	details	
Where	to	find	it:	hardware	shops	e	trash	
A	42cm	x	60cm	x	0.2-0.5cm	thin	sheet	~3,50	USD	
Several	densities,	thin,	for	modeling,	texture,	etc.	
Where	to	find	it:	Art	shops,	food	trays,	trash	
Recycled:	0	USD
Recyclable
Can	be	found	in	trash	
Foam	food	trays	and	boxes	
Thermo-acoustic	insulation	
It's	(usually)	not	a	biodegradable	material	and	it's	
fabricated	in	large-scale	for	temporary	use	
Recycling	XPS	for	the	construction	of	durable	
scientific	replicas	is	ecologically	correct
Relatively	safe	process
Low	toxicity	(for	use	with	fire)	
Non-toxic	for	use	and	modeling	without	heating	
Heating	for	softening	and	texture	(without	burning)	releases	CO2	
and	water	vapor;	burning	releases	less	toxic	gases	than	wood	
Breathing	the	dust	(released	by	sanding	XPS)	is	most	toxic	
Less	toxic	than	plaster,	polyester	resin	or	fiber	glass	processes	
Low	flammability	
XPS	contains	flame	retardants:	it	does	not	propagate	fire	
Precautions	
Always	work	in	a	ventilated	environment	when	working	with	fire	
Use	a	mask	for	sanding	(+	use	water)
Applications
Ultra-light	skeletons	
Easy	to	transport	and	install:	can	be	
suspended	with	nylon	cables	and	paper	clips	
Ideal	for	temporary	installations	and	events	
Low	cost	of	installation	and	insurance
Other	materials	used
Acrylic	paste	(acrylic	polymer	emulsion	
soluble	in	water)	
Foam	glue,	epoxy,	paints,	natural	stains	
(ashes,	rust,	coffee),	etc.	
Optional:	protective	epoxy	layer
Working	with	XPS
Folding	e	squishing	
Melting,	adding	texture,	modeling	with	fire
Tupandactylus imperator
Tupuxuara leonardii
Starting	point:	a	3D	"sketch"
Texture	and	color
Heating	XPS	changes	texture	
Coarse	(microcraters)	
Allows	for	adherence	of	acrylic	
base	(paste	used	to	prepare	oil	
canvases)	
Acrylic	base	dissolves	in	water	
It	becomes	lighter	with	time	
(evaporation)		
Pigments	mixed	to	acrylic	base	
(paint,	natural	stains):	

ashes,	rust,	coffee
+	protection
Liquid	epoxi	+	matte	varnish
It's optionall!
Pros: 

increases material resistance
Cons: 

loss of detail and reflective effect
Examples
1. Construction	of	

Tupuxuara	leonardii	
2. Construction	of

Tapejara	wellnhoferi
(Download the complete presentations and read detailed

descriptions of each process at imaginosaurus.wordpress.com)
Research:	Tupuxuara
Photos	of	IMCF	1502	(IWAKI,	JP):	Everything	except	pelvis,	carpals,	
tarsals,	fingers,	dorsal	vertebrae	and	pre-pubis	
Other	sources:	publications	and	specialized	opinions	
Details	are	limited	by	precision	of	photos
This is an excerpt from the presentation: Making of Tupuxuara leonardii
See more in http://www.slideshare.net/helderdarocha/the-imaginary-pterosaur-makingof-tupuxuara-leonardii
Source:	ICMF	1502	(Iwaki,	JP)
Resolution	of	skull	
details	is	limited	
since	the	fossil	is	not	
fully	prepared	
Will	use	other	
sources	&	infer	
appearance	as	
closely	as	possible
Material:	5mm	XPS	foam	board
1.0	x	1.2	m
Transfer	to	

