Showing posts with label illustrations. Show all posts
Showing posts with label illustrations. Show all posts

Sunday, July 7, 2024

Diatom Forest as Water Quality Indicator: H2O Publishes my Illustration

My original illustration for my article on Diatom Forests

 

This past spring, Dutch scientist Herman van Dam (Consultancy for Water and Nature) approached me for permission to use my illustration of the diatom forest in a paper he and co-authors were preparing for the Dutch journal H2O. He explained that they wanted to help familiarize water managers who read the journal with the underwater biodiversity for which my illustration would be helpful.




 

The Illustration

 

He’d seen my illustration in my article “A Diatom Spring” in The Meaning of Water. Below is a summary of my article about the diatom forest and how the illustration came about:

 

Attachment and colonization starts with a ‘clean’ unpopulated surface (usually scoured by turbulence in a storm or some other event or a new surface tumbled into the water). Several stages of succession take place, starting with early colonizers. The adnate Cocconeis placentula, whose frustules attach directly to the substrate, is an example of an early colonizer. When they attach to a substrate they form a biofilm (think moss in a terrestrial forest). Adnate species are eventually overgrown by taxa that produce a mucilaginous pad (e.g. Synedra) or stalk (e.g. Gomphonema). The understory layer is typically occupied by diatoms such as Fragilaria vaucheriae and Synedra radians that attach to the surface at one end (apical) of their rod-shaped frustules using a mucilaginous pad to form “rosettes” that resemble spiky understory shrubs. This allows them to protrude above the adnate taxa and take advantage of more light.


Fragilaria and Synedra forming "rosettes" on substrate


 

The diatoms Cymbella and Gomphonema produce long stalks that attach directly to the surface, allowing them to form a swaying canopy over the lower tier of cells of Fragilaria vaucheriaeSynedra radians and early colonizer Cocconeis placentula whose frustules attach directly to the substrate (think overstory and understory of a terrestrial forest or a marine kelp forest).


SEMs of colonizing stalked diatoms


 

The Diatom Forest Structure

 

Just like trees, the canopy-forming stalked diatoms effectively compete for available light and nutrients in the water with their vertical reach. They provide the ‘overstory’ of the diatom forest’s vertical stratification. These tree-like diatoms also provide an additional surface for other diatoms to colonize (e.g. tiny epiphytic Achnanthes settle on the long stalks of Cymbella, just as lichen does on a tree trunk).

 

The stalked diatom forest acts like a net, trapping drifting-in euplankton, such as Pediastrum sp. andFragilaria spp., which then decide to stay and settle in with the periphyton community. The mucilage captures and binds detrital particles in both lower and upper stories of the diatom forest; these, in turn, provide nutrients for the diatom forest and additional surfaces for colonization. In their work with periphyton communities, Roemer et al. (1984) found several diatoms (e.g. Diatoma vulgare, Fragilaria spp. Stephanodiscus minutula) entangled in the complex network of cells, stalks, and detritus of the diatom forest’s upper story. They also found rosettes of Synedra radians—like jungle orchids—attached to large clumps of sediment caught by the net of mucilage.

 

Eventually, ‘overgrowth’ occurs as the periphyton colony matures and grows ‘top-heavy’ with all this networking. The upper story of the community simply sloughs off—usually triggered by turbulence in a river from rains, storms, or dam release. This is similar to a forest fire in the Boreal forest, which creates space and light for new colonization and growth. The dislodged periphyton ride the turbulent flow, temporarily becoming plankton, and those that survive the crashing waters provide “seed” to colonize substrates downstream. Others may get damaged and form the ‘dish soap’ like suds or foam you often see in turbulent water. The proteins, lignins and lipids of the diatoms (and other associated algae) act as surfactants or foaming agents that trap air and form bubbles that stick to each other through surface tension.

 

My illustration adapted by H2O in Dutch



The Paper

 

The paper was published June 13, 2024, in H2O, written by Jako van der Wal, Joep de Koning and Herman van Dam, and entitled “Snel inzicht in de ecologische waterkwaliteit met diatomeeën”(Quick insight into ecological water quality with diatoms).This paper was right up my alley! As a diatom specialist and limnologist who studied them in relation to environmental conditions and perturbations, I was intrigued by the paper and gained some additional insight on diatom ecology. 

