Friday, April 22, 2016

Limited Palette


Here's a little piece I've been working on for the past few months. My color theory has always been a little weak, so I purchased James Gurney's Color and Light and started this as an exercise.

I've limited myself to only four colors and have found that even with that limitation, a painter can still blend a huge range of values and hues.


Not only does the glow of the moth affect the coloring but the different plant species will also be different values as well. This still needs a bit of work to bring it all together, but I've been delighted with the overall outcome.

Friday, February 12, 2016

Commitment

It is what holds me back as an artist. Commitment to style. Commitment to a subject, and commitment to a medium. I love working with watercolor, oils, pastels, pen and ink, and now Gold Leaf. Each subject and each medium creates a different style/feel in my work. 

I keep telling myself that at some point, this will all accumulate in an incredible nexus of unique work that I'll be famous for after my untimely death at the hands of a rabid gopher, but...

Still waiting. 

In the meantime enjoy my artist ADD. Original work and prints available at  Redbubble and Etsy store.



Amanda Zimmerman is a scientific/nature illustrator.
She is currently writing and illustrating a book on mangroves.
Subscribe to updates from her studio.


 You can follow me on Facebook, Twitter, Linkedin and  Google+




Friday, November 13, 2015

MudSkippers and Mangroves

Mudskippers are fascinating fish. They spend more time skipping and flipping around in the dense mud than in the water. Their front fins are elongated for 'walking' on land and they can breath through their skin as long as it remains damp. They can also retain water in their gills to help breath out of water. Once they used up all the oxygen in the water, they need to replace it with fresh supply.

When defending their territories, mudskippers display their dorsal fins and push each other around with their open mouths.

Shown: Blue-spotted mudskipper (Boleophthalmus boddarti) This particular species is very common in mangrove communities in India's west coast and Southeast Asia.


____________________________
ABOUT THE ARTIST

Amanda Zimmerman is a scientific illustrator. She has done work for Project Seagrass in 
the United Kingdom and Carnegie Museum of Natural History in Pittsburgh, PA.  She is currently writing and illustrating a book on mangroves. To receive updates about
Secrets of the Mangroves, subscribe to  updates from my studio.

 You can follow me on Facebook, Twitter, Linkedin and  Google+

Prints available at  Redbubble and Etsy store.




Monday, September 14, 2015

Mapping the Sundarbans (would drive a cartographer mad)


The ecologically rich Sundarbans are one of the planets largest mangrove communities. Here in Bangladesh, the Ganges, Padma, Brahmaputra and Meghna rivers all converge into the Bay of Bengal. It is a meeting of freshand saltwater; a diverse place of forest, beaches, tidal flats, marsh and swamps lands. Once measuring around 16,700 square kilometres (6,400 sq mi), the Sundarbans have now reduced to one third its previous size.

It is home to Bengal tigers, exotic birds, the chital horin (spotted deer), the critically endangered estuarine crocodile and the Indian python.

The Sundarbans are also very time consuming to draw.





____________________________
AMANDA ZIMMERMAN

Discover more about Mangroves when you sign up for updates from my studio which include progress reports on my forthcoming book: Secrets of the Mangroves. Subscribers are automatically entered in a drawing each month for a free 5x7 print of their choice form my Etsy store.  


 You can follow me on Facebook, Twitter, Linkedin and  Google+

If you are interested in purchasing prints of my work, please visit my Redbubble and Etsy store.

Thursday, August 13, 2015

Monkey Madness

Last night I had a dream that I was Curious George! It was all from the first person point of view, so I was literally seeing the world through monkey eyes. (It was about the same as a human sees the world, since my brain has no concept of how a monkey really sees the world.)

In the dream I was sitting among a pile of stuffed animals, gazing out a picture window, waiting for the man in the yellow hat to come back.

This is not Curious George. This is a very big Silverback Gorilla. I would not recommend hugging or squeezing him. 

