GNSI Journal of Natural Science Illustration - 2015 no.3

2015 No.3 GNSI JNSI- 28pp. full color


Digitising the Collection:

Evaluating photogrammetry as a means of producing a digital, three-dimensional model

— AK Milroy, AC Rozefelds, S Coghlan, AM Holmes, S Hocknull

Increased demand for access to museum collections is driving a trend toward specimen digitisation. Three dimensional (3D) digital models provide researchers with rapid on-line access and augment publications. The availability of accurate 3D digital models reduces the need for museums to loan specimens, and thus reduces risk of loss and/or damage. 

The following case study documents the production of 3D digital models of palæobotanical specimens at the Queensland museum using a digital single lens reflex camera (DSLR) and Agisoft PhotoScan photogrammetric software. The resulting models can be shared online, viewed using a commonly available format, and tactually manipulated using a touchscreen.  Digital Bonus: 3D PDF of a seed specimen

Introducing the New GNSI Member Badge!

Use the new GNSI Member Badge on your webite, social media pages or in your print material and let everyone know you are a proud GNSI Member! (only accessable to logged in GNSI Members)

In Memoriam: Carolyn Gast and Liz Day

GNSI Traveling Exhibit

Are you planning an exhibit of your own or of your Chapter or Group’s work, or a special presentation or event, and would like to showcase the GNSI and our profession? Consider renting the GNSI Traveling Exhibit. This collection showcases reproductions of more than 20 years of natural history illustrations, and highlights a wide selection of time-honored techniques.

Watercolor on Canvas

— Miste Caulder

Those of us who work in the art field know that watercolor paintings are just as durable as works on canvas. We see plenty of evidence of these watercolors in museums, with over 500 year-old illuminated manuscripts, masters’ watercolor paintings, naturalist, and botanical paintings that are holding up just as well as oils. Despite this, the popular perception is that works on canvas or wood panels are more valuable, and the “Sold” price for canvas vs. paper (as reported by curators) reflects this perception. Earlier this year, I visited the J Paul Getty Museum’s hosted exhibition, J.W. Turner. I was amazed at the way Turner handled watercolor on paper much the same as oils on canvas. How did he achieve these visually stunning paintings?

Communicating Cleft Lip Phenotypes

— Melissa Clarkson

n this article I describe the development of a vector-based graphic library for cleft lip publications consisting of 46 different graphics. Phenotypes represented include unilateral clefts, bilateral clefts, and midline clefts. I also show a set of carbon dust illustrations based on these graphics.

Illustrating Nature:

California State University at Monterey Bay Science Illustration Program Exhibit

— Georgina Podany

The images you see accompanying this article are just a small sample of the works produced by the students of the Science Illustration program at the California State University at Monterey Bay. On May 1, 2015, the sixth annual exhibit of the program opened at the Pacific Grove Museum of Natural History.

The Power of Images

— Bruce Worden

In 2011 I launched a blog in which I illustrate pairs of words that are spelled differently but pronounced the same (homophones). I post a new pair of images every week, so it’s called Homophones, Weakly . Get it? Har har. Seriously, though, typos irritate me more than they should. So rather than yell down a hole about it, I thought I’d do something helpful. I get it, homophones are tricky words to learn. The difference between “whose” and “who’s” has tripped up the best of us. However, I also understand that these mistakes slip through automated spell-checkers and require a little extra effort on our part – we have to actually learn the differences. But everyone learns differently, right? Some people read. Some people listen. Some experiment. And (lucky for us) some people learn best through pictures.

An Adventure on Eleuthera

— Scott Rawlins

Who: Scientific illustration students & faculty from Arcadia University
What: Illustrating 3 newly-discovered species of marine isopods
Where: The Cape Eleuthera Institute, Eluethera Island, Bahamas
When: December 2014
Why: An opportunity too good to ignore!

Pages From My Sketchbook

A sampling of Sandy Bender’s sketches from the Dorr Museum of Natural History at our Bar Harbor 2013 Conference.

Mapping Our Future

GNSI Strategic Planning Initiative

— Gail Guth, GNSI Outreach Director

From time to time, it’s a good exercise for us all to sit back and “take stock”: who we are, where we are, where are we going, where do we want to go? It’s a good exercise for organizations and businesses as well; it gets the fancy (but apt) title of Strategic Planning. The goal is to map the status and health of the organization, and to plan, as much as possible, what needs to be done to keep the group healthy and progressing in our fast-changing world.

GNSI 2016 Annual Conference • July 3 - 9

University Of California, Santa Cruz

Robin Carlson, Conference Chair

Interested in teaching a workshop or presenting? Contact:
Elizabeth Morales, [email protected], 607-532-4039
Taina Litwak, [email protected], 240-750-9245

GNSI Journal of Natural Science Illustration - 2015 no.3