This lecture presentation will familiarize the audience with web site portfolios and image presentation on the web.
Illustrators can minimize the hassle and maximize the exposure of their artwork on the Internet. Learn about the advantages to displaying art in a website. Britt will explain how to create a web presence for your business, select and prepare image files, and utilize the features of Science-art.com

Scott will lead an interactive workshop aimed at equipping participants with a working understanding of the basic principles of copyright law. He will address the who, what, when, where and why’s of copyright. With that foundational understanding, Scott will then highlight some of the pitfalls that most often catch the unsuspecting illustrator and suggest practical steps artists can take to maximize the return on their creative efforts. Questions from participants will be welcomed. <shavlick@iph2.com>

The goal of this lecture with slides is to generate insight into the processes of art and creativity.
Emily Dickinson was creative on many fronts, and a number of her wonderful poems are about art. As an expert on this timeless poet, John will discuss her life in the context of the settings of her writings about art. He will also recite her poetry and provide insights that we can apply to our own creative processes.

For the scientific illustrator who wishes to move beyond spot illustration and specimen rendering toward effective and dramatic full page compositions. We will discuss important aspects of picture-making that enable the artist to master their universe.
Frank will cover the visual organization of multiple subjects—with and without a background. While classical approaches will be noted, emphasis will be placed on accessible, non-technical techniques that allow the artist to quickly organize and design a dynamic composition.
Gene, using illustrations created by professional artists and students, will show the audience how to observe and demonstrate in their own work—through the use of research, sketching, focus, detail and color—qualities found in successful illustrations. Finally, examples will be broken down into a sequence of events that explores the metamorphosis from simple illustration to eye-popping success.

This lecture with slides is meant to enhance awareness of perception and observation. As Sherlock Holmes said to Dr. Watson, “My dear Watson; you are looking but you do not observe.”
My talk will be about perception, and how artists in the past have expressed what they saw and how they manipulated light. The effect of our rushed lives and ready-made images on artists today will be explored.

This slide show and short video will highlight the unique experience of gathering information for a “deep water” painting assignment.
In September 2001 M.J. was hired by the National Underwater Research Program to paint an “underwater landscape” of Oceanographer Canyon, including the deep water corals. She spent a week aboard the RV Atlantis (274'), the mother ship for the Alvin deep sea submersible.

Making Dino-sized Murals with Corel Painter: Creating the Sam Noble Ancient Life Murals
Learn how science, art and digital technology came together to create more than 6000 square feet of murals in the Ancient Life Series at the Sam Noble Museum. Artist Karen Carr discusses how digital technology made these giant murals a collaborative effort involving scientists from OU and around the world. Includes a hands-on look at the techniques Karen uses, including custom palettes, brushes, papers and textures. Q&A welcome.

Geoff will first talk about his experiences illustrating and collecting insects in Queensland, Australia, including some images of out-of-the-way, pristine rainforest and bush. He will then outline a short history of insect illustration using slides from the Queensland Museum’s marvellous library and other examples. Only a few examples could be illustrated in Geoff’s November 2000 article in the GNSI Newsletter so this talk affords an opportunity to see more and in colour. Emphasis will be placed on the various techniques used to produce these illustrations. Finally Geoff will talk a little about his own printmaking activities.

A slide show first presented at the 2002 GNSI Annual Conference in Kansas by Kris Kirkeby, it provides images from various illustrator’s sketchbooks along with their musings—about the process of producing the sketches, and how they view their own work. Natural science illustrators can write as beautifully as they visualize!

A lecture/demonstration that will introduce and provide an overview of Adobe Illustrator functionality.
A review of basic draw illustration techniques including the use of the bezier pen tool, object layering, gradients, blends and gradient meshes. Basic object and envelope transformations. How Illustrator integrates bitmapped illustrations and the use of text and draw elements in conjunction with them—particularly as callouts and annotations. The use of filters and effects. The concept of appearance, styles, symbols, and brushes.

This lecture with slides will present effective promotional practices for illustrators. An examination of certain key issues related to the professional practice of undertaking free-lance/commissioned illustration.
• The Portfolio: presentation of, need for, other forms of promotion, etc.
• Fees and payment: what determines the value/worth of a commission, what to charge, etc.
• The Illustrators Rep (Agent): the advantages-the disadvantages, their function, why have one-why not, who and where are they- best ones and ‘not so best ones,’ etc.

