Anthology of the graduates of the 2012-2013 Natural Science Illustration Certificate Program at the University of Washington
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Introduction Scientific illustration has long been an important tool not only to scientists, but to anyone with an interest in the natural world. Before the invention of photography, illustration was the only way to show people what distant plants and animals looked like. Many scientific illustrators of the past, such as John James Audubon, Maria Sibylla Merian, and Beatrix Potter, became household names as their work spread to satisfy the public’s thirst for beauty and the extraordinary. Today, illustrations regularly grace textbooks, guidebooks, research articles, posters, pamphlets, and more – and just like Darwin’s “endless forms,” scientific illustration is constantly evolving. Illustrators can work with dip pens or a digital tablet, or both. They might illustrate such traditional subjects as flowers or ancient artifacts, or single cells that can only be viewed with advanced microscopy. What stays the same is that illustration remains a powerful vehicle to communicate, with clarity and precision, an understanding of natural forms which may be beyond the scope of a camera to capture or words to describe. We, the graduates of the University of Washington’s Natural Science Illustration Certificate Program, present our work to show what we have learned over the past year. Each piece required attention to artistic technique in tandem with observation and often extensive research into the subject. We came to this program from a variety of backgrounds, each with different skills and goals, and in the course of a year, we have also evolved. This volume is a cabinet of curiosities, containing the forms we studied and the forms we tried on, each in pursuit of our niche in the world.
01. Creation of High-Affinity Antibodies B Cells and High Affinity Antibodies Adriana Lippy Adobe Illustrator | 8” x 10” | 2013 This figure was designed for a scientist in the lab where I work, which focuses on developing HIV vaccines through an antibody response. This figure was used in a presentation at the Antibody Effector Functions and Env-Based Immunogen Design workshop, part of the Keystone HIV vaccines meeting, February 10 – 15, in Keystone, CO.
02. Turtle skull (Chelonia mydas) Morgan Turner Graphite on illustration board | 9” x 18” | 2013 Turtles are the enigma of the vertebrate world. We don’t know who their ancestors were, but I’m doing research on one of the likely possible taxa, pareiasaurs, hoping to find more conclusive morphological evidence for their relationship. 3
03. Ammonite: The Process Process of creating scientific drawing Barbara Ierulli Graphite and carbon dust on paper | two 11” x 14” pieces | 2012 Creating scientific drawings to scale takes many steps before the rewarding final rendering.
04. Horseshoe Crab (Limulus polyphemus) Adam Lee Matthew Ink and carbon dust | 6” x 10” | 2012
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07. Cicada Life Cycle Bianca Ana Chavez Graphite with Watercolor 12” x 16” | 2012 For most of their lives cicadas live underground as nymphs feeding on the roots of plants. They emerge in large broods every 2-7 years and shed the nymph shells of their youth. With their elegant wings now revealed, male cicadas make a loud buzzing sound by rubbing them together. This intoxicating sound attracts females to mate. Cicada eggs are deposited into slits the females make in soft tree branches. The cycle begins again.
05. Sand Dollars (Washington) Susan Pope Colored pencil and ink pen on film Sand Dollars are a species of sea urchin belonging to the order Clypeaseroida. They are also related to sea cucumbers and seastars. In New Zealand they are known as sea cookies or snapper biscuits. In South Africa they are called pansy shells. Live sand dollars have a velvety exterior ranging from light sandy grey through a greenish grey to purple. Dead sand dollars have been bleached by the sun and are often found on coastal shores as cream or white shells.
06. Shell Michelle Poston Ink on clay board | 5” x 7” | 2012 This piece combines washes of ink for the shades and form of the shell with scratch board techniques for the details. 5
08. Beetle Trigonophorus rothschildii varians aka “Unicorn Green Rose Chafer Beetle” Ruth Hulbert Oil and gold leaf on board | 10” x 11” Oil paints aren’t a common medium for scientific illustration, but I figured the iridescence of this beetle called for the deep color and value range of oils. Layered over a monochromatic value study for an underpainting, transparent color glazes can achieve an effect like stained glass when light reflects off and through the painting. With the addition of gold leaf, the painting changes its appearance in different types of light nearly as much as does the actual beetle specimen.
