Scientific Illustration
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Ambystoma maculatum
(Spotted Salamander)
Dorsolateral view
Pen and ink on 11 x 14" bristol board with digital colors
Herpetological Review, Volume 25, Issue 1 (1993)


Nautilus belauensis
(Chambered Nautilus)
Anterio-lateral view
Pen and ink on 8.5 x 11" bristol board with digital colors
Figure 3.11 in Tamplin et al. (1997), Introductory Zoology Laboratory Guide

Alternate background

Apalone spinifera
(Spiny softshell turtle)
Dorsal view, from a photograph by Raymond Ditmars
Pen and ink on 11 x 14" bristol with digital colors
Cover image on the Journal of Herpetology volume 27, issues 1 - 4 (1993)




Linework Only

Color Detail - Anterior

Color Detail - Posterior

Munida propinqua
(Squat Lobster)
Dorsal view, after Westergren (1895)
Pen and ink on 11 x 14" bristol board





Homo sapiens
(Modern Human)
Lateral view of skull, after Collins (1839)
Pen and ink on 11 x 14" bristol board with digital colors



Linework Only





Alligator mississippiensis
(American Alligator)
Dorsal (left) and ventral (right) views of skull
Pen and ink on 11 x 14" bristol board

Alligator mississippiensis
(American Alligator)
Lateral view of skull (above) and
labial and lingual views of lower jaw (below)
Pen and ink on 11 x 14" bristol board












Ictalurus punctatus
(Channel catfish)
Lateral view
Pen and ink on 11 x 14" bristol board with digital colors
Figure 1 in Lamb and Caprio (1994)






Agkistrodon contortrix
(Copperhead)
Dorsal view, from a photograph by Raymond Ditmars
Pen and ink on 11 x 14" bristol board
Figure 6.15 in Tamplin et al. (1997), Introductory Zoology Laboratory Guide


Geomys breviceps
(Baird's Pocket Gopher)
Lateral view
Pen and ink on 11 x 14" bristol board
Figure 6.18 in Tamplin et al. (1997), Introductory Zoology Laboratory Guide
MORE SCIENTIFIC ILLUSTRATIONS
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The Thing by Jack Kirby (1977)
pen and ink on 11 x 14" bristol board with digital colors
original 1977 pencils by Jack Kirby, inks over copy

Linework Only

Original Pencil Art




Captain America & Bucky by Jack Kirby
pen and ink on 11 x 14" bristol board with digital colors
original pencils by Jack Kirby, inks over copy

Linework Only

Original Pencil Art





Fantastic Four 71 Unused Cover (1968) - Inks
pen and ink on 12 x 15" bristol board
original pencils by Jack Kirby, inks over copy

Original Pencil Art

Fantastic Four 71 Unused Cover (1968) - Cover Mock-up
pen and ink on 12 x 15" bristol board with digital colors
original pencils by Jack Kirby, inks over copy

Original Published Cover




The Demon by Jack Kirby
pen and ink on 11 x 14" bristol board with digital colors
original pencils by Jack Kirby, inks over copy

Black & White Background

Original Pencil Art

The Triumph of Doctor Doom (1973)
pen and ink on 11 x 17" bristol board with digital colors
original 1973 pencils by Jack Kirby, inks over copy

Linework Only

Original Pencil Art



Fantastic Four Marvel Treasury Edition 11 Cover (1977) - Color
pen and ink on 16 x 20" bristol board with digital colors
original 1977 pencils by Jack Kirby, inks over copy

Original Published Cover





Fantastic Four Marvel Treasury Edition 11 Cover (1977) - Inks
pen and ink on 16 x 20" bristol board
original 1977 pencils by Jack Kirby, inks over copy

Original Pencil Art




Spider-man versus the Green Goblin by John Romita, Sr.
pen and ink on 11 x 14" bristol board with digital colors
original pencils by John Romita Sr., inks over copy

Linework Only

Original Pencil Art




The Mighty Thor, Our Hero by John Romita, Jr.
pen and ink on 11 x 14" bristol board with digital colors
original pencils by John Romita Jr., inks over copy

Linework Only

Original Pencil Art





Catwoman (Michelle Pfeiffer) (1993)
pen, ink, and watercolor on 11 x 14" bristol board
MORE COMIC & CARTOON ART
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full-size views and original pencil art
Classic Comic Art Recreations
inks and digital colors by Jeff Tamplin
-
homages of classic comic art, all beloved images from my youth
-
created for fun and out of love and with respect for the original artists
-
all titles, logos, text, and textures inked by hand directly on board
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Amazing Spider-man 39 (1966) Cover Recreation
pen and ink on 11 x 17" bristol board with digital colors

Linework only

Original Cover by John Romita, Sr.




