February 9, 2014
Stop what you’re doing and go read Cameron Neylon’s blog. Specifically, read his new post, Improving on “Access to Research”.
Regular readers of SV-POW! might legitimately complain that my so-called advocacy consists mostly of whining about how rubbish things are. If you find that wearying (and I won’t blame you if you do), then read Cameron instead: he goes beyond critiquing what is, and sees what could be. Here is a key quote on this new post:
I did this on a rainy Saturday afternoon because I could, because it helped me learn a few things, and because it was fun. I’m one of tens or hundreds of thousands who could have done this, who might apply those skills to cleaning up the geocoding of species in research articles, or extracting chemical names, or phylogenetic trees, or finding new ways to understand the networks of influence in the research literature. I’m not going to ask for permission, I’m not going to go out of my way to get access, and I’m not going to build something I’m not allowed to share. A few dedicated individuals will tackle the permissions issues and the politics. The rest will just move on to the next interesting, and more accessible, puzzle.
Right! Open access is not about reducing subscription costs to libraries, or about slicing away the absurd profits of the legacy publishers, or about a change to business models. It’s about doing new and exciting things that simply weren’t possible before.
February 6, 2014
Recently I had the opportunity to give a talk on photographing specimens and preparing illustrations in Jim Parham‘s phylogenetics course at Cal State Fullerton. Jim is having each student (1) write a description of a specimen, (2) run a phylogenetic analysis, and (3) do some kind of calibration on their tree. I think that’s rad.
Anyway, it was fun talk and I wanted to put it up for everyone, but Mike had the idea of posting a batch of slides at a time, to hopefully fire some discussion on different aspects of photography and illustration. So if you’re impatient to see the whole thing, blame him! I will post the whole talk at the end of the post series, and you can find all of the talk posts here.
And now, on with the show.
February 3, 2014
From the files of J. K. Rowling.
Dear Ms. Rowling,
Thank you for submitting your manuscript Harry Potter and the Half-Blood Prince. We will be happy to consider it for publication. However we have some concerns about the excessive length of this manuscript. We usually handle works of 5-20 pages, sometimes as much as 30 pages. Your 1337-page manuscript exceeds these limits, and requires some trimming.
We suggest that this rather wide-ranging work could usefully be split into a number of smaller, more tightly focussed, papers. In particular, we feel that the “magic” theme is not appropriate for our venue, and should be excised from the current submission.
Assuming you are happy to make these changes, we will be pleased to work with you on this project.
Esteemed Joenne Kay Rowling,
We are delightful to recieve your manuscript Harry Potter and the Half-Blood Prince and we look forword to publish it in our highly prestigious International Journal of Story Peer Reviewed which in 2013 is awarded an impact factor of 0.024.
Before we can progression this mutually benefit work, we require you to send a cheque for $5,000 US Dollars to the above address.
Dear J.R.R. Rowling,
We are in receipt of your manuscript Harry Potter and the Half-Blood Prince. Unfortunately, after a discussion with the editorial board, we concluded that it is insufficiently novel to warrant publication in our journal, which is one of the leading venues in its field. Although your work is well executed, it does not represent a significant advance in scholarship.
That is not to say that minor studies such as yours are of no value, however! Have you considered one of the smaller society journals?
Dear Dr. Rowling
Your submission Harry Potter and the Half-Blood Prince has passed initial editorial checks and will now be sent to two peer-reviewers. We will contact you when we have their reports and are able to make a decision.
Dear Dr. Rowling
Re: Harry Potter and the Half-Blood Prince.
We agree that eighteen months is too long for a manuscript to spend in review. On making inquiries, we find that we are unfortunately no longer able to contact the editor who was handling your submission.
We have appointed a new handling editor, who will send your submission to two new reviewers. We will contact you as soon as the new editor has made a decision.
Dear Dr. Rowling
Re: Harry Potter and the Half-Blood Prince.
Your complaint is quite justified. We will chase the reviewers.
Dear Dr. Rowling
I am pleased to say that the reviewers have returned their reports on your submission Harry Potter and the Half-Blood Prince and we are able to make an editiorial decision, which is ACCEPT WITH MAJOR REVISION.