This watercolor study was done from one of the dioramas at the Carnegie Museum of Natural History.


Saturday, May 9, 2015

Tolkien was the Original Zentangle artist?

Am I the only one that sees this?

I was recently visiting a friend in Miami who was talking about having been ensnared (happily) in zentangle art. It was a real departure from her botanical art, but I think she was really enjoying the freedom and whimsy of designing with the stylized patterns.

On the plane home I happened to cracked open The Hobbit for a light refresher since I haven't read the book since before the movies came out. (I suspect Peter Jackson hadn't either -at least, the final chapter- but that's another blog...)

In any event, this particular edition was graced with Tolkien's original drawings and I saw some similarities.

I think there is enough evidence to back up my claim.What do you think?









____________________________
AMANDA ZIMMERMAN
An illustrator of nature is an observer of form and behavior.  My job is to create illustrations that not only engage the general public with vibrancy and motion, but educate the viewer about the subject and create a connection of memory. It is these connections to nature that we make, a sense of personal contact-even if only through an illustration- that imparts a sense of responsibility to our natural world. http://salamandaz42.wix.com/sciart
If you are interested in receiving updates on nature illustration workshops and seminars with Amanda, please be sure and sign up for our mailing list or follow on Facebook, Twitter, Linkedin and  Google+
If you are interested in prints please visit my Redbubble and Etsy store.













Monday, March 23, 2015

Elizabeth Gould-Woman in Scientific Illustration

 
from australianmuseum.net.au
ELIZABETH GOULD was born Elizabeth Coxen to an educated middle class family in1804. She earned a living as a governess teaching Latin, French and music, but found the whole situation not to her liking. After a chance meeting at the Aviary of the Zoological Society, she married John Gould at age 24; a marriage that suited them. Through hard work and skill, John worked his way to post of Animal Preserver to the British Museum, and Ornithology Superintendent to the Zoological Society. As for Elizabeth, she wasted no time in launching into her illustration career beginning with drawings for the first volume of a 20 part series: A Century of Birds of the Himalaya Mountains. Within this time, she and John lost their first child at birth, but in 1830, she gave birth to their second child, John Henry.

From Birds of Europe, Elizabeth Gould
At John’s request, Elizabeth received tutelage under Edward Lear, the famed bird artist at the Zoological Society. This professional training increased her skills, depth and breath of work. Even John James Audubon took notice. But as she was working on the next section of,  A Century of Birds of the Himalaya Mountains, she suffered the lose of third child after another difficult pregnancy.

John Gould is often seen as an artist in his own right, an illusion he encouraged. In truth, his passion lie more with the production of the work, and it was Elizabeth’s hand that provided the final product. After A Century of Birds of the Himalaya Mountains was finished, she began work on Birds of Europe. She and John traveled across Europe together to study and collect specimens for the latest endeavor. During this time she gave birth to three more children.

On May 16th 1838, Elizabeth left all but the eldest child with her mother, and set sail for Australia with John. They spent two years in Australia. During this time, she worked on drawing hundreds of specimens for Birds of Australia and A Monograph of the Macropodidæ, or Family of Kangaroos. She also worked with Charles Darwin on illustrations for the Ornithology volume of Zoology of the Voyage of H. M. S. Beagle. Their seventh child was born in Tasmania.

They arrived back in London is 1840, but Elizabeth never had a chance to complete her work on the animals of Australia. She died after giving birth to their eighth child, at age 37. The preparation for lithography printing (transferring to stone) of her last drawings was completed by illustrator H. C. Richter. She did not receive credit at publication. John Gould went on to produce his bird books, using H. C. Richter, Edward Lear, Joseph Wolf and William Hart as illustrators.

