The answer to this question varies greatly depending on the nature of the commission. Smaller pieces will cost less than larger pieces and those completed in pencil/charcoal often cost less than those completed in watercolor or acrylic, and so on. Materials, size, time, and image use (is the illustration to be reproduced for profit, etc) all play a role in determining a commission price.

If you wish to hire me to produce an illustration, taxidermy specimen, or workshop, it is best to tell me your budget first and we can work together from there to determine what I can create for you!

Working with an artist can be easy, as long as you already have a vision and a budget for what you’re after! Once we have an initial conversation about your project, I will put together a contract that we both verbally agree to and usually ask for a 50% security deposit of the quoted price before work on the project begins. I will then begin work on the project, giving you room for feedback on the draft sketches before starting the final piece. Each commission contract includes one round of edits. Additional edits may come at an additional price. This is to ensure that you have a fully formed idea of what you want the piece to look like before we begin working together, but also pays for my time if the commission ultimately requires changes. Once the project or piece is completed, you will receive your deliverables (digital or physical) upon completing payment to me.

Science Illustration: diagnostic species illustration, technical illustrations, educational infographics, and more! In pencil, charcoal, pen & ink, pastel, watercolor, acrylic, small sculptures, scratchboard, or even digital.

Taxidermy mounts and study skins, specializing in birds.

Workshops such as introductions to science illustration, how to draw birds, bird taxidermy, specimen preparation, and nature jounaling.

**It’s important to note that while I am a trained science illustrator, I prefer to work on bird related commissions! If you are looking for someone to illustrate people, medical illustration, etc. I will likely direct you towards a different artist.

The amazing thing about science illustration is that there are a million different ways to get into the field and a degree isn’t necessarily required! The first question I’m usually asked by those interested in pursuing science illustration is, what should I go to school for? Unfortunately, science illustration isn’t really offered as an undergraduate degree option (although there are a few remaining multi-year programs like the one at Arcadia University!). If you do decide to pursue higher education, a science or art related degree would both benefit a career in science illustration. Pursuing a science degree provides you with added knowledge of your subject matter and may set you up with a larger client base in the form of professors, TAs, research associates etc. who may need illustrations for their scientific research. On the other hand, pursuing an art degree puts you a step ahead artistically, equipping you with strong technical skills such as an understanding of mediums, composition, color theory, etc.

To start learning the specific skills and techniques employed by a scientific illustrator, enrolling in a science illustration program after your four year degree, such as the one at California State University Monetery Bay, is highly recommended. More affordable and accessible programs can also be found online, but specific science illustration training is important to truly understand the field! Of course, it is always possible to find success as a completely self-taught illustrator, using resources like the Guild Handbook of Science Illustration, the Guild of Natural Science Illustrators, etc. and spending ample time practicing and creating art. Practice and time truly are the only ways to improve and succeed as an artist!

Unfortunately, finding steady long-term work as a science illustrator can be difficult. Long gone are the days of staff illustrators at museums, zoos, research institutes, and universities. Today, most science illustrators work as freelance contractors and sole proprietors which certainly has its pros and cons! If you’re just starting your career, my best advice is to create a strong portfolio that showcases your skills and preferred subject matter and begin reaching out to anyone you know who might need work. Once you get one good commission under your belt, the others tend to follow as your clients pass on your information to others.

If you end up working as a freelancer in any capacity, remember to NEVER work for free or for “exposure” (unless the work is for a good cause that you truly stand behind). Working for free sets a precedent that artists don’t need to be properly compensated for their work. Set your rates based on the cost of living in your area, materials, the size of the project, copyright etc. and never undersell yourself!

Just like with scientific illustration, there are many ways to learn taxidermy! If learning in a structured classroom environment is your thing, there are several taxidermy schools around the US that offer 4-8 week intensive courses where you’ll learn mammal, bird, and fish taxidermy techniques. These schools tend to focus heavily on game mounts like deer heads and ducks and will set yo up with the skills needed to start your own commercial taxidermy business.

If you’re more interested in museum quality taxidermy, specifically bird mounts, I highly recommend Prey Taxidermy or Custodio Taxidermy courses. Elle Kaye, a renowned UK taxidermist, also has a Patreon account where you can learn techniques from anywhere in the world. Of course, I have to recommend Carl Church’s Bird Taxidermy: The Basic Manual as the holy grail of bird taxidermy! Most materials required to practice taxidermy can be easily found online via suppliers like McKenzie Taxidermy or Matuska Taxidermy Supply Company. Sourcing animals for taxidermy can be more difficult, but I recommend taxidermy.net, reaching out to wildlife sanctuaries, hunters, etc.

Please always check your federal and state regulations to know what animals you are legally allowed to work on. As a rule of thumb, wildlife that can be hunted in your area can usually also be taxidermied, but there may be additional laws around which of those species you can sell. In the US, it is illegal to work with or sell native birds, unless you have been contracted to do so by an organization that has the proper permits. In most states, taxidermists must also register for a license to practice.

** While I don’t advertise it as a service, I am happy to teach one-on-one bird taxidermy to the right students! Feel free to email me if you’re really interested in a hands-on taxidermy class.

While I would love to work on any bird in good condition that comes my way, it is 100% illegal to keep, taxidermy, or sell native birds here in the United States! This includes feathers, wings, bones or any bird parts. If you find a dead bird in good condition, I recommend reporting it on dBird and/or the Avian Impact app and then donating it to your local natural history museum (if they take donations). Just write down where you found the bird, the date you found it, seal it tightly in plastic bag and place it in your freezer until you can drop it off. If there is no museum near you that will take the bird, take a picture and nothing else. Let nature take its course!

If you have a non-native bird such as a pet, aviary bird that has passed, or legal game birds, I am always happy to take on that kind of work! If you are an institution that has the proper permits to work with wild birds and need taxidermy or specimen prep, I’m also here to help!

Working in the natural history museum space is exciting and rewarding, but it can also be decently competitive to break into the field. The biggest piece of advice I can give is to volunteer in a museum or nature center close to you to get your foot in the door and gain some experience. I absolutely HATE encouraging volunteer work as I strongly believe that everyone should be paid for their time, but unfortunately volunteering is currently the main way to learn hands on skills in museums and network for future job opportunities.

Depending on the type of work you’re looking for in the museum world, you may need higher education such as a Master’s or PhD. Some collections managers roles (what I do at the Burke) require PhDs and others only require a Bachelor’s with ample experience while curator roles often require PhDs. Museology undergraduate and graduate programs have also grown in popularity in the past few years. While these programs are very informative (especially if you’ve never worked in museum spaces) and will likely set you up with internships and a strong network for potential work, often times experience can take the place of these degrees. Again, it all depends on a museum’s hiring practices. I recommend looking at current openings you’re interested in and seeing what requirements are listed.