Reviewer 1 felt that the core point of your contribution could be made much more succinctly, and recommended that you remove the characters of Ron, Hermione, Draco, Hagrid and Snape. I concur with his assessment that the final version will be tighter and stronger for these cuts, and am confident that you can make them in a way that does not compromise the plot.
Reviewer 2 was positive over all, but did not like being surprised by the ending, and felt that it should have been outlined in the abstract. She also felt that citation of earlier works including Lewis (1950, 1951, 1952, 1953, 1954, 1955, 1956) and Pullman (1995, 1997, 2000) would be appropriate, and noted an over-use of constructions such as “… said Hermione, warningly”.
Dear Dr. Rowling
Thank you for your revised manuscript of Harry Potter and the Half-Blood Prince, which it is our pleasure to accept. We now ask you to sign the attached copyright transfer form, so we can proceed with publication.
Dear Dr. Rowling
I am sorry that you are unhappy about this, but transfer of copyright is our standard procedure, and we must insist on it as a prerequisite for publication. None of our other authors have complained.
Dear Dr. Rowling
Thank you for the signed copyright transfer form.
In answer to your query, no, we do not pay royalties.
Dear Dr. Rowling
Sadly, no, we are unable to make an exception in the matter of royalties.
Dear Dr. Rowling
Your book has now been formatted. We attach a proof PDF. Please read this very carefully as this is the last chance to spot errors.
You will readily appreciate that publishing is an expensive business. In order to remain competitive we have had to reduce costs, and as a result we are no longer able to offer proof-reading or copy-editing. Therefore you are responsible for ensuring the copy is clean.
At this stage, changes should be kept as small as possible, otherwise a charge may be incurred for re-typesetting.
Dear Dr. Rowling
Many thanks for returning the corrected proofs of Harry Potter and the Half-Blood Prince. We will proceed with publication.
Now that the final length of your contribution is known, we are able to assess page charges. At 607 pages, this work exceeds our standard twenty free pages by 587. At $140 US per page, this comes to $82,180. We would be grateful if you would forward us a cheque for this amount at your convenience.
Dear Dr. Rowling
Thank you for you prompt payment of the page charges. We agree that these are regrettable, but sadly they are part of the reality of the publishing business.
We are delighted to inform you that Harry Potter and the Half-Blood Prince is now published online, and has been assigned the DOI 10.123.45678.
We thank you for working on this fine contribution with us, and hope you will consider us for your future publications.
Dear Dr. Rowling
You are correct, your book is not freely downloadable. As we explained earlier in this correspondence, publishing is an expensive business. We recover our substantial costs by means of subscriptions and paid downloads.
In our experience, those with the most need to read your book will probably have institutional access. As for those who do not: if your readers are as keen as you say, they will no doubt find the customary download fee of $37.95 more than reasonable. Alternatively, readers can rent online access at the convenient price of $9.95 per 24 hours.
Dear Dr. Rowling
I am sorry that you feel the need to take that tone. I must reiterate, as already stated, that the revenues from download charges are not sufficient for us to be able to pay royalties. The $37.95 goes to cover our own costs.
If you wish for your book to be available as “open access”, then you may take advantage of our Freedom Through Slavery option. This will attract a further charge of $3,000, which can be paid by cheque as previously.
Your attitude is really quite difficult to understand. All of this was quite clearly set out on our web-site, and should have been understood by you before you made your submission.
As stated in the copyright transfer form that you signed, you do not retain the right to post freely downloadable copies of your work, since you are no longer the copyright holder.
We must ask you not to contact your handling editor directly. He was quite shaken by your latest outburst. If you feel you must write to us again, we must ask you to moderate your language, which is quite unsuitable for a lady. Meanwhile, we remind you that our publishing agreement follows industry best practice. It’s too late to complain about it now.
Dear Pyramid Web-Hosting,
We write on behalf of our client, Ancient Monolith Scholarly Publishing, who we assert are the copyright holders of Harry Potter and the Half-Blood Prince. It has come to our attention that a copy of this copyrighted work has been posted on a site hosted by you at the URL below.