Northern Quoll (Dasyurus hallucatus), credited to John Gould


____________________________
AMANDA ZIMMERMAN
An illustrator of nature is an observer of form and behavior.  My job is to create illustrations that not only engage the general public with vibrancy and motion, but educate the viewer about the subject and create a connection of memory. It is these connections to nature that we make, a sense of personal contact-even if only through an illustration- that imparts a sense of responsibility to our natural world. www.salamandaart.com

If you are interested in receiving updates on nature illustration workshops and seminars with Amanda, please be sure and sign up for our mailing list or follow on Facebook, Twitter, Linkedin and  Google+

If you are interested in prints please visit my Redbubble and Etsy store.

Saturday, November 22, 2014

Battle of Gettysburg Cyclorama


Born Too Late (or why don’t we make this stuff anymore?)
Battle of Gettysburg Cyclorama

Discovered this gem a few weeks ago at the Gettysburg Battlefield National Park Visitor Center. The canvas depicts Pickette’s Charge, the crucial final offensive by the Confederate Army.

Paul Dominique Philippoteaux and his team of 2o artists worked for nearly a year to complete the epic battle. What a job, right? Apparently, one artist would go along and paint the sky; another would do uniforms; another, horses, and another, faces. Each had his or her specialty. 



The grand scope of this work is amazing. Large canvases were stitched together to form a 360 degree canvas housed in a circular (cyclorama) house where the viewer could stand in the middle of the building and simply by turning could enjoy the view as if he was really on location. About 50 ft. high and 400 ft. in circumference; the canvas would be strung up from rafters and weighed down and primed. Sketches were transferred via grid system. The artists worked on tiered scaffolding.

The narration done by the Gettysburg Battlefield National Park is superb too. Much care was taken to hide edge of canvas with earthen works, props, plants etc. The image literally being in three dimensions at the viewer’s feet and then stretches out into an amazing panorama of the battlefield. 
Does anyone know of any other cycloramas still in use?

http://en.wikipedia.org/wiki/Paul_Philippoteaux
http://blogs.ucl.ac.uk/researchers-in-museums/tag/paul-dominique-philippoteaux/
http://www.gettysburgfoundation.org/13/see-the-cyclorama-and-film

PS Subscribe to my blog or mailing list and receive 10% off in my Etsy Store.
www.salamandaart.com




Wednesday, August 7, 2013

Don't Give Up So Fast! Sketchbook Woes.

The Subject Matter: Great Horned Owl (Bird Acre Sanctuary Maine)
We all have a collection. Those horrid, horrid sketchbook disasters. Oh we started out with good intentions, but then, we lost focus, or stiffened up because someone was looking over our shoulder or the subject matter was just too darn complicated. I would challenge any artist out there to show me a *perfect* sketch book from cover to cover. Oh. Ok. I do have a few...if you don't look too closely you wont notice the remnants of pages that have been torn out.

The offending attempt at sketching him
Well there is no perfect solution. A noted, professional, fantastically good artist instructor shared this bit of wisdom: When we go out with our camera and take pictures, only a few out of the dozen snapped are noteworthy. The more we snap the more we learn about taking pictures and slowly, but surely, more and more pictures are keepers. The same goes for sketch books. And hold onto those bad ones too, because even if what you did didn't work or turn out as you desired, you still learned something.

And sometimes not all hope is lost...

Recently I had an opportunity to sketch some Birds of Prey at the Stanbrooke /Bird Acre Sanctuary in Maine.

As you can see, not all my drawings were masterpieces!

It wasn't until a few weeks later that I was able to sit back down and spend some time on my disaster. I was working with my traveling watercolor kit so there were some limitations with what I could do, but I just took the leap and started working unconventionally. Using watercolor like acrylics or gouache to help cover up my mistakes.

As you can see, he's not something for the museum, and even now needs more work on those eyes, but a great improvement from the first attempt. All because I didn't give up on him!

Selecting good materials for a sketchbook can be a great passive assist on projects such as this, when you need your substrate/paper and medium to go beyond its intended use and still hold up.

