Like many people, I’m delighted by the colorful leaves autumn brings.
Earlier this year I had the opportunity to develop a coin design that immersed me in autumn well before the season began. The Royal Canadian Mint just released this 2 oz. gold coin featuring the colored maple canopy that I designed. At the low, low price of CAD$4,889.95, it could be yours. ;)
Late this summer, the Royal Canadian Mint release the final bullion coin in a series of four Birds of Prey: The Great Horned Owl.
You can see my initials ‘ED’ on the coin; yep, I designed this one! The skilled engravers at the RCM excel at showing fine details of their subject’s texture and color; this bird is no exception.
Once again, I’m participating in an exhibit with the Southern Ontario Nature and Science Illustrators.
This year, our exhibit is hosted by the Giant’s Rib Discovery Centre, the same place that now displays my recent illustration of three different Silurian environments of Southern Ontario (see previous post).
More details about the SONSI exhibit are here. Please note that the exhibit will NOT be on display the weekend of September 12/13 due to an event that the Centre is hosting.
Our exhibit reception will take place on October 17, coinciding with a somewhat informal “Grand Reopening” of the Giant’s Rib Discovery Centre. Anyone who wishes to see the newly redesigned GRDC, view the exhibit, and speak to the artists is welcome to show up anytime after 10 AM. Enjoy some refreshments in the morning and see the artwork. Artists will be participating in a hike from about 10:30 AM to 12:30 PM, after which there will be opening remarks and lunch (kindly provided by the GRDC), followed by more time to socialize and see the displays. Please join us!
My six-foot-by-four-foot illustration of three different Silurian environments in Southern Ontario is now on display at the Giant’s Rib Discovery Centre in the Dundas Valley Conservation Area. The Centre is open on weekends from 10 AM to 3 PM.
From left to right, I’ve illustrated a muddy bottom community (the Rochester Shale), a reef (the Guelph Formation) and near-shore lagoon (the Williamsville Formation). Included are trilobites, eurypterids, cephalopods, megalodont bivalves, gastropods, cystoids, crinoids, a brittle star, brachiopods, bryozoans, tabulate and rugose corals, stromatoporoids, stromatolites, and algae. See the names of all 43 different creatures here.
These ancient seas existed in the Silurian period of Earth’s history, near what we now call the Niagara Escarpment. Find out more about the ancient seas and the fossils I’ve illustrated here.
This graphite and digital color illustration is the product of some pretty intense research, and I’m extremely grateful for guidance from paleontologists Carlton Brett, Frank Brunton, and Matthew Vrazo. Some valuable reference photos also came from fossil collector Paul Chinnici, who along with Kent Smith authored a just-released book about the Rochester Shale fossils. This beautiful new book also includes a detailed chapter on the stratigraphy and paleoenvironments by Carlton Brett, illustrated with the Rochester Shale portion of my illustration above. The book is available here. I write more about the book and describe my visit to the Caleb Quarry (Rochester Shale) in an earlier post.
All are invited to the Grand Reopening of the Giant’s Rib Discovery Centre on October 17, 2015. The opening will coincide with a reception for an exhibit of science and nature illustration by the Southern Ontario Nature and Science Illustrators. I’ll post details when I have them; the agenda is not yet settled.
Last year I visited a local seafood store and brought home this live lobster:
The Royal Canadian Mint had invited me to submit a coin design showing a Canadian lobster, and I needed a specimen to draw. Having never handled a live lobster before and unsure of what to expect, I first put her in my empty bathtub to take some photos.
I needn’t have been so cautious! Since air was not her natural environment she barely moved at all. After a number of photos from all angles I concluded that I needed to manipulate her appendages and body position to achieve a pose that would work on a 13.92 mm diameter coin.
So, I put her in the freezer. As far as I could determine, this was the most humane way to kill her. Once frozen and then slightly thawed, I could pose her in a variety of ways and view her from different angles in order to determine the best composition for a small circular canvas. To be sure I was positioning the lobster in a natural stance, I viewed photos of live lobsters underwater. My specimen curled up her abdomen while in the freezer, and I never managed to uncurl it; fortunately I had taken some good reference photos of her relaxed abdomen while she was alive.
Here she is, fresh out of the freezer after having been frozen, then thawed and manipulated and propped, then re-frozen:
As she thawed, she got a bit frosty:
It’s always a pleasure to have a specimen to draw from. Very often, that’s not an option, such as when I draw polar bears or whales. Despite my distaste for seafood, I had intended to eat her so as to avoid wasting her life. However, after a number of freezing and thawing cycles I decided it wouldn’t be prudent to consume her. I hope that having her portrait engraved on 7,500 pure gold coins is a good enough legacy:
I recently had an opportunity to visit the Ramsay Wright Zoological Laboratory on the campus of the University of Toronto. The lab houses an impressive collection of zoological specimens and I was able examine them at leisure. This event was a sketching opportunity with the Southern Ontario Nature and Science Illustrators, so at some point I did stop peering into specimen jars to sit down and draw. Perhaps because I don’t live near a marine coastline, I rarely see echinoderm specimens in local collections; that’s one reason I chose to draw these sea urchin spines:
I really like echinoderms (as I’ve mentioned before), and the surprising diversity of shapes, sizes, and colors of these spines only reinforced my interest in the phylum. Subtle shades of brown, purple, gray, and orange combined with a texture and weight like fine porcelain gave these subjects an irresistible appeal. Unfortunately I didn’t have my gouache paint with me, so I did my best to capture their character with graphite.
The loose spines were in a lidless box that also contained the urchin’s test with some spines still attached. Judging from the other labeled specimens nearby, it was probably collected many many years ago. Unfortunately this echinoid was not accompanied by any collection data; I don’t know the species or locality. However, it was the only sea urchin of its kind in the box, so I believe all of the spines came from one individual.
The Threespine Stickleback, Gasterosteus aculeatus, inhabits northern coastal streams in North America along both the Atlantic and Pacific Oceans. Because the fish is so variable, some taxonomists have suggested that it comprises more than fifty species. Some years ago I wrote a poem about it. Here’s the limerick, along with my illustration:
The Threespine Stickleback
This stickleback’s armor is nifty;
Compared to the Ninespine it’s thrifty.
While three spines might seem
A taxonomist’s dream,
This species might really be fifty.