09. Octopus Tamlyn Zawalich Gouache and colored pencil on toned paper 9” x 6” | 2012
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10. Rutabaga Michelle Poston Ink and watercolor 7” x 8” | 2013 The process for this piece was a detailed ink drawing followed by layers of ink washes and finished with layers of watercolor.
11. Two views of a mushroom Mushroom of the genus Agaricus Melissa Clarkson Watercolor | 7.5” x 10.5” | 2013 I found this mushroom beneath an evergreen tree near the UW Husky Union Building. It was rather large—over seven inches in diameter. I illustrated two views because I wanted to show both the pattern on the top of the cap and the gills below. 7
13. Cone Collections Christine Bergman Pen & Ink on Bristol 9” x 9” | 2013
12. Dicranum howellii Bianca Ana Chavez Graphite with watercolor 12” x 16” | 2013 Dicranum howellii is an attractive moss with whimsical capsules and side-sweeping leaves. It grows commonly throughout California, Oregon, Washington, Montana, Idaho, and Alaska. You can find it on moist soil, humus over rock, rotting logs, and tree trunks. I found this specimen on an herbarium shelf, something like a morgue of dead plants, very far from its natural environment. 8
14. Hops (Humulus lupulus) Botanical plate of Humulus lupulus Stacy Hsu Pen & ink | graphite & watercolor 11” x 14” | 2013 We are a household of home brewers, and have hops vines growing throughout our backyard. This botanical plate depicts the male and female flowers of the plant, as well as the rhizome.
15. Pincushion (Leucospermum glabrum) Morgan Turner Colored pencil and gouache on Bristol 11” x 14” | 2013 I’ve spent more time on the internet trying to find information about this plant than I have drawing it. It’s ambiguous enough for the internet, but pretty enough for Costco.
16. Snap Dragon (Antirrhinum majus) Emelia Martin Colored Pencil| 8” x 11” | 2013 As a kid I always played with the flowers to make the mouths open.
17. Sturt’s Desert Pea (Swainsona formosa) Susan Pope Watercolor and colored pencil Sturt’s Desert Pea is an Australian plant native to the arid central and northwestern regions of Australia. Flowers bud after fresh rain and the plant may produce flowers for several months through spring and summer. Dark red with a black centre is the most common form but there is also a natural pure white form. The flowers are bird-pollinated. Sturt’s Desert Pea is the floral emblem of South Australia. 9
18. Radish (Raphanus sativus) Elizabeth Smith Watercolor on Arches hot press 140 lb 8” x 10” | 2013 The radish is often overlooked when one thinks of root vegetables, but its brilliant color and textured leaves make it a delight to paint. I carefully built up color through many thin washes of paint.
19. Radishes Tamlyn Zawalich Gouache on toned paper 9”x12” | 2013
20. Beets Emilia Martin Watercolor | 8”x10” | 2013
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22.Chicken 22. ChickenSkull SkullStill-life Still-life Christine Bergman Colored pencil on mylar 2012
23. Sword Fern Leona Laurinovics Graphite on Bristol plate 6.5” x 9” | 2013
21. Leaf Candice Covey Colored Pencil 11” x 17” | 2012 In the Intro to Natural Science Illustration class, Susan Jones gave great instructions on how to use color pencils. The techniques that I learned definitely helped when drawing the leaf to capture the texture of the wrinkles in the leaf. 11
24. Lateral view of a chicken skull Cornish bantam chicken Melissa Clarkson Carbon dust and carbon pencil | 5” x 9.5” | 2012 This illustration was created by applying carbon dust and carbon pencil to Mylar drafting film. I enjoy working on film because the smooth surface is very durable and allows the carbon dust to be easily removed.