 

Van der Wal et al. cited recent advances in DNA-based identification methods that provide fast and cheap diatom identification over the traditional method of using an optical compound microscope to observe morphological characteristics such as size, shape and ornamentations of the silicified cell wall. I can attest that this is a labour-intensive process in which I spent many hours and days hunched over a microscope during my masters research at Concordia University. This efficient DNA-identification has seen a resurgence of using diatoms as a valuable tool for water quality managers, with applications providing insight into both current and historical water conditions. The authors argue that benthic diatoms or periphyton(living on substrates such as plants, rock, sand and artificial surfaces) have been since the 1980s used as indicators of saproby, trophy, acid and salt character in, among other things, ditches and canals. For every type of water and water quality, there are diatoms that have their habitat there, write the authors. They argue that, unlike phytoplankton, fish and macrofauna, periphyton attach to a surface and hardly move; this means that effects of water quality can be demonstrated locally. Because many diatom species tolerances and intolerances are known and they reproduce quickly (over days), diatoms respond quickly to changes in the environment—much faster (often within weeks) than other ecological indicators. 

 

Scientists and water technicians can use diatom species composition to measure perturbations by organic material, low oxygen content, eutrophication, and toxicity. Given that diatoms colonize and develop quickly, this includes unstable and damaged habitats where other indicators cannot develop, such as shipping traffic, waves or where cleaning or dredging is carried out regularly. Historical insight can be provided by diatoms, given that their silica frustules are naturally preserved in sediment. 


Diatoms and organics form froth of bubbles on shore rocks


 

My Own Work with Turbulence

 

During my masters research in several streams in the Eastern Townships, I examined how diatoms colonized artificial substrates; how they formed productive biofilms that sustained an entire periphyton community of attached aquatic life and discovered that their pattern of colonization related to current speed and direction. I submerged glass slides (the kind people use to look at critters under the microscope) in a device in the stream and oriented them parallel or perpendicular to the current.


Microscope slides with periphyton growth after immersion in a stream 


 

There are two ways an algal community grows in a new area: (1) by initial colonization and settling; and (2) by reproduction and growth. I studied both by collecting slides exposed for differing lengths of time (collecting young and mature communities) in different seasons.

Nonrandom diatom colonization across a microscope slide


I discovered that the diatoms colonized these surfaces in weird ways based on micro-turbulence. Early colonizers, like Achnanthes and adnate Cocconeis preferred to settle on the edges of the slides, where the chaos of turbulence ruled over the sheer of laminar flow. They colonized by directly appressing to the substrate, making them the first photosynthetic taxa to establish a biofilm on a clean substrate. Vadeboncoeur and Katona (2022) write that “in waved-washed surfaces, these taxa may be the only algae that persist.” I postulated that the drift velocity was reduced on the slide’s edge, where turbulence was greatest, giving drifting algae a greater chance to collide and settle on the slide over the more shear laminar flow along the slide’s central face.

 

Once settled, the community was more likely to grow with turbulence. Greater turbulence decreases the diffusion gradient of materials around algal cells, with a higher rate of nutrient uptake and respiration. Turbulence provides greater opportunity to an existing colony by increasing “chaotic” flow, potential collision and exchange. Turbulence is a kind of “stable chaos” that enhances vigor, robustness and communication.

 

Diatom and organic scum below a dam


 

Using Diatoms in Water Quality Assessments

 

Van der Wal et al. argued that in environmental assessment the DNA-identification is just one step in a process that looks a population structure and health. Diatoms are already used in 21 of the 27 EU countries as part of a Water Framework Directive (WFD) quality index for flowing waters and in nine EU countries for standing water. Example conditions and associated perturbations where diatoms are a particularly useful indicator include: salinity, acidity, oxygen saturation, organic load (saproby), nutrient richness (trophy), temperature, and toxicity.