foam	board
Cut	out
Paste	together	&	let	dry
I	call	this	a	3D	sketch
Stained	with	coffee
Palate
External	3D	details	based	on	photos	of	the	Iwaki	specimen	
Internal	3D	details	based	on	articles	(Pinheiro	&	Schultz	2012)
Height	(without	mandible):	34	cm	
Height	(with	mandible):	36	cm	
Width:	12.5	cm	
Length	:	103	cm	
Weight:	250	g	
Time	to	produce:	5	days
Further	improvements	may	include	
• Fixes	(in	case	better	sources	are	provided)	
• Resistance	(layers	of	epoxi	–	which	will	also	triple	the	weight)
Assemble
Hollow	vertebra
Compare
Compare	to	source
Thoracic	vertebrae	w	fused	ribs
Notarium
Studying	the	
sources
Distal	&	proximal	syncarpals
Bone	ends
Ulna:	roll
Research:	
Tapejara	
1.	SMNK	PAL	1137	Tapejara	wellnhoferi	(Germany)	
2.	AMNH	24440	Tapejara	wellnhoferi	(USA)	
3.	IMCF	1061	Tapejara	wellnhoferi	(Japan)	
4.	MN	6595-V	Tapejara	wellnhoferi	(holotype)	
+	8	sources
osseous labyrinth is well defined, leaving a deep depression
on the endocast around the floccular lobes. The preserva-
tion of a small portion of the lateral semicircular canal
suggests that this structure would have completely sur-
rounded the flocculus.
Quadrate
The right quadrate is complete but lies unfused to the other
elements of the skull. The bone is formed by two branches,
orientated dorsoventrally and mediolaterally, and con-
nected by a thin diagonal laminae of bone to give the
element an L-shaped appearance in its posterior aspect
(Fig. 2; plate 3). The dorsoventrally directed branch is 2.4
times the length of the horizontal branch; the dorsal ter-
mination of the former being smooth and well rounded in
posterior view and preserving an oval shaped cross section.
The ventrolateral margin of the bone forms the articular
facet for the mandible where a pronounced sulcus runs in
an anteromedial direction. A left quadrate of a comparable
size to that described above is also present in the concretion
but the vertical branch is broken only just dorsal to its base.
Mandible
The mandible is edentulous and preserves a short sym-
physis only 44 mm in length, formed by the completely
co-ossified contralateral rami. The dorsal face of the
symphysis is transversely concave and is directed antero-
ventrally at an angle of 18°, starting at a point 45 mm
posterior of the rostral tip (Fig. 2; plate 4B). The ventral
margin is almost straight but forms a sagittal crest reaching
its maximum depth at the symphysis. In its dorsal aspect
the bone appears as an elongate triangle, three times as
long as it is wide (Fig. 2; plate 4) while the posterior
section containing the articular facet is missing.
Cervical vertebrae
Four procoelous vertebra, identified as elements of the
cervical series, are observed in various states of preserva-
tion (Fig. 4). Two of these are attributed to the middle
cervical column (Fig. 4f–o) while a third is identified as the
7th cervical. The remaining element represents the isolated
axis (Fig. 4a–e).
Fig. 4 Cervical elements of Tapejara wellnhoferi, SMNK PAL 1137,
where: A–E axis in lateral (A), anterior (B), posterior (C), dorsal
(D) and ventral view (E); F–J cervical vertebra in lateral (F), anterior
(G), posterior (H), dorsal (I) and ventral view (J); K–O, cervical
vertebra in lateral (K), anterior (L), posterior (M), dorsal (N) and
ventral view (O); P–T, 7th cervical vertebra in lateral (P), anterior
(Q), posterior (R), dorsal (S) and ventral view (T). f foramen, nc
neural canal, ns neural spine, pe postexapophysis, pre preexapoph-
ysis, pz postzygapophysis, prz prezygapophysis, vc vertebral condyle
K. Eck et al.
This is part of the
presentation: Making of
Tapejara wellnhoferi
See more at http://www.slideshare.net/helderdarocha/the-imaginary-pterosaur-making-of-tapejara-wellnhoferi
Scaling
Replica is 25% larger
than reference size of
young individual
53
Bone construction
Fully documented at 

http://imaginosaurus.wordpress.com/2013/08/28/imaginary-pterosaur-7-finished/
54
SMNK PAL 1137 limestone slab
Approximate reconstruction (using bones of one pterosaur)
55
Neurocranium version 1

replica of SMNK PAL 1137
http://imaginosaurus.wordpress.com/2013/07/06/unfinished-tapejara-skull/
56
Cervical vertebrae
Sources: 4 specimens (SMNK, IMCF
Tapejara and Tupuxuara, AMNH)
57
Cervical vertebrae
http://imaginosaurus.wordpress.com/2013/07/15/tapejara-cervical-vertebrae/
58
Fingers
http://imaginosaurus.wordpress.com/2013/08/01/tapejaras-hands-and-feet/
59
Pectoral girdle
http://imaginosaurus.wordpress.com/2013/08/19/tapejara-pectoral-girdle/
60
Feet
http://imaginosaurus.wordpress.com/2013/08/01/tapejaras-hands-and-feet/
61
Conclusions
Pterosaur	reconstructions	using	XPS	are	an	alternative	to	
traditional	techniques	
Material	is	cheap,	light,	recyclable	and	easy	to	obtain	
The	process	is	less	toxic	than	traditional	methods	
The	replicas	are	relatively	resistant	and	detailed:	adequate	
for	indoor	use	
The	process	is	handmade:	it	doesn't	produce	"copies":	the	
work	has	to	be	repeated	for	each	reconstruction	even	if	it	is	
identical:	it	doesn't	use	casts	-	each	part	needs	to	be	re-created	
by	comparing	to	an	original	or	photos.
Workshop
During	the	24th.	Brazilian	Congress	of	Paleontology	
using	the	techniques	described	in	this	presentation	
12	hours	(3	days)	-	15	participants
XPS replicas made by the
students during the workshop
References
Pterosaur	reconstructions	(Helder	da	Rocha)	
The	Imaginary	Pterosaur:	http://imaginosaurus.wordpress.com	

It's	a	blog,	and	should	be	read	backwards.	The	posts	detail	the	full	
construction	process	of	7	with	references	to	palaeontologic	research	and	
materials	used.	
The	Imaginary	Pterosaur:	Making	of	Tupuxuara	leonardii.	March	2013.	

http://www.slideshare.net/helderdarocha/the-imaginary-pterosaur-makingof-tupuxuara-leonardii 	
The	Imaginary	Pterosaur:	Making	of	Tapejara	wellnhoferi.	August	2014.

http://www.slideshare.net/helderdarocha/the-imaginary-pterosaur-making-of-tapejara-
wellnhoferi	
Paleontological	references	(publications,	sources,	etc.),	specific	to	each	
project	are	included	in	the	presentations	above.
helder.darocha@gmail.com
+55 11 992 910 567
Thank you!

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