25. Muskrat Skull (Ondatra zibethicus) Ruth Hulbert Gouache and colored pencil on toned paper 9”x12”
26. Chicken Skull Emelia Martin Pen and ink
27. Anna’s Hummingbird skeleton (Calypte anna ) Elizabeth Smith Colored pencil and gouache on Denril 3mil drafting film with digital background | 5” x 6” | 2013 An Anna’s hummingbird is about four inches long from beak tip to tail tip, and weighs less than a nickel. These tough little birds live yearround in the Puget Sound area. 12
28. White Rhinoceros anatomy (Ceratotherium simum) Adam Lee Matthew Colored pencil on drafting film | Each layer - 11.5” x 9” | 2013 The horn of a rhinoceros is not a true horn; they’re made of keratin and have no bony core. (Hence the absence of the horn from the skeletal layer.) They also grow continuously like our hair and fingernails. Each layer of anatomy was drawn on separate pieces of drafting film which could then be placed one on top of the other to check bone and muscle placement.
29. Reconstruction of a human skeleton (Homo sapiens) Melissa Clarkson Carbon dust and colored pencil with digital assembly 8” x 16” | 2013 I began with a photograph of a woman by Eadweard Muybridge taken in the 1880s during his study of animal locomotion. My task was to reconstruct the skeleton of the woman. I depicted both the bones and cartilage in this illustration.
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30. Wart Hog Composite skull (Phacochoerus aethiopicus) Barbara Ierulli Gouache and colored pencil on Mi Teintes paper | 9.5” x 13” | 2013 Ah the wart hog……. 31. Young Horse Anatomy Candice Covey Colored pencil on film | 11” x 17” | 2013 The horse is able to lift the back which allows the longissimus muscle to release which allows the back to swing. When the back swings, the horse is able to use its muscles correctly. This allows a “natural back” in which the rider should ride with a half seat or “light” seat because the young horse has not developed the back muscles fully until the age of about 5 years old. The exercise should only be used for 15 to 20 minutes. 32. Bone, Muscle and Fur of Chimpanzee (Pan troglodytes) Lindsay Holladay Gouache and colored pencil | 10” x 8” | 2013 Chimpanzees are humans’ closest relatives on the evolutionary family tree. Their ability to form facial expressions emerges from the complex musculature and skeletal structure revealed in this image. 14
33. Picnic Robber Clark’s Nutcracker Adriana Lippy Colored pencil | 7.5” x 11” | 2013 This Clark’s Nutcracker from Mt. Rainier was not shy around humans! I think he must have had a run-in with a cherry-flavored snack from somebody’s lunch.
35. Wood Stork (Mycteria americana) Adam Lee Matthew Gouache | 6” x 6” | 2013 Gouache is an opaque watercolor paint.
34. “Blueberry” Knobbed Hornbill Leona Laurinovics Watercolor on 140 lb. cold press watercolor paper 7.5” x 7” | 2013 Blueberry lives at the Woodland Park Zoo in Seattle, Washington.
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36. Great Cormorant (Phalacrocorax carbo) Christopher Monson Watercolor | 7” x 12” |2013 The great cormorant is found nearly worldwide and is the largest cormorant species. As a sociable animal and a great swimmer, this species has been trained by fisherman to seek out and capture small fish that the fisherman can later retrieve.
37. Hummingbird feeding baby Anna’s Hummingbird (Calypte anna) Lindsay Holladay Colored pencil | 8” x 10” | 2013 In late April, this Annas Hummingbird built a small nest outside our window, with bits of moss and spider web. Within two weeks she had a pair of tiny babies to feed. We watched as they grew and the cozy little nest stretched to accommodate. One fledged as soon as it could fly, while its sibling stayed around, getting fed by mom for another week.
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38. Captain Morgan A Black Sex Link hen Stacy Hsu Gouache, colored pencil | 9” x 12” | 2012 Captain Morgan is one of the seven hens we have. She is always stoic, regal looking, and is very human-social. She will be 5 years old summer of 2013, and is still laying eggs for the household.
39. Westslope Cutthroat Trout (Oncorhynchus clarkii lewisi) Christopher Monson Watercolor | 11” x 5” | 2013 Described by William Clark and Meriwether Lewis, the westslope cutthroat trout (which honors both explorers in its scientific name) is found now in only a fraction of its historic range in Idaho, Montana, and British Columbia. This watercolor was created using parts of an image captured by Amy Jimmerson.
40. American Black Bear (Ursus americanus) Michelle Poston Colored pencil on film | 12” x 9” | 2013 Portrait of an American Black Bear after a successful catch. To complete this image color pencils were used on both sides of the film to help give the bear his fuzzy texture.