Amazing Spider-man 68 (1969) Cover Recreation
pen and ink on 11 x 17" bristol board with digital colors

Linework only

Original Cover by John Romita, Sr.




Fantastic Four 51 (1966) Cover Recreation
pen and ink on 11 x 17" bristol board with digital colors

Linework only

Original Cover by Jack Kirby & Joe Sinnott

Color Detail - Reed

Color Detail - Thing

Color Detail - Sue






Fantastic Four Annual 6 (1968) Cover Recreation
pen and ink on 11 x 17" bristol board with digital colors

Linework only

Original Cover by Jack Kirby & Joe Sinnott

Color Detail - Thing

Color Detail - Torch

Color Detail - Reed




Amazing Spider-man 64 (1968) Cover Recreation - Color
pen and ink on 11 x 17" bristol board with digital colors

Linework only

Original Cover by John Romita, Sr.



Amazing Spider-man 72 (1969) Cover Recreation - Color
pen and ink on 11 x 17" bristol board with digital colors

Linework only

Original Cover by John Romita, Sr.



Fantastic Four 51 (1966) Cover Recreation - Color
pen and ink on 11 x 17" bristol board with digital colors

Linework only

Original Cover by Jack Kirby & Joe Sinnott


Fantastic Four 72 (1968) Cover Recreation - Color
pen and ink on 11 x 14" bristol board with digital colors

Original Color Version

Linework only

Original Cover by Jack Kirby & Joe Sinnott
MORE CLASSIC COMIC RECREATIONS
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Original Comic Art Restoration and
Digital Coloring
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full-size examples




Fantastic Four 76 Page 5 (1968)
art by Jack Kirby and Joe Sinnott
line work restoration and digital coloring by Jeff Tamplin

Original printed page


Tales of Suspense 97 Page 2 (1968)
art by Jack Kirby and Joe Sinnott
line work restoration and digital coloring by Jeff Tamplin

Original printed page


Daredevil 46 Page 14 (1968)
art by Gene Colan and George Klein
line work restoration and digital coloring by Jeff Tamplin

Original printed page


Daredevil 87 Page 17 (1972)
art by Gene Colan and Tom Palmer
line work restoration and digital coloring by Jeff Tamplin

Original printed page


Daredevil 87 Page 20 (1972)
art by Gene Colan and Tom Palmer
line work restoration and digital coloring by Jeff Tamplin

Original printed page


Captain America 124 Page 20 (1970)
art by Gene Colan and Joe Sinnott
line work restoration and digital coloring by Jeff Tamplin

Original printed page


Fantastic Four 296 Page 1 (1986)
art by Barry Windsor-Smith
line work restoration and digital coloring by Jeff Tamplin

Original printed page


Machine Man 2 Page 19 (1984)
art by Herb Trimpe and Barry Windsor-Smith
line work restoration and digital coloring by Jeff Tamplin

Original printed page
Advertising Art &
Ink Portraits
In the early 1990s, I briefly wanted to be a commercial advertising artist, like one of my distant relatives. So I produced a series of “advertising art” images based on model and magazine photos (usually cigarette or fashion ads) using pointilism, but never submitted them anywhere. They were fun to draw, although that was a LOT of dots to make by hand. Using combinations of dots of different sizes and densities, I spent a lot of time trying to get the texture of clothing, skin, and hair just right. My later art, like the image directly below, evolved into greater use of contrast and areas of dense blacks with quicker transitions.
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Male Figure 1 (1991)
pen and ink on 11 x 14" bristol board






Female Profile (1998)
pen and ink on 11 x 14" bristol board



Male Figure II (1992)
pen and ink on 11 x 14" bristol board


Male Face II (1991)
pen and ink on 11 x 14" bristol board


Two Faces (1991)
pen and ink on 16 x 20" illustration board


Male Face I (1991)
pen and ink on 16 x 20" illustration board
Digital Paintings
& Photo Art
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Photographs and hand-drawn portraits digitally altered to create original works

Hank

The Mineral Hunter

Pachyderm Ridge


Arrival
Shalimar Bunkhouse

Mars Vacation





Portraits
Industrial Design

I created these designs mostly for fun, and as break from drawing images that must be anatomically accurate. I use symbols from templates that were commonly used in producing architectural blueprints by hand before computer-assisted design (CAD) programs became the standard for architects and engineers. To me, producing the intricate symbol arrangements by hand represents the increasingly complex interactions between humans and our technology.

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Industrial Design I
pen and ink on 11 x 14" bristol board