Pentalic puts out a series of "Nature Sketch"  books that I adore. They come in a variety of sizes to scale to your comfort. The cream colored paper is thick and holds up to repeated washes and still drys pretty flat. It can take pencil, watercolor, pastels, oil pastels, pen and ink....the works...

My brushes, I admit are a little mixed. A few high quality ones for details so they hold there point, but I also have some medium grade ones that I am rather abusive with pushing color around and mushing paint into the surface.

For water colors, I do like the Holbein series or M Graham series. The tubes don't seem to be as messy as the thinner tubes.


Check out more of my portfolio at: http://seadragonrealmcom.businesscatalyst.com/

Wednesday, July 24, 2013

Resources Tips for Drawing the Human Form....The Human Bean

I've been absent for a little bit, but had spare time today, on my Birthday (!) to sit down and share some recently learned tips and tricks for drawing the human form. Humans often seem to be a tricky subject for artists, myself included. I am consciously looking for sketching tips and resources to improve my work.

The "Human Bean" is a fantastic technique for capturing the action, movement and shape of the torso. Everything hangs off the torso, so getting the core right is critical in our work with the human form. I'm not going to explain the technique here, but will send you over to Proko.com .They do a much better job of explaining and giving examples than I possibly could. Once you are there you will notice an extensive library of other tutorials. Enjoy!

Once I did a little practice with this sketching technique I popped in one of my favorite action movie and paused the DVD occasionally to draw some "human beans" Within one sitting, I already felt my humans had improved by leaps and bounds.

At first I focused on just "the bean" but it was natural after the first couple pages to start adding on the limbs and head etc....


This works very well for the human form and I'm thinking that it might be applicable in some fashion to the animal form as well. The bean would be more stretched out of course, but the concept is valid. I'll give it a try and post my results in the near future.


Check out more of my portfolio at: http://seadragonrealmcom.businesscatalyst.com/












Thursday, June 6, 2013

Working with Oil Pastels

Hello all-

I started working with oil pastels about a year ago with hit or miss results. There are a variety of ways to work with this medium, but I think the main issue to overcome is that oil pastels never really "dry out" I tend to frame mine with at least a single matte to keep the work from touching the glass. There are also several fixatives available. I have used the Sennelier brand with good results.

My first experiments with oil pastels was on paper. I just grabbed what I had lying around, which happened to be watercolor paper. This is the same scene done twice (something I rarely do) on watercolor paper with different finishes.

The paper with the smoother finish is very different that the same scene done on cold press paper. I used a scratch tool to draw in the branches on the shrubs. A big tip for working with oil pastel on paper: For archival purposes, you should apply a light coat of gesso to paper. Not everyone does this, but if you don't you run the risk of the oils seeping into the paper and discoloring it over time. Oil pastels can be loose or blended.

There are a variety of brands of pastels out there. They are all very different in texture and softness....additionally, they work very differently with each other as well. I find I can usually blend with Sennelier and Van gogh brands, but not cras pas.

For beginners, this is a nice resource for information.

This is a light smooth oil paint on gessoed illustration board.  I don't use any thinner when working with oils.  
Just blocking in basic shapes and color.
At one point, I realized that applying oil pastels over a loose smooth oil paint surface was a great way to work....I like the process a lot. Here is step by step process of hammerhead sharks:

Bit by bit, I work in the details with the oil pastels until I have the final piece:


Check out more of my portfolio at: http://seadragonrealmcom.businesscatalyst.com/


Sunday, May 5, 2013

Ducks for Dad

Right now I'm busy working on duck paintings for my Dad. You think it'd be easier working for family, but I know my Dad has a very keen eye and, being an avid duck hunter, will be able to tell the slight error.

I'm lucky enough to live by several streams and lakes, so finding mallards to sketch and study was easy. I also recently had a chance to photograph some other duck species up at Presque Isle earlier this spring too. 

Through a series of quick email conversations, we settled on a size and species (pintail) and then it's up to me to work out the details.