41. Startled Badger (Taxidea taxus) Adriana Lippy Colored pencil | 8.5” x 11”| 2013 My boyfriend and I went on a trip to Yellowstone in 2012. What we thought was a marmot den turned out to be inhabited by a badger. I don’t know who was more scared, the badger or us! 17
42. Mating Steller’s Sea Cows (Hydrodamalis gigas) Ruth Hulbert Brush pen on Bristol plate| 8” x10” In 1741, naturalist Georg Steller was shipwrecked with Vitus Bering and crew in a remote archipelago in the Bering Sea. There, the men encountered vast herds of a strange sirenian now known as Steller’s Sea Cow. The remnants of Bering’s crew reached Kamchatka with otter pelts and tales of the rich, abundant sea cow meat that had saved their lives. When assigned to draw an animal in an “action pose,” there are only so many options for a docile, boat-sized, slow-swimming kelp grazer, which was too buoyant to submerge itself. These traits also explain how the last sea cow was butchered and eaten by fur hunters by 1768. We know the species only from Steller’s notes, a crude drawing, and a few skeletons salvaged from the beaches of Bering Island. So far as I know, this is the first illustration of their mating behavior, which differs significantly from that of living sirenians (manatees and dugongs). From Steller’s De Bestiis Marinis (Beasts of the Sea): In the spring they come together in the human fashion, and especially about evening in a smooth sea. But before they come together they practice many amorous preludes. The female swims gently to and fro in the water, the male following her. The female eludes him with many twists and turns until she herself, impatient of longer delay, as if tired and under compulsion, throws herself upon her back, when the male, rushing upon her, pays the tribute of his passion, and they rush into each other’s embrace. …It is a very curious evidence of their nature and of their conjugal affection that when a female was caught the male, after trying with all his strength, but in vain, to free his captured mate, would follow her quite to the shore, even though we struck him many blows...
43. Nina Western Lowland Gorilla of Woodland Park Zoo Elizabeth Smith Graphite on Rising Stonehenge paper | 8” x 10” | 2013 Nina is the matriarch of Woodland Park Zoo’s original Western Lowland Gorilla group. Born in the wild in 1968, she came to Seattle and charmed the locals while raising her biological and adopted children. 16 18
44. Tibetan Wild Ass (Equus kiang) Barbara Ierulli Colored Pencil and acrylic on film (flesh layer), watercolor on paper (background layer) 16” x 12” | 2013 Traveling in far western Tibet we often spied herds of Kiang grazing in the distance. The matrons guarded the herd, one looking to each of the four cardinal directions. 45. Ethiopian Wolf (Canis simensis ) Stacy Hsu Gouache and colored pencil on Mi Teintes paper | 11” x 14” | 2013 The world’s most endangered canid, the Ethiopian wolves are native to the Ethiopia Highlands. Lots of effort has gone into preservation of this species, and with the help of the Ethiopian Wolf Project’s photographer Rebecca Jackrel, I created a series of Ethiopian wolf anatomy drawings, as well as its habitat. This painting shows the fleshed out wolf.
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46. “Olli-Pekka” Finnish Spitz in snow Leona Laurinovics Watercolor on 140 lb. cold press watercolor paper 7.5” x 10” | 2013 A good friend: 1/1/03 – 3/3/12
47. African Elephant (Loxodonta africana) Morgan Turner Carbon pencil on Bristol | 11” x 14” | 2012 Among the remains of ancient Greece, archaeologists have found skulls of Deinotherium giganteum, a relative of extant elephant species. Deinotherium had a huge nasal opening which happens to look a large eye socket, and theories have been suggested that these fossils were the origin of the Cyclops mythology.
