Wasp Microbial Landscape – Art Process

Our bodies are made up of the trillions of cells encoded by our unique DNA–right? Current research is diving into another rabbit hole, with suggestions that the microbes that coexist with us are just as much US, as our ‘own’ DNA encoded cells. For every one of our DNA encoded cells, 10 microbes exist. For Science News magazine’s special feature on animals’ microbiomes I created a wasp ‘composed’ of microbes. Check out SN’s reporting here, Microscopic Menagerie for more on the science and links to other artists’ great illustrations. In this blog post, you’ll find insights into the my process creating the wasp art.

wasp microbes drawing

Wasp microbiome art created for Science News magazine © N.R.Fuller.

 

wasp-sketchGetting Started on the Art: I almost always start with a sketch to confirm both composition and accuracy. In this case the wasp was a Nasonia wasp (a small parasitoid). After sketching the wasp itself, I sketched microbes onto the very front of the specimen as an example of where I was headed. Science News agreed that it was on track, but gave me some feedback like avoiding monoculture areas like I originally had in the eye.

wasp-zsphere

On the top are the underlying Zspheres used to create the model, and below is the sculpted wasp.

Even though we wanted the final style to look more hand-drawn and less computer generated, I decided to use 3d software to help me with the overall shading and the nuances of the microbial shading. My plan was to spend some time sculpting the wasp, then harness computing power to scatter the microbes, and finish up with sketched details in Photoshop. I started out using Zbrush’s zspheres to create the underlying shape of the wasp. If you’re not familiar with zspheres, they’re a fantastic way to quickly create a mesh (model) without traditional polygon modeling skills. It’s basically like stringing together beads to create your shape.

Zspheres remind me a little of the newish kid’s building toy Zoobs; essentially balls with connectors, of which any of the balls can become a joint. As I built my wasp I kept each major part separate as a Zbrush subtool so that I could easily modify the pose. Once the structure was created I sculpted the details of the wasp, using primarily a combination of the sculpting slash, inflate, and move tool. Since I knew that I’d be adding the microbes I didn’t need a whole lot of detail, I just wanted to define the body contours.

Next up, sculpting microbes

microbes-inprocess

When I first envisioned creating this art I planned to use zbrush to sculpt a base wasp, and then Cinema 4d’s mograph module to populate the surface with microbes, or perhaps even Vue’s ecosystem function (*TIP* Vue’s ecosystem function, meant to populate trees and plants across a landscape, also works well to scatter objects).  I quickly realized that the scattershot microbe approach wasn’t working. For the microbes to really look integrated and one with the wasp, I needed to selectively place the microbes according to the contours and the specific part of the body–more rod bacteria on the legs, strings of cocci along crevices, etc… It’s of course possible that if I had the programming knowledge I could have made the shotgun method work, but I don’t, so… my quick computer solution quickly turned into a VERY time consuming process of hand placing each microbe using Zbrush’s insert mesh tool (still very cool that it’s even possible with Zbrush).

I sculpted each variety of microbe (a few different rod bacteria, cocci, spiral…) and created a custom insert brush so that I could place them across the wasp’s body. In some places where less detail was needed I used an alpha brush with a mix of microbes as a texture, although in most places this proved to be too low resolution. After I had most of the microbes placed I turned on polypaint, so that I could individually paint the color of each microbe, and further added texture with noise textures (alpha brushes).

Putting it All Together

Now that I had my wasp composed of microbes, I rendered several different styles using zbrush’s built-in materials and imported them into Photoshop. Different materials emphasize different lighting, reflection, highlights… so I ended up compositing several different renderings to get the mix of colors and shading that I was looking for using several photoshop layer mix modes (overlay, color, multiply…). In the image below you can see several of the different lighting/material renderings from Zbrush that I composited in Photoshop.wasp-head-3ds

With the base microbes-wasp complete I continued to refine the art in photoshop. I used the photoshop stamp tool to duplicate some of the microbes into spots that were left a little bare in the zbrush renderings and I added some extra color to help it pop a bit more. With the help of Science News’ great art direction, I looked for parts that were flattening out and  then hand-drew (on my cintiq tablet) hatched shading to emphasize the distinction between microbes and highlight the overall body shape. Below left is the final color base made up of several different composited renderings. Below center is the line-work I drew and on the right is the final art with the drawn line-work on top of the color.

wasp-head-final

Thanks for checking out my work and my process. If you happen upon this and would like more info on specific programs or techniques in future posts, please let me know and specify what level of information in the comments.

