The foundations of aesthetics are vital, knowing how to draw very well, crucial, my experience is the path taken does not seem to be as important as the end product/portfolio. I know many who came to scientific illustration through the so called ³back door² they do not have degrees in Scientific Illustration and often not even a formal class. I am, in fact, of this ilk. I did do an internship/apprenticeship without pay, I read books, talked to professionals and studied scientific artwork with a keen visual eye. I still do these things, I am always learning. I attribute a great deal of my knowledge of scientific illustration to the GNSI(workshops held during conferences) and my internship with George Venable at the Smithsonian some years ago. I try to share everything I have learned, I see this as a way to keep knowledge alive and progressing in our field. In the words of another infamous talent, ³Poor is the student who does not surpass his master². -Leanardo da Vinci Marie J Marie Metz Scientific Illustrator United States Department of Agriculture Agricultural Research Service Plant Sciences Institute, Systematic Entomology Laboratory National Museum of Natural History Smithsonian Institution CE-423 10th and Constitution Ave. NW MRC 168 Smithsonian Institution Washington, D.C. 20013-7012 Email: [log in to unmask] Phone: (202) 382-1804 Fax: (202) 786-9422 Systematic Entomology http://www.ars.usda.gov/Main/site_main.htm?modecode=12-75-41-00 On 8/6/08 9:17 PM, "Gina Mikel" <[log in to unmask]> wrote: > Clint, > > Barry MacKay posted the other day about the passing of James Fenwick > Lansdowne. I don't know Lansdowne's educational background but it sounds like > he was primarily self-taught and taught by his mother. He's one example of an > artist whose portfolio speaks for him, regardless of his educational > background. > > I can't remember the last time a client has asked me about my educational > background. It's listed on my website, so it may be that they already know (I > have a BFA). My suspicion is that they skim, at best, any biographical > information and are mostly looking at whether I have a piece that closely > matches whatever piece they're looking to buy or commission. > > It's easier, though, to develop strong pieces if you're working on them in a > setting where you're getting feedback from people with a good eye and good > instructional ability *if* it's not too difficult to juggle with family > responsibilities. I'm just now beginning to have time to do more > non-commissioned work again, now that my kids are in high school. When my > kids were younger, if I did a piece, it was in those slices of unscheduled > free time (versus scheduling that kind of time by taking a class). > > Gina > http://www.scientificillustrator.com/ > >> >> ----- Original Message ----- >> >> From: CLINT MOUDY <mailto:[log in to unmask]> >> >> To: [log in to unmask] >> >> Sent: Wednesday, August 06, 2008 10:15 AM >> >> Subject: [SCIART] >> >> >> Any words of wisdom from some seasoned illustrators? How much does >> educational background weigh as compared to ability when it comes to getting >> some work? >> Thanks for the input, >> Clint Moudy >