This letter is official notification under the provisions of Section 512(c) of the Digital Millennium Copyright Act (“DMCA”) to effect removal of the above-reported infringement. We request that you immediately issue a cancellation message as specified in RFC 1036 for the specified posting and prevent the infringer, Ms. J. K. Rowling, from posting the infringing material to your servers in the future. Please be advised that law requires you, as a service provider, to “expeditiously remove or disable access to” the infringing material upon receiving this notice. Noncompliance may result in a loss of immunity for liability under the DMCA.
Please send us at the address above a prompt response indicating the actions you have taken to resolve this matter.
Examination of Ms. Rowling’s personal effects established that she had written most of a seventh book, Harry Potter and the Deathly Hallows. However, Rowling never sought to publish this final book in the series.
January 31, 2014
Back in the early aughts Cal Acad did a huge exhibit simply titled, “Skulls”. It was extremely rad, and I could have been running a separate blog this whole time with nothing but photos from that exhibit. (Update: the website for the exhibit is still going. Check it out.) I was just sorting through some old folders and found some favorites. The photo above is the wall of California sea lion skulls, 900-odd in all, arranged from the biggest, gnarliest males on one end to the most gracile females on the other end.
They also had quite a few pathological sea lion skulls. Here are two that haunted me–they got tangled up in fishing lines that slowly sawed through their skulls and into their brains, killing them.
This elk had a pretty funky growth on its right dentary.
But easily the most “Naw!”-inducing pathology in the whole exhibit was this poor deer, which has a pathological growth the size and shape of a big pastry where its right eye used to be. I don’t know if it’s just a coincidence that its antlers are all wonky, too–maybe Darren will show up and enlighten us.
So if you’re feeling down, you can at least console yourself that you don’t have a flyblown, pus-leaking cinnamon roll of pathological bone growing on your face. Have a nice day!
January 24, 2014
Here’s a nice thing: friends and relatives just assume (correctly) that I will want whatever dead animals they find. So I was not completely surprised when I got a call from my brother Ryan (pillager of the Earth) asking if I wanted a dead mouse he’d found mummified at the back of an unused cupboard. Happily this was over the holidays so I could get the specimen in person and not have to deal with mailing it.
This was not destined to be my mummified mouse, however. My son, London, has started a collection of his own. One of the first real skulls in his collection was that of a rat that we found dead in our front yard last year. I cut off its head and we boiled and cleaned the skull together (I still need to post about that). Then we mounted it in a clear plastic bottle that had previously contained toothpicks, so he could take it for show-and-tell. Last fall a second rat turned up dead in the yard; that one is still in the freezer, awaiting complete skeletonization. The mystery of the plague of dead rats was solved when we got home one evening and found our cat, Moe, in the front yard with only the hind leg of a third rat hanging out of his mouth. If I could just train him to kill them and not eat them, we could make a rat army…
Funny side-note: we keep Skulls Unlimited catalogs around for leisure reading. London was looking through one not long after we prepped his rat skull and he saw that you could get a fully-prepared natural bone skull for about twenty bucks. That price seems about right to me, given the amount of work and care that has to go into cleaning, but London was outraged: “Why would people pay TWENTY DOLLARS for a rat skull when they could just clean their own!?”
That’s my boy! I didn’t have the heart to tell him that some people don’t have a ready supply of rats lying around. He’s not old enough to understand that level of deprivation.
So, obviously the mummified mouse was going to show-and-tell. But I didn’t want it to get destroyed. My cheap and low-tech solution was to get a rigid plastic display box from the local hobby store ($5.99 for a two-pack) and stuff it with cotton balls. We cleared some of the cotton around the skull first so it would be more visible. Knowing how third-graders can be when exciting things get passed around, I also glued the lid on. The mouse and the cotton balls are completely immobile even when violently shaken, and hopefully they’ll stay that way indefinitely. I forgot to include a scale bar in either of these photos or to measure my damned murine, but the box lid is 5 inches on side. HeroClix Knifehead showed up because kaiju are notorious attention hogs.