Ducks as it turns out can be very elegant and graceful. They can also be awkward and amusing and downright funny too. I wasn't a big duck lover at the start of this project, but by the end, I think I'm going to find these creatures charming and a permanent entry on the "like" list.

















A book that has also been of great assistance is Ducks of North America. Beautiful Illustrations!


Check out more of my portfolio at: http://seadragonrealmcom.businesscatalyst.com/


Friday, April 26, 2013

Sharks for Fun


Been working on some shark sketches in my free time. Really, really incredible animals, I'm pleased more and more public awareness is being paid to these creatures. I know we have so much going on in the world today, famine, violence, war: Important issues that need our attention. But hopefully we don't over look the other creatures that share the planet with us.

Friday, April 12, 2013

Advice to a young artist

As artists, we are constantly striving to improve our skills. We might take classes, find a mentor, or spend arduous hours practicing. What I've discovered over the years, is that my mental blocks hold me back regardless of how much time and effort I commit to improvement.

We all have the voice of self doubt that whispers in our ear. They are our constant companions. Every interaction with other human beings provides these voices with an opportunity to  derail us from the present here and now. 'What did that person mean by that? Are they angry with me? I wonder if I have broccoli stuck between my teeth?

It's ok to listen to this voice moderately. Sometimes we do get carried away and this voice can moderate us. 'Am I talking too much?' 'Is it time to listen?' ' Maybe I've hurt this persons feelings, I should touch base again and clarify what I mean...'

But often this voice is destructive: 'There's no way you are going to get this job.' 'You aren’t very good, you know.' 'Why am I so dull? and ugly? and stupid?'

These voices need to be excised. Not repressed, mind you. You need to sit down with them and give them a very stern talking to and then find a way to come to terms with them. Another option, one that I find works well, is to journal and write. If you are really struggling with the voices, this is a great way to send them packing. Find a quiet place, sit down and write. Write down whatever pops into your head. Write it down. Doesn’t even have to be legable. Once it's written down, you can burn it up, tear it apart, drown it down or let the winds take it away. It's not going to solve any problems miraculously, but it does clarify and allow your mind to be clear.

These negative voices get in the way of your creativity. It's almost as if your brain is so occupied with the worry, it can't spare anything to relax, open up and allow the creativity to flow out.

Julie Cameron's book Artists Way is a fantastic tool for those of us struggling with those ultra-self destructive voices. Check out her website as well:

http://juliacameronlive.com/basic-tools/creative-clusters/

Journaling in some way is like meditation. It's another way to quiet the mind and bring your focus into the here and now. Mediation is simply bringing the mind to the present moment and each time it wanders off, bring it back again. There are specific breathing techniques for meditation and posture. I don't recommend meditation without initally finding instruction. There are a few websites that can offer guidelines, but I find meditation with a group is more constructive for beginners. 

Monday, April 1, 2013

Sketching the Human Form


-->

Jim Byrnes: Original photography done by Weitzel Studios
One subject matter that many artists struggle with is the human form. Drawing people, whether in motion or at rest, can be a daunting task. I have often resorted to begging friends to pose and model for still pictures for reference, but these final paintings often lack the spontaneity and spirit of a live model.Additionally, when working from someone else's photography, you are bound by copyright laws. I did the oil/oil pastel study of Jim Byrnes for an exercise, but I cna not sell the piece sinc eits not my original work.

Perhaps, like me, you have dismissed this weak spot in our artistic abilities with excuses like: “I’m an animal artist.” “I draw plants, I don’t need to learn how to draw people”
That worked for a time, but as an older wiser (?) artist, I realize the need to be well versed in rendering the entire world around us, people, animals, flowers the whole enchilada etc.

So here are some tips I’ve picked up from several teachers over the years. The tips focus on sketching exercises, which are crucial in building an understanding of the human form, before contemplating a finished masterpiece.  This first one though is something I developed in order to continue drawing and sketching in the cold winter months without resorting to still photos.

