Are you looking for illustrations to valorize your museum or your location?

Hi, I’m Simone Zoccante an Italian natural history illustrator and paleoartist, with a deep-rooted knowledge in zoology, natural history, and paleontology.

For over 25 years, I have nurtured a deep passion for zoology, natural history, and paleontology. These subjects are the foundation of my artistic production.

Since 2014 I have been working in visual arts and from 2020, I officially began my career as a scientific illustrator and paleoartist. Since then, I have worked with various museums, both in Italy and internationally, and have independently published books and dossiers on naturalistic illustration and paleoart, carried out communication activity on the web on natural history and paleontology, and I have also been awarded in paleoartistic competitions helded by Museums in Italy (Italian Paleoart Award from the Montevarchi Museum) and in Portugal (the prestigious Paleoart Competition of the Lourinh√£ Museum).

Throughout my career, I have specialized in creating large-format museum paintings, including digital murals that can be printed up to 8 meters in length. These murals maintain high print quality, allowing the public to appreciate them up close. Additionally, I specialize in creating illustrations for museums, along with infographics and exhibition panels.

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TYPES OF WORK

SELECTED CLIENTS

THE KEY ELEMENTS ON WHICH I BUILD AN EXHIBITION PATH

1. DRAW IT, DON'T WRITE IT

An exhibition in a museum is not a book.

People go to museums to learn something while moving in a three-dimensional space, and when you have to learn in a three-dimensional space, you don’t expect to read a densely written instruction manual. Instead, you expect to learn information visually, practically, and distributed in space.

Therefore, using infographics that can visually explain complex concepts while minimizing the amount of text required allows the viewer to have a much more practical and visually memorable experience while visiting the museum halls, admiring the display cases and dioramas within.

2. LARGE FORMATS AND IMMERSIVENESS

A classic feature of natural history museums is certainly dioramas.

Dioramas have the ability to transport the viewer into the natural environment that the diorama represents.

However, dioramas can be a very costly production: to create a diorama, a dedicated room is needed, along with a taxidermist or a statue maker for depicting extinct animals, someone to create the plants, lighting installations, and someone to create the backdrops.

Not to mention that dioramas require ongoing maintenance for the animals and materials used.

As a great admirer of dioramas in natural history museums and having studied in-depth those present in the Natural History Museum of Milan over the years, I have developed a style and a working method to recreate the magic and immersiveness of a museum diorama on a practical two-dimensional format.

My mural paintings for museums are not simply paintings depicting animals or a natural landscape. To create such a pictorial work, one must be able to depict an environment and the animals within it, positioning the various elements in a narrative, organic, and natural way, providing the feeling of completeness and richness of perfectly integrated elements one experiences when looking at a high-quality diorama.

Immersiveness in my painting is guaranteed by the use of large formats. Over time, I have developed a digital working method that allows me to work with and manage enormous files that can be printed at sizes ranging from 5 to 8 meters in length while maintaining high print quality, enabling close-up viewing without loss of resolution and detail.

This high-resolution details in large formats can have the same immersive effect as a diorama and can provide valuable support as a backdrop for even larger dioramas or larger skeletal reconstructions.

3. LIFE-SIZE SUBJECTS

When we try to imagine something, one of the most difficult aspects is getting an idea of the dimensions that the subject we are imagining may have in space.

Being able to visualize these dimensions not only helps us better understand what we are observing and visualizing, but it also allows us to make it part of our concrete world.

The presented artwork depicts some of the extinct felids found at an African fossil site. These animals are not only depicted in scale with each other but also on boards that can be printed in such a way that the subject depicted is in a 1:1 scale.

Representing the animal in actual life-size breaks the limit of imagination and allows the viewer to be faced with the subject concretely, as if they were in front of it in reality. This visual support to the viewer’s imagination enables them to focus more on the contents conveyed by the exhibition and make connections between the various presented concepts, without having to spend part of their attention imagining aspects that are difficult to visualize, such as dimensions.

4. TERRITORIAL VALORIZATION AND PROMOTION

Museums are not just collections or collections of objects and ancient artifacts. Museums are symbols of historical memory and the cultural heritage of the territory in which they are founded.

This means that by visiting a museum, it is possible to learn about and come into contact with the history and richness of a specific geographical region. A museum collection accompanied by art pieces, murals, infographics, and illustrations that are coherent and born from the study of the territory allows visitors to experience emotions connected to it, increasing the perceived value of the travel experience and the sharing of it with close people and potential future visitors.

Being a stronghold of institutions within the territory, the museum is the business card with which these institutions present themselves to visitors and tourists. Therefore, commissioning works and illustrations specifically created with an understanding of the culture of a particular territorial reality allows for a significant increase in the perceived value of archaeological and paleontological artifacts and the structures that contain them, enhancing the prestige of the institutions that have worked on them.

Thank you for your attention and for reading this far.

Do you have a project in mind or that you are currently developing where you think I could add value?

Please contact me at my email simonezoccante@gmail.com, and we can discuss your ideas in more detail privately.

If you are interested in using this image for your projects and works you can contact me and we can discuss about licensing.

All images © Simone Zoccante 2018-2023. Please do not reproduce without the expressed written consent of Simone Zoccante.