Field work gives a sense of the natural life of a species and the behaviours typical of it. Even if the artist rarely actually sees the subject in the wilderness, field work has value. It's the first step in information gathering. However, though it is essential for the authenticity of any work of art, field work is simply not enough. Many species in the wild do not make themselves available for detailed inspection, and additional reference must be sought elsewhere.

Photography is able to capture movements that are too quick, or details too small, for the unaided eye. It can also become a crutch. It's useful for any artist to learn the craft, but it must never replace good draftsmanship or original design. When wild specimens are unavailable, zoos and wildlife parks can provide the opportunity to see an animal up close although they are not usually in top condition, and their activities and behaviours are blunted.

The photography of naturalists and photographers can provide tremendous information on the activities, poses, gestures and gaits of a species. The point is not to copy a particular pose, but to learn about the structure and movement of that species. Every artist should collect an extensive "morgue" of pictures to be available as reference.

Specific reference shots are available from professional photographers and image banks. These are copyrighted images, but can offer closeup information on fine details. All photographic reference that is not the artist's should be considered protected imagery and used for information only. Copying or in any way re-rendering a mechanical image simply indicates an unwillingness or inability to create original work. Film and video offer a wonderful opportunity to study motion, but relying on film to provide naturalistic poses also limits artistic originality Remington certainly knew the mechanics of equine movement, but would often exaggerate a gesture to make an esthetic statement.

Many wild species have domestic equivalents that make useful subjects when studying structure and movement. These can often be the best source for in-depth study of an animal figure in action. Here, Toronto Police dog Buddy executes an attack.

 

One source of information to which I would not turn are the works of other artists. I enjoy them, and appreciate the effort that has gone into them, but I would not use them for accurate data on a particular subject. It's just never a good idea to rely on the knowledge and research of others. Second hand research is possibly inaccurate, and probably plagaristic. An artist must rely on her own, first hand interpretation.

Studio Page 1, Forming the Creative Idea; how an artwork is conceived

Studio Page 3, Knowing Your Subject; authenticity and accuracy