Now, to see if Mousenkhamun can survive the rigors of third grade. I’ll keep you posted.
January 17, 2014
Well, I see that our ‘roadside dinos‘ category is in a sad state. Not from lack of posts, but because most of the so-called roadside dinos found therein are entirely too polished. Real roadside dinos are assembled by non-paleontologists armed only with scrap metal, welding equipment, The Giant Golden Book of Dinosaurs (again, the real one), and a dream. Take this beauty, which stands proudly outside of a gas station in the little ol’ town of Gila Bend, Arizona. It’s covered in graffiti and you can see through the gaps in its metal hide–right into the acetylene-powered heart of roadside Americana.
Plus, it has its neck in the right place. Who could pass that up?
It shares space with this somewhat less convincing rattlesnake. I note that the snake is leaning away from the road, and the kink in its spine is at about bumper-height. In situations like these, one can only say a silent thank-you that whatever poor drunk fool did this at least had the good taste to miss the sauropod.
If you make it to Gila Bend, you’ll be roughly half a time zone away from everywhere else, so you’ll probably be hungry. After you gas up, look for this sign:
next to this restaurant:
where you can sit at this table (maybe):
and eat some freakin’ awesome pancakes while revelling in the glories of the Space Race. Or, you know, a burger or something. We hit the Space Age Restaurant twice on our trip to Tucson last November, once each way, and it was excellent both times. There’s even a gift shop, says so right on the sign.
January 13, 2014
So, I’ve been thinking a lot about this interesting situation with Elsevier, which David Tempest’s remarks at the Oxford Evolution or Revolution debate highlighted: they can’t afford (literally or figuratively) to tell us how much they charge different institutions for the same stuff.
And I had this thought, which Mike tweeted:
When simply telling the truth can blow up your business model, you need a new business model.
Mash that up with “information wants to be free” and “if all else fails, someone will show up to liberate it”, and you get this:
When a single person of good conscience can blow up your business model simply by telling the truth, you need a new business model.
If we’ve learned anything in the past few years, it is that humans are the weak link in any campaign of secrecy.
We know that all of the big barrier-based publishers have these bundling deals with libraries, and that no-one on either side is allowed to say what the terms of those deals are. But there must be a lot of people with access to that information. And at least some of them must know how much libraries are getting screwed, precisely because they have access to that information. Seems unlikely that information will stay secret forever.
So, should we be expecting a Snowden-type leak from one or another barrier-based publisher? It doesn’t have to be Elsevier, but I think if it happens they’re the most likely target, because they are so single-minded about cultivating the ill-will of the people they allegedly serve (most recently with this and this). Sometimes I wonder if the other barrier-based publishers are getting too much of a free pass precisely because Elsevier is so good at tossing grenades and then jumping on them.
Corollary: barrier-based publishers, what are you doing to prepare for such a leak? “More secrecy” and “harsher penalties” will probably not work out well in the long run. But do feel free to keep scoring own goals if you must.
January 3, 2014
The Scholarly Kitchen is the blog of the Society of Scholarly Publishers, and as such discusses lots of issues that are of interest to us. But a while back, I gave up commenting there two reasons. First, it seemed rare that fruitful discussions emerged, rather than mere echo-chamberism; and second, my comments would often be deliberately delayed for several hours “to let others get in first”, and randomly discarded completely for reasons that I found completely opaque.
But since June, when David Crotty took over as Editor-in-Chief from Kent Anderson, I’ve sensed a change in the wind: more thoughtful pieces, less head-in-the-sandism over the inevitable coming changes in scholarly publishing, and even genuinely fruitful back-and-forth in the comments. I was optimistic that the Kitchen could become a genuine hub of cross-fertilisation.
But then, this: The Jack Andraka Story — Uncovering the Hidden Contradictions Behind a Science Folk Hero [cached copy]. Ex-editor Kent Anderson has risen from the grave to give us this attack piece on a fifteen-year-old.