 

Nanolipogel Art: Winner of AOI Illustration Awards 2013 Research & Knowledge

Nanolipogel's attacking cancer, by N.R.Fuller for the National Science Foundation

Nanolipogel’s attacking cancer, by N.R.Fuller for the National Science Foundation, recently won it’s category in the AOI illustration awards.

I’m pleased–and surprised and humbled–to announce that my artwork created for Dr. Tarek Fahmy’s laboratory and the National Science Foundation won in the Research & Knowledge category of the 2013 AOI illustration awards. www.aoiimages.com

From the AOI:

Visual showcase for recently published research to evoke interest from the non-science public and describe how nanotechnology might help combat cancer.

Judges Comments: From a very diverse and impressive range of work in this category this image impressed us because it combined accurate, compelling and significant scientific data with a strong aesthetic appeal. It is a medical illustration that remains accessible to a popular audience. The colour palette works well and it has drama. We liked that it had visual and cultural references from other fields such as 1950’s sci fi movies which provide a richness and humour alongside the hard science.

One of three of my pieces shortlisted, (see AOI shortlist post or the AOI shortlist) the judges picked the most technical, information dense piece of the triad. You can read more about the nanolipogel science in NSF’s pres release here, and some of the funny places the illustration ended up being used here.

I don’t have all the information yet, but it sounds like I’ll be traveling to England’s Somerset House this October for the awards ceremony. Oy ve, I guess I’ll need to figure out what to do with the then-8-month baby… bring him with, leave him with bottles, big sister and Dad…. hmmm… I have time to worry about that later :-).AIO_Logo_small2

Science Art Gets Some Love: AOI Shortlisted Illustrations

3 science illustrations in the AOI competition

Three illustrations by N.R.Fuller of Sayo-Art shortlisted in the AOI images competition.

Us science artists don’t get no respect… at least that’s what I thought until now. When I heard that the AOI (Association of Illustrators) added a Research & Knowledge category to their prestigious, international ‘Images’ competition, I was stoked to have a chance. Beyond the respect for my professional niche, I’m excited to share that my work has been recognized on their shortlist.

The AOI Research & Knowledge Communication category is pretty broad, and described by the AOI below:

Research & Knowledge Communication–Illustration commissioned for the purpose of undertaking research and communicating knowledge. Illustration that is used as a research or investigative tool and that represents, explains or seeks to understand information or data…

Cancer Research Art

Artwork recently shortlisted in the AOI Images competition,  created for the AACR‘s annual meeting. ©2012 AACR / Nicolle R. Fuller

Different illustrations have different purposes, and even within the genre of science illustration there is a wide range of styles and applications. I jive on trying to create illustrations that help someone new to the subject imagine what it might be like to really see the things beyond our vision–teeny-tiny cells to exploding universes–while still staying true to the scientists’ research. Unfortunately, that often means my work just doesn’t fit into most of the big name illustration competitions.

Most of the broader competitions–like Communication Arts or 3×3’s–don’t explicitly exclude science art with categories like “books, editorial, for sale…”, but if you take a look at the previous winners from the past few years it’s clear the likelihood of recognition in their comp is slim to none for an artist like me. Can’t science art compete in the general categories? Sure, some can… but on the whole the goal of communicating science is so different from other editorial art, that it’s just a different beast and can’t be compared easily. To stay accurate and true to scientists’ work while pulling in the ambivalent viewer, a certain level of visual clarity and realism is often needed; leading to style choices diverging from many of the more mainstream popular illustrators.

Science illustration man coughing

If you do have a chance to check out the work in the Research category, you’ll see there is quite a bit of variety in the pieces, from 2 beautiful botanical pieces to some innovative videos. The 3 pieces I submitted include:

  • A piece created for the American Association for Cancer Research’s Annual Meeting branding, meant to honor both the researchers and patients working toward a cure,
  • Artwork for Science News magazine on the science of a cough, using extreme exaggerated perspective of the tracheae to show the cilia on the cells that are irritated by foreign invaders like viruses and bacteria,
  • And finally, an illustration for Dr. Tarek Fahmy at Yale University, released by Yale and the National Science Foundation as a press release to explain the lab’s exciting research on nanolipogels that release drugs to combat cancer and other diseases. (see blog post: Nanolipogels Huffington Post…)

Out of the 10 total professional pieces that were shortlisted for the “Research & Knowledge” category, 1 winner will be chosen. Clearly, I’m pretty excited that my work has been recognized, but moreover, I’m grateful that the AOI has opened up their competition to the international community, and decided it’s time to recognize the art in visual information communication.