 

Diatom Growth Forms & Deformities

 

Van der Wal et al. argue that in addition to the different species compositions and the related ecological indices, growth forms and deformations of diatoms are useful indicators of water quality, particularly in relation to specific toxins.

 

Growth forms of diatoms can be described as attached, short-stalked, long-stalked, mobile and living in mucous tubes (Figure 3, van der Wal et al., 2024). Each growth form has advantages and disadvantages. For example, short-stalked diatoms are more difficult to graze and long-stalked diatoms come into contact with more water, from which they can then absorb substances. Long-stalked diatoms can also absorb more light if there is a lot of competition. Mobile diatoms can adapt to changing conditions by, for example, migrating from surface to subsurface and vice versa. Diatoms in slime tubes are more difficult to prey on and respond more slowly to environmental changes.

 

Van der Wal et al. cited work by Rimet & Bouchezwho found that long-stalked diatoms decline in waterbodies subjected to various pesticides. Falasco et al. also observed diatom deformities when exposed to various toxic substances. Heavy metals were observed to cause deformities in Navicula and nitrogen toxicity was also implicated in diatom deformities. 


Navicula sp. frustule on the right shows deformed striations


 

 

References: 

 

Falasco, E., Ector, L., Wetzel, C.E., Badino, G. & Bona, F. (2021). “Looking back, looking forward: a review of the new literature on diatom teratological forms (2010-2020).” Hydrobiologia 848: 1675-1753.

 

Munteanu, N. 2022. “When Diatoms Create a Forest.” https://themeaningofwater.com. December 18, 2022.

 

Munteanu, N. 2023. “When Diatoms Bloom in Spring.” https://themeaningofwater.com. May 14, 2023.

 

Munteanu, N. 2023. “A Diatom Spring.” https://themeaningofwater.com. April 16, 2023.

 

Munteanu, N. & E. J. Maly, 1981. The effect of current on the distribution of diatoms settling on submerged glass slides. Hydrobiologia 78: 273–282.

 

Munteanu, Nina. 2016. “Water Is…The Meaning of Water.” Pixl Press, Delta, BC. 584 pp.

 

Poikane, S., Kelly, M., & Cantonati, M. (2016). ‘Benthic algal assessment of ecological status in European lakes and rivers: challenges and opportunities’. Science of the Total Environment 568: 603-613. 

 

Rimet, F. & Bouchez, A. (2011). ‘Use of diatom life-forms and ecological guilds to assess pesticide contamination in rivers: Lotic mesocosm approaches’. Ecological Indicators 11: 489-499.

 

Roemer, Stephen C., Kyle D. Hoagland, and James R. Rosowski. 1984. “Development of a freshwater periphyton community as influenced by diatom mucilages.” Can. J. Bot. 62: 1799-1813. 

 

Serôdio, J. & Lavaud, J. (2020). “Diatoms and their ecological importance”. In: Leal Filho, W. et al. (eds). Life below water. Encyclopedia of the UN Sustainable Development Goals (pp.1-9). Springer Nature.

 

Smolar-Zvanut, Natasa and Matjaz Mikos. “The impact of flow regulation by hydropower dams on the periphyton community in the Soca River, Slovenia. Hydrological Sciences Journal 59 (5): 1032-1045.

 

Wal, J. van der, Joep de Koning and Herman van Dam. 2024. “Snel inzicht in de ecologische waterkwaliteit met diatomeeën”  H2O, 13 June, 2024.


Wood, Allison R. 2016. “Attached Algae as an Indicator of Water Quality: A Study of the Viability of Genomic Taxanomic Methods.” Honors Theses and Capstones. 306. University of New Hampshire Scholars’ Repository.

 

Zuilichem, H. van, Peeters, E. & Wal, J. van der (2016). “Diatomeeën als indicator voor waterkwaliteit nabij rwzi's”. H2O-Online, 9 december 2016. https://edepot.wur.nl/401202 


Diatom and organic froth on a river below a dam




Nina Munteanu is a Canadian ecologist / limnologist and novelist. She is co-editor of Europa SF and currently teaches writing courses at George Brown College and the University of Toronto. Visit www.ninamunteanu.ca for the latest on her books. Nina’s bilingual “La natura dell’acqua / The Way of Water” was published by Mincione Edizioni in Rome. Her non-fiction book “Water Is…” by Pixl Press(Vancouver) was selected by Margaret Atwood in the New York Times ‘Year in Reading’ and was chosen as the 2017 Summer Read by Water Canada. Her novel “A Diary in the Age of Water” was released by Inanna Publications (Toronto) in June 2020.