I’m frankly astonished that David Crotty allowed this spiteful piece on the blog he edits. Is Kent Anderson so big that no-one can tell him “no”? Embarrassingly, he is currently president of the SSP, which maybe gives him leverage over the blog. But I’m completely baffled over how Crotty, Anderson or anyone else can think this piece will achieve anything other than to destroy the reputation of the Kitchen.
As Eva Amsen says, “I got as far as the part where he says Jack is not a “layperson” because his parents are middle class. (What?) Then closed tab.” I could do a paragraph-by-paragraph takedown of Anderson’s article, as Michael Eisen did for Jeffrey Beall’s anti-OA coming-out letter; but it really doesn’t deserve that level of attention.
So why am I even mentioning it? Because Jack Andraka doesn’t deserve to be hunted by a troll. I’m not going to be the only one finally giving up on The Scholarly Kitchen if David Crotty doesn’t do something to control his attack dog.
Seriously, David. You’re better than that. You have to be.
Anderson, Kent. 2014. The Jack Andraka Story — Uncovering the Hidden Contradictions Behind a Science Folk Hero. Society of Scholarly Publishers. The Scholarly Kitchen, Society of Scholarly Publishers. URL:http://scholarlykitchen.sspnet.org/2014/01/03/the-jack-andraka-story-uncovering-the-hidden-contradictions-of-an-oa-paragon/. Accessed: 2014-01-03. (Archived by WebCite® at http://www.webcitation.org/6MLiAaC9o)
As we all know, University libraries have to pay expensive subscription fees to scholarly publishers such as Elsevier, Springer, Wiley and Informa, so that their researchers can read articles written by their colleagues and donated to those publishers. Controversially (and maybe illegally), when negotiating contracts with libraries, publishers often insist on confidentiality clauses — so that librarians are not allowed to disclose how much they are paying. The result is an opaque market with no downward pressure on prices, hence the current outrageously high prices, which are rising much more quickly than inflation even as publishers’ costs shrink due to the transition to electronic publishing.
On Thursday 11 April 2013, Oxford University hosted a conference called Rigour and Openness in 21st Century Science. The evening event was a debate on the subject Evolution or Revolution In Science Communication. During this debate, Stephen Curry of Imperial College noted that his librarian isn’t allowed to tell him how much they pay for Elsevier journals. This is the response of David Tempest, Elsevier’s Deputy Director of Universal Sustainable Research Access.
Heres’ a transcript
Curry [in reference to the previous answer]: I’m glad David Tempest is so interested in librarians being able to make costs transparent to their users, because at my university, Imperial College, my chief librarian can not tell me how much she pays for Elsevier journals because she’s bound by a confidentiality clause. Would you like to address that?
[Loud applause for the question]
Tempest: Well, indeed there are confidentiality clauses inherent in the system, in our Freedom Collections. The Freedom Collections do give a lot of choice and there is a lot of discount in there to the librarians. And the use, and the cost per use has been dropping dramatically, year on year. And so we have to ensure that, in order to have fair competition between different countries, that we have this level of confidentiality to make that work. Otherwise everybody would drive down, drive down, drive drive drive, and that would mean that …
[The last part is drowned in the laughter of the audience.]
So there you have it: confidentiality clauses exist because otherwise everybody would drive down prices. And we can’t have that, can we?
(Is this extracted segment of video unfairly misrepresenting Tempest? No. To see that for yourself, I highly recommend that you watch the video of the whole debate. It’s long — nearly two hours — but well worth the time. The section I used here starts at 1:09:50.)
December 18, 2013
When we last left my better half, Dr. Vicki Wedel, she was helping to identify a Jane Doe who had been dead for 37 years by counting growth rings in the woman’s teeth. That case nicely illustrated Vicki’s overriding interest: to advance forensic anthropology by developing new methods and refining existing ones. To that end, for the past few years she has been working with her PhD advisor, Dr. Alison Galloway at UC Santa Cruz, to revise and update Alison’s 1999 book, Broken Bones: Anthropological Analysis of Blunt Force Trauma. The revised and much expanded (504 pages vs 371) second edition, co-edited by Vicki and Alison, came out Monday (Amazon, Amazon.co.uk).