Monks: Quick study sketches from DVD
DVD Sketching: Take a DVD of your favorite movie and sit down with your sketchbook. You can simply watch and sketch using a wire frame method (more on that later) or you can pause the DVD at points you like and spend a little more time on a more fleshed out sketch. One rule I have is that once the pause time runs out and the DVD resumes normal play, then it's time to move on to the next sketch. One quick note about copyright laws: I am advocating this as an exercise, not as a way to create sell-able art.


Wireframe Sketching: This technique works well when sketching movement such as people in a park or children at play. With a few quick strokes you can practice capturing the essence of the person’s movements.

Performers often repeat movements so it’s easy to start a quick sketch, move on to another as the performer continues and then return to flesh out the first sketch as the action is repeated: strumming a guitar, juggling, or delivering a passionate line.


Don’t Forget: Keep sketching using light pencil movements, correcting as you continue to observe your subject.





--> http://seadragonrealmcom.businesscatalyst.com/realm-of-the-seadragons.html

Monday, March 25, 2013

Duck Duck Goose

 Recently I had the opportunity to accompany fellow artist/illustrator and friend Mark Klingler on a duck photo field trip to Presque Isle in Eerie, PA. Mark was one of the first scientific illustrators I'd met, an excellent teacher and avid ducker as well. Mark’s day job is rendering dinosaurs for various paleontologists at the Carnegie Museum of Natural History.

Millions of Gizzard Shad line the shoreline
It's still pretty brisk out on the great lakes in mid-March, but the variety of ducks was an eye opener. I've been aware (from reading bird books) that there are a variety of ducks in the world beyond your standard mallard, but I was pleasantly surprised to find such a rich diversity of geese and ducks so close to home.

Because of the cold temperatures and lack of ice on the lake, there was also a massive die off of gizzard shad and the beaches were littered with dead fish for miles. A little unsettling to think you are walking on a snowy beach only to find frozen fish underfoot! This is a natural phenomenon brought on by the wintery temperatures, but still very unsettling...and a bit smelly.
 
Since it was so cold, we concentrated on recording duck behavior via camera for later drawings. Mark's camera skills are superior to mine, but even my blurry photos are enough to work from for quick studies. I mention this just in case you might be thinking you need to be Ansel Adams as well as Picasso. Your own photos are excellent resources for drawing and painting. I see so many of my students working from images from magazines, books or other photographers work, which is a no-no. You can't sell a painting that is just a copy of another persons work. But you dont have to be an expert with a camera yourself. And your skill will improve as you practice. 
Red-breasted Mergansers
 
You'll also notice I've taken the liberty to move the female ducks a bit closer to the males for the sake of composition. Don't feel married to the snapshot, as it is. You can take bits and pieces from several of your photos to create a solid composition.
 
Northern Shovelers
You'll notice the different bills on each species, but particularly the Northern Shoveler which has a wide fat spoon shaped bill. Their common feeding habit is to filter food from water through their bills which have comb-like projections along the edges. 

Hooded Mergansers
A nice surprise was these Hooded Mergansers. At the time we were snapping pictures, this gathering was well away on the other side of the lake and my telephoto lens was struggling to get a lock. At the time I thought they might be Buffle heads, but zooming in on it in Photoshop, I think they are actually Hooded Mergansers.
These quick studies were done with a variety of watercolor pencils. My favorites are the Stabilo brand (which they unfortunately no longer make). The Derwent Inktense line is a nice pencil too and I find I am often picking them up.


 Eventually, I might work some of the sketches up to a final oil or watercolor painting, but right now this is all I had time  to complete. If you are feeling frustrated by the time restraints of doing a full fledge work, try and take a step back. Field sketching and studies might not seem so glorious, but having a solid sketching ability is a foundation for later success.

http://seadragonrealmcom.businesscatalyst.com/realm-of-the-seadragons.html