48. Direct Observation of a Bat Candice Covey Colored Pencil and Gouache 11” x 17” | 2012 My parents bought me a bat in Lucite for Christmas. I used the technique of gouache and color pencil which Patricia Weyer taught in Zoological Illustration to draw the bat during winter break. 20
51. Coyote Christine Bergman Colored pencil on mylar 9” x 12” | 2013
49. Tarsier Tamlyn Zawalich Watercolor and colored pencil on Bristol vellum 11”x14” | 2013
50. Ciervo dentro Bianca Ana Chavez Graphite with watercolor | 12” x 16” | 2013 My great great grandmother’s name was Golden Fawn. This mysterious woman of my past, of whom I know nothing about but a powerful name, has imparted in me a fascinations with the deer. This handsome buck explores what is inside our heads, and our past. 19 21
52. Dromedary camels running (Camelus dromedarius) Christopher Monson Colored pencil on Bristol 6� x 12� | 2013 Dromedary camels are the widest ranging of the true camel species and have been domesticated for at least 4000 years. This illustration shows the various coat colorations that this species exhibits.
53. Tasmanian Tiger (Thylacinus cynocephalus) Susan Pope Colored pencil on film The thylacine is extinct. The last thylacine died in a Tasmanian zoo in 1936. Little is known about their habitat choice, diet or reproduction since no studies were performed while the animal was alive. The ITSD (International Thylacine Specimen Database) exists because over the years there has been a steady collection of specimens from mainland Australia and Tasmania. Currently efforts to clone the thylacine from a joey stored in alcohol have been unsuccessful. Thylacines are the only mammal known to have a pouch in both the male and female although used for different purposes. 22
54. Pika on the Brink American Pika (Ochotona princeps) Lindsay Holladay Gouache on illustration board 10� x 15� | 2013 The American pika may not survive global climate change. Adapted for extreme cold and vulnerable to temperatures above 78˚F, this small, hardy mammal has already lost much of its alpine habitat. Populations struggle to survive with shrinking snowpack and warming mountain zones. However, pikas continue to be resourceful, curing and stockpiling food for winter months. Hikers can listen for their high-pitched chirps around rock piles and search out their grass piles near trails. In the Pacific Northwest, the last remaining pikas may be found high in the Cascades, like survivors clinging to the top of sinking ships. Reference material generously provided by: naturespicsonline.com
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So Many Ways to Capture The World Around You WATERCOLOR: antiquity, prehistoric human caves, popularized in the 15th century Pigments mixed with water form one of the earliest mediums of art, found in ancient prehistoric caves across the world. The advent of watercolors in 12th century Europe came about in direct correlation to the introduction of paper from China. During the Renaissance the technique was refined and popularized by artists like Albrecht Durer, who used watercolors to create stunningly realistic images of animals and wildflowers. Watercolor has long been a popular technique for wildlife artists and natural science illustrators, including John James Audubon and Beatrix Potter. CARBON DUST: 20th century, Germany The German-born American medical illustrator Max BrĂśdel both invented and popularized the technique of painting with carbon dust. The medium allowed him to reach new heights of delicate tonal variation in rendering complex anatomical forms. The technique involves first rubbing carbon pencils against a fine-grit file to make the “sauceâ€? or dust. Using brushes to paint the dust onto paper makes marvelously smooth gradations and areas of tone, which can be burnished darker with paper stumps, lifted off with erasers, or refined with details drawn in carbon pencil.
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PEN AND INK: antiquity
GRAPHITE: 16th century, England
The earliest pens were made from quill feathers and reeds. Record exists from 10th century Egypt of a pen with a contained ink reservoir, but it was not until 1907 that the first solid-ink fountain pen would arrive on the scene. Today, many natural science illustrators still use classic dip calligraphy pens, because of the degree to which dip pens allow the artist to manipulate the flow of ink and the line weight. Some prefer to use technical pens with ballpoint or felt nibs for their ease of use and consistency.
The carbon molecules which make up graphite are loosely bound, so that as the graphite is dragged across a drawing, little bits break off and embed themselves in the surface. Graphite was originally made into sticks and wrapped in string or sheep skin. Eventually, artists discovered a better way to handle the delicate material by drilling holes into wooden rods and packing them with graphite. Today, we add high-tech mechanical pencils to the mix of tools available to artists, with leads down to .03mm. Natural science illustrators enjoy graphite for its wide range of tonal values and the ability to achieve fine detail.