You can read the whole table of contents on Amazon (click to look INSIDE!), but the short short version is that the book has three major sections. The first covers the science and practice of trauma analysis (pp. 5-130), and the second classifies hundreds of common fractures throughout the skeleton, with illustrations (pp. 133-313). The chapters in these sections were all written by Vicki, Alison, and another of Alison’s former students, Dr. Lauren Zephro, solo and in varying combinations. Lauren, whom I always think of as “the Amazon cop”, is a 6-foot blackbelt forensic anthropologist for the Santa Cruz County Sheriff’s Office. If push came to shove I have no doubt that she could beat me to death with her bare hands and then produce a technical analysis of my corpse.
The final section (pp. 314-410) consists of nine case studies contributed by forensic anthropologists, pathologists, medical examiners, forensic and medical artists, and a DoD casualty analyst, based across the Anglophone world from Hawaii to Scotland. There’s some grim stuff in there: trauma to the homeless and elderly, from intimate partner violence, and from child abuse. It’s gut-churningly awful that the defenseless suffer from bone-breaking violence; it’s always been amazing to me that people like Vicki, Alison, Lauren, and the other contributors have both the courage to face these horrors and the technical chops to make the unspeakable solvable.
Beyond that unavoidable darkness, if you’re interested in the many, varied, and often just plain weird ways in which people die, the book is a treasure trove. There’s an elderly woman lying on her deathbed for six years, slowly turning into a natural mummy… (wait for it) …while her daughter went on living in the same house. There’s a classification of plane crashes with a description of what human remains will be found and over what area. There are people hit by trains; the funniest line in this very serious book is the deadpan and unsurprising, “The typical pedestrian hit by a train is male and often highly intoxicated.”
That’s from the top of page 122. At the bottom of the same page is my one contribution to the book, which also appears as the cover art (yeah, nepotism, whatcha gonna do). There’s a story behind this. This guy–yes, male, dunno if he was intoxicated–was hit by a train and his head was sheared in half, with the somewhat fractured but mostly intact facial skeleton separated by a lot of missing bone from the occipital region. With no way to obtain the deceased guy’s permission to use his mortal remains in the book, Alison and Vicki didn’t feel comfortable including their photos, so I spent a weekend bashing out a technical drawing for them to use instead. That reawakened my interest in pen-and-ink work and led to the dödö pöst.
I should say two things right here: first, that yes, I am hijacking the rest of the post to talk about myself. (Is anyone really surprised? I thought not.) Second, that I have had no training and possibly my stippling violates Art Rules or best practice guidelines of which I am ignorant. But I hope it also illustrates what can be achieved in a couple of days, with about $15 worth of supplies, by a guy whose only rule is “möre döts”.
So anyway, if you’re curious, here’s the method I use for my pen-and-ink illustrations:
- Get a decent-sized photo of the object to be drawn. I usually roll with $2 8x10s from MalWart, in this case one for each half of the skull.
- Tape the photo down to your work surface. I have a large, incredibly hard, perfectly smooth cutting board that I use for this, but in a pinch you could use just about anything, including just a larger piece of paper. Cardboard off the backs of desk calendars is nice.
- Over the photo, tape down a piece of tracing paper.
- Lightly trace the outline of the photo and all the major details in pencil.
- Once you’ve gone as far as you can with that, peel up one side of the tracing paper, unstick the photo from the work surface, and remove it. Stick the tracing paper back down the work surface.
- Using the uncovered photo as a reference, pencil in any other salient details by eye. Also contour lines for shadows. All of the pencil lines are going to be erased later, so don’t be shy.
- Whenever you decide you’re done with the pencil, get a good pen and start tracing, directly over the pencil lines. I tend not to be too persnicketty about my tools but decent pens are a real help here. For these recent works, I picked up a three-pack of beige-tubed Micron pens for $7 (this set).