The creation of dichotomous keys and the use of existing keys can help students of scientific illustration enhance their observation skills and increase their understanding of plant and animal morphology. This presentation will not only include an overview of the mechanics of creating dichotomous keys, but also directions for constructing keys to ecologically sensitive taxa.

A slide show. The wildlife illustrator often spends extended periods of time in the field observing, sketching and photographing subjects in their own environments, but the underwater environment presents some unique challenges. Cindy will address these challenges, along with her techniques and approaches to underwater field photography and how she uses her images in her work. She will also share some of her current projects resulting from her time spent at the University of Belize Marine Field Station during May-June 2002.

A lecture/slide show providing a quick overview of Macromedia’s Flash software—the current standard for creating dynamic, low-bandwidth interactive media. Flash is a growing asset to both the traditional and the digital artist in its utility to create educational and presentational materials. This presentation includes a look at features of the interface, building simple buttons, creating shapes, animation, tweening, timeline movements, basic syntax, and use of sound. Examples of completed individual flash modules will be presented for purposes of inspiration and to get ‘those mental wheels turning.’

The basics of creating 3D images for inclusion in your artwork are very similar from package to package. John and Britt will demonstrate the basic creation process for making 3D pictures, using Strata3D and Lightwave. Strata is 3D for the rest of us; designers and illustrators can quickly pick up the tools and make images. Lightwave is a powerful package used in animation with many advanced features. Animations will be served!

This lecture with slides will introduce you to the new Guild Handbook of Scientific Illustration, and describe the development and editing process—emphasizing how the book reflects changes in scientific illustration and in the publishing industry.

This lecture with slides will provide an in-depth overview of the illustrators role in the production of non-fiction books (particularly natural history & reference) for young audiences. Emphasis on process and method incorporating notions of authorship, commissioning and payment, client / audience considerations, concept and design, narrative and sequence, content and subject matter, visualization and artwork production. Features examples and case studies from own extensive experience.

The evolving digital landscape continues to rewrite the traditional workflow of the professional artist. This talk will outline emerging opportunities for the scientific illustrator to move into animation as an extension of their portfolio. 3D and 2D software will be reviewed, with an emphasis on 2D tools such as Adobe After Effects that allow the repurposing of digital illustration “assets” into elements of “time-based illustration.”

This crossover methodology session will discuss the possibilities of bridging traditional drawings to the digital arena. The traditional medium of hand-drawing provides speed and quality, the results of which can be quite easily scanned and edited in the digital environment. Using Photoshop, we will go through the process of scanning, composing, and editing an image for book publication. Pros include color correction, adding text & graphics, ability to edit image to client’s desires without damaging the original, and speed for client distribution via email attachments. Cons such as costs, equipment, and distribution will be discussed.

This demonstration with slides will focus on the proper way to archivally frame, mat, glaze, mount and back your works of art on paper. It will include discussion and/or demonstration of materials and techniques and prepared examples of the various techniques, especially for mounting, and show samples of what we consider archival materials.

Lecture/demonstration about understanding color management & digital prepress—including tips and techniques in Adobe Photoshop
First a presentation of some basic color science and then the theory and practice of color management, with its three components: Characterization, Calibration and Translation. We will use color management implemented in Adobe Photoshop to explain, demonstrate and lay down some no-nonsense strategies and tips for using color management in your work. The second half of the session will be a presentation and demonstration of the basic concepts and practices of digital prepress—again using Photoshop as an example. Topics will include: image resolution and bit depth, sharpening, color correction, and targeting.

Sally will also cover some of the pitfalls of the job and some of the price-saving measures she took to conserve both time and work.

(Note: These paintings were the last ones to be published in Sally's painting career. Find out why.)

Illustrators should attend this lecture/demonstration to learn how to incorporate digital photos into their art and workflow and get your money’s worth, great images, and photo-satisfaction!
Part 1: Researching & Buying...
Learn to assess your needs. We will cover digital camera terms, features and functions—and what will be helpful in your unique situation. Discover what cameras and accessories are available by concentrating on research methods, digi-cam categories and price brackets—and develop your own budget.
Part 2: Using & Understanding...
Whether you already have a digi-cam or will soon be buying, learn how to use those buttons, dials, knobs, switches, ports, connectors, cables, and menu items to take digital images and download them to the computer.
Students will receive handout materials or other info to assist them. Website info and sites will be shown. Audience Q & A are encouraged.