GOUACHE: 16th century, Europe Although opaque watercolors have been used since ancient Egypt, the tempera-based gouache we are familiar with became popular during the Renaissance. Science illustrators enjoy gouache because of the ability to combine it with other water-based mediums, layer it on top of pencil and ink, or use it to add strong white highlights. It is also easy to reproduce, which makes it an obvious favorite for illustration work. COLOR PENCILS: 20th century, Germany Color pencils began to be manufactured in the early 20th century in Germany. They quickly become popular with children, in schools, and for sketch artists. A major challenge for natural science illustrators has been to overcome the stigma that color pencils are not a serious art medium. Botanical illustrators have been particularly progressive in this area, demonstrating the ability of color pencils to capture the delicate details and subtle textures of plants.
OIL PAINTING: 13th century, Afghanistan Popularized in the 15th Century by Belgian painter Jan van Eyck Perhaps because of difficulty in reproduction and transportation, oil paint has not been typically listed as a medium for natural science illustrators, whose main goal may be described as communicating information to a mass audience. Oil paint, however, has always been able to convey a startling representation of the luminosity we encounter in the natural world. It is therefore a wonderful thing that the digital age has made it easier to reproduce the vivid images of wildflowers and dead game birds that artists have been painting for centuries.
Adriana Lippy So much science, so little time. www.adrianalippyart.com Art work 01, 33, 41
Leona Laurinovics I thought I’d try something new. Leona_L@outlook.com Art work 23, 34, 46
Adam Lee Matthew Intended paleontology, ended up in art. www.adamleematthew.com Art work 04, 28, 35
Lindsay Holladay Scientist and educator, now illustrating nature. Web & Moss Studio: webandmoss.com Art work 32, 37, 54
Barbara Ierulli Back to beginning-Nature in art. bmierulli5@me.com Art work 03, 30, 44
Melissa Clarkson Studied biology. Now design and illustration. melissaclarkson.com Art work 11, 24, 29
Bianca Ana Chavez Art and illustration rooted in nature. http://masspoetic.wordpress.com/ Art work 07, 12, 50
Michelle J Poston Round trip: art, US Navy, art. www.michelleposton.com Art work 06, 10, 40
Candice Covey Horses create inspiration, art expresses it. sites.google.com/site/candicecoveyillustrator/home/blog Art work 21, 31, 48
Morgan Turner I fell in love with bones. www.flickr.com/morganturnerart Art work 02, 15, 47
Christopher Monson Obstinate scientist, prefers art, scientifically aesthetic. www.TheIllustratedWorld.com Art work 36, 39, 52
Ruth Hulbert Rooted Alaskan, temporarily south for adventures. www.woodfrogart.com Art work 08, 25, 42
Christine Bergman Renaissance woman forever and a day. cxbstudio@gmail.com Art work 13, 22, 51
Stacy Hsu Wilderness explorer, edible gardener, bicycle enthusiast. stacyhsu.com Art work 14, 38, 45
Elizabeth R. Smith Determined artist and frequent cat furniture. www.RowntreeStudio.com Art work 18, 27, 43
Susan Pope Grass roots, Pea shoots, Wombats & Wallaroos. www.susanpope.net Art work 05, 17, 53
Emelia Martin I’ve become the collector of oddities. www.thenaturalillustrator.weebly.com Art work 16, 20, 26
Tamlyn Zawalich Likes to draw lots of things. tamlynzawalich.com Art work 09, 19, 49
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Front cover images left to right: Melissa Clarkson, Adriana Lippy, Susan Pope, Elizabeth Smith, Barbara Ierulli, Morgan Turner, Emilia Martin, Christine Bergman, Christopher Monson Back cover images left to right: Stacy Hsu, Michelle Poston, Lindsay Holladay, Ruth Hulbert, Tamlyn Zawalich, Leona Laurinovics, Candice Covey, Adam Lee Matthew, Bianca Ana Chavez Layout and design: Stacy Hsu Front cover and inside title lettering | Editing: Ruth Hulbert Special thanks to: Melissa Clarkson, Bianca Ana Chavez, Adriana Lippy
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“There is grandeur in this view of life, with its several powers, having been originally breathed into a few forms or into one; and that, whilst this planet has gone cycling on according to the fixed law of gravity, from so simple a beginning endless forms most beautiful and most wonderful have been, and are being, evolved.� -- Charles Darwin, On the Origin of Species
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