- In all of the following pen-related steps, be careful to keep your big stupid hand and arm off the wet ink you just laid down–one careless smear can ruin a few hours’ work. Having a work surface that you can rotate is nice, so your pen hand can approach the drawing from any angle. Anytime I have to lay my hand on the drawing, I put down a piece of clean scrap paper first. Even if the underlying ink is dry, it just feels like a smart precaution.
- Once the lines are on, add döts to taste. With a little experimentation, you can get patterns of dots to not only indicate light and dark but also suggest textures. Different pen tips and amounts of pressure will yield dots of different sizes, which can also be useful. Dense, overlapping dots can produce an effect similar to scratchboard. BTW, sometimes I do “gear down” and place each dot with thought and care, but in the dense sections I just rat-a-tat-tat like a Lilliputian jackhammer. Try different speeds and see what you can tolerate.
- When you’re done dötting, at least to a first approximation, and you’re dead certain the ink is all dry, get a decent eraser and erase all of the pencil lines. I used one of those clicky mechanical erasers because it was cheap and soft enough to not tear up the paper.
- Re-ink any lines lightened by the erasing. I find that the döts are usually unaffected, but lines are often knocked down a bit by the eraser work. I suppose it would be cleaner to just draw natively in pen, with no prior pencilling and therefore no erasing, but the few times I’ve tried it, it hasn’t gone well. YMMV. If you’re drawing a 3D solid, this is a good time to employ an old illustrator’s trick, which is to make the bottom outline heavier and darker than the rest, to subtly convey a sense of weight.
- Scan, touch up as needed in GIMP, post to blog, bask in self-admiration.
In this case I had a few more steps, which consisted of making variants of the drawing and test-driving them by Vicki and Alison so they could pick their favorites.
This is just embarrassing: after scanning the two drawings and doing a little touch-up, I just scooted them together until they looked like a skull. The problem is that the occiput is nowhere near anatomical position. See that flange of bone above the ear-hole, pointed down and right at a 45-degree angle? That’s the back end of the zygomatic arch, and it should be aimed at the forward stump of the arch, which is just down and back from the eye socket.
Here’s the B version, where I was working entirely off of the zygomatic arch ends, and trying to get the skull into anatomical position. Scientifically this is probably the best variant I produced (I’m not claiming it’s the best possible), but aesthetically it’s a little crowded.
I’ll spare you versions C-E, all of which just scooted the back end of the skull around in an attempt to find a balance between scientific and aesthetic concerns. Here’s the winning F version, which got used for the figure, and became the seed variant for the cover.
For the cover, we tried a lot of things, including the white skull on a black background, and one that was simply inverted from the figure. By this point the publisher had sent Vicki some test versions of the cover, and I thought it would be cool if the drawing was in the same color as the cover text, so I sampled that color from the publisher’s sample cover image and applied it to all of the drawn bits. They knocked it down a few tones for the printed version, so happily it’s not this garish.
Incidentally, I had never tried to replace a bunch of discontinuous areas of the same color with another color in GIMP, so I had to look it up. The two key steps are Select > By color, with the threshold set to zero (or not, if you want to grab a bunch of related colors at once), and “Fill whole selection” in the Bucket tool. Hat tip to this dude and his commenters.
One last step: I thought the bare, unfilled yellow version looked too flat, so I tried different levels of fill to make the skull pop out from the background. I didn’t use bucket fill here–too fiddly with so many dots and edges. Instead I created a new layer of solid yellow and dropped the opacity to 17%. Then went to the drawing layer and used the magic wand tool to select the whole non-skull background. Then popped back to the yellow layer and cleared that selection, leaving yellow fill only in the boundaries of the skull outline. I also tried 10% and 25% opacity for the fill layer, but 10% was too subtle and 25% was starting to swamp some of the detail in the drawing. Between goofing around with colors and opacity levels we went through 10 versions at this stage, of which the one above is the ultimate champion.
So, that’s how the cover art came to be. Back to the book. There’s a bibliography with 1237 references (Vicki knows), and an index. The book is hardbound, with a printed cover and no dustjacket, and IMHO reasonably priced at $65, currently a few bucks less on Amazon. You probably already know whether you want a copy. If so, do the right thing–it’s not too late to get it by Christmas.