My design honors 36 women who inspired and informed my own understanding of equality. These women are all modern women, such as my sisters, mom, aunts, mother-in-law, mentors, and collaborators. Some of these women taught me to empower other women. A few taught me about natural history. One taught me how to teach people about science. Another taught me how to garden, and one introduced me to bluegrass.
Intertwined throughout the stripe, I also added familiar elements of biodiversity that make a place home such as local wildflowers, the Wyoming toad, ladybug, chickadee, Indian paintbrush, beaver, yucca seed, bison, pronghorn, and more. The background is made of 36 four-patch quilt squares, sewn from my great grandmother’s quilt scraps.
Stay tuned for Wyoming-specific follow-up project I’m working on with support from the University of Wyoming Office of Engagement and Outreach!
More details are available in the following links:
In March 2019, Richard Bright of Interalia Magazine interviewed me for the journal’s Drawing Thoughts series. Drawing Thoughts explores contemporary thinking on the practice of drawing, discussing its creative, expressive and educational value, and its fundamental importance to translating and analysing the world. The issue’s overarching aim is to affirm the value of drawing.
A lengthy excerpt of my interview is available on line here. The full-text is available to Interalia subscribers.
I trust this finds you enjoying the weather and doing a bit of sketching. It’s hot in my corner of the Mountain West. I’m writing you from my basement – the only space where it is cool enough to think. But, happily, along with the heat comes garden season, complete with loads of the pollinators I so love to watch and draw. Speaking of which, this is my third year gardening at 7,200 feet above sea level, and it’s a garden in a new part of town.
As a result of my transition to a new job and all this other busyness, I’m shifting this newsletter from monthly to quarterly. That will ensure I can still connect with you, and share ideas and field experiences, while also giving attention to this new work. Meanwhile, I’ll be posting material on the blog more frequently. I will reference some of it in the newsletter each quarter.
If you’d like to keep up as material is published, and don’t want to miss any of it, please subscribe to my blog. Just visit the website, scroll to the bottom, and provide your email address in the subscription bar! Thanks in advance for subscribing there.
As always, feel free to share* this newsletter with your friends & colleagues. And do share your sketches & SciArt adventures with me via email or social media!
Summer 2017 Table of Contents
Insight: E.O. Wilson on drawing & creativity
Sketching tip: Drawing on windows
Artful Classrooms: Using resin sculptures and drawing to learn about cichlid (fish) phylogeny (genetic relationships)
Artful Science: A best-practices primer for using images
Sketchbook Snapshot: A mystery moth
News & Events: Upcoming science communication graduate course; field sketching workshops for the Wyoming Outdoor Council; recent publications, including a book featuring my illustrations of bighorn sheep; get your summer sketching kits while they’re still in stock
Exhibit A, from The Autobiography of Charles Darwin:
“[Not being urged to practice dissection] has been an irremediable evil, as well as my incapacity to draw.”
It was actually Darwin’s shipmate on the HMS Beagle, Conrad Martens, who made the sketches best known from that expedition. And, it wasn’t until well after Darwin’s famous voyage to the Galapagos that a publisher sent an artist back to that region with the express responsibility to illustrate Darwin’s observations.
Most publications from Darwin’s era were similarly professionally illustrated, with many of the illustrations based on specimens he collected. However, these illustrations were not Darwin’s own work.
Mind you, Darwin did occasionally sketch, as can be seen in his diagrams of “trees” roughly indicating how organisms were related. And, there are a handful of rough sketches of plant cross sections and geologic formations scattered through his myriad notebooks. But, these few sketches pale alongside the copious volumes of written notes and manuscripts he made.
During the institute, my teaching focus was drawing-based science learning and assessment strategies. We started with basic drawing techniques. I walked participants through a toolkit development session which involved lots of practice drawing.