Friday, May 23, 2008

Illustrator, Emma Biron--Friday Feature

Before I dashed off into the science program on registration day at Concordia University, I was signed up in their fine arts program; I was going to be a commercial artist and go into advertizing. Then, I decided to save the planet instead (big grin). I'm still doing it...

Ever since I was a kid, I've been a cartoonist. I created the first "Get Smart", a spoof on James Bond. I called my cartoon, James Back, 000 (triple O). My recent graphic art piece was a cartoon, The Adventures of SF Girl, which you can see below. Well, my constant fascination for this medium led me to today's Friday Feature, Emma Biron, a fascinating illustrator from Vancouver, B.C.

Emma met me at one of my book signings and immediately caught my attention when she mentioned that she did animation. What follows below are a few examples from her recent comic book, MITMOL, which I'd describe as funky anime-style, with something else. Not sure what to call it, certainly an Emma-signature. Emma tells me that she draw s"everything by hand, using fine liners for inking."

When I asked her to elaborate on MITMOL, Emma told me that it "is set in outer space and follows the characters April, Neko, and a few others. The one with purple hair and blue skin is April. Right now I’m still working on MITMOL, which is an acronym that is not really worth figuring out (it has something to do with the meaning of life)." Okay...

"I love drawing," she continues. "But I think eventually I would like to become a writer. I’m especially looking forward to the comics exhibit (KRAZY) that will be coming to the Vancouver Art Gallery." Me too, Emma! See you there!

I asked Emma to describe her pictures shown here.

The first cartoon, about talking to a container of milk, is a dream sequence from MITMOL. Says Emma: "Perhaps it has a slightly religious subtext, but that’s entirely subjective."

The next cartoon describes a scene with women in burkas and masks who are interrogating a police officer. Says Emma: "This page was rushed sadly, but I liked its subject matter."

The blue girl is April. Says Emma: "I was inspired for the pose by Egan Shiel paintings. Some comic artists have sexy main female characters, but April usually isn’t, so I was joking when I drew her like this and named it 'trying to raise viewership' ".

The illustration at the top is, according to Emma, "a self portrait I drew when I was feeling sick after eating some cheap food. My friends said my sweater looked weird in it, but it honesty looked like that... I was leaning weirdly!"

There you go... lean weirdly and you too might draw something that awesome.



Friday, February 15, 2008

“Emotional Landscapes” by Teresa Young—Friday Feature


I happen to believe that everything that happens in life happens for a reason. This type of logic removes a lot of stress because it allows you to not focus on things that are outside of your controlTeresa Young

I met Teresa many years ago when I moved to Victoria, British Columbia to do my PhD and teach biology. She was this energetic, eccentric, wild-eyed student who worked in the lab that I was instructing. At the time, she was more of an artist than a scientist, and after she broke the last test tube in the lab, we gravitated toward each other like opposite charges and made fast friends.

After getting her degree, Teresa moved back east (that’s to the east coast in Canadian), got married and had a son. She couldn’t stay away, though, and has returned to work and play in beautiful British Columbia. Her surrealistic-abstract work has been described as fluid, bold and explosively introspective. A native of British Columbia, Canada, Teresa has been drawing and sketching pretty well all her life. She paid her way through college doing portraits in the tourist section of Victoria, BC. Now she helps design and implement relational database systems as senior implementation engineer with a web-based software company in Burnaby, BC.
She will be illustrating the PDF/Audio Book of Darwin’s Paradox, expected to be released this summer. I asked her if she’d like to see our beautiful planet Earth from Vinnie in orbit and she didn’t blink an eye to say yes, like I knew she would (she always knew I was an alien, though we never discussed it):
~~~~~