From scientific journals to educational materials, field guides and clifftop signage, fine art exhibitions to books, sculptures and paintings, Noel’s whales and dolphins have become world recognised for their scientific accuracy and artistic precision, but what is less known is that all of this work is based on over thirty years of dedicated research, with the clear aim of creating a definitive set of scientific illustrations of the world’s elusive cetaceans.
The story behind Noel’s Morphological Research
This process, which he pioneered in the mid-eighties, brought together various diverse disciplines in a quest to create the most accurate scientific illustrations available and began with the Heaviside’s Dolphin, a species endemic to the African west coast of the Benguela current ecosystem, commissioned by Dr Peter Best of the Mammal Research Institute, University of Pretoria on behalf of the scientific committee of the International Whaling Commission. This was the first published scientific illustration in the world of this elusive and little-known species. The subsequent publication of Noel’s illustrations in scientific journals has given his research international recognition.
Noel explains the process :
When I began illustrating the global species in 1984, the literature at the time showed enormous variability in the quality and accuracy of the available images, so my challenge was to develop a technique that would effectively and seamlessly combine the accuracy of science with the most advanced methodology of art.
For the full colour rendering, I developed and adjusted specific airbrush techniques that enabled me to capture the nuances and gradual tonal and colour blends evident in most cetaceans, but it was when I started looking specifically at the science and form of each species that I realised that I had to go back to the drawing board!
Over many years I developed and refined a technique that enabled me to map the morphological ratio’s of each of the world’s species in order to gain a very detailed and accurate understanding of each species characteristics – the comparative size of dorsal fins, tail, length, position of eye along the lateral plane, girth etc. These dimensions were available from researchers around the world who fastidiously collect this data, as well as at stranding events where I could gather the data firsthand (here I was also able to record the subtle colours and blends which disappear soon after death). I then collated definitive data by establishing the mean data set for each species, as well as the differentials between adults, male and female, and juveniles.
This data was then transcribed into physical maps and schematics which would enable me to begin the process of adding the complex curves which define each species, and only then could the process of illustrating begin. So it was back to the drawing board with all this data, the shape, form, outline, colour and tone profiles and all other details so that I could begin the process of actually painting each species, with many of them being done in various life stages, as well as male and female dimorphism. After this each illustration was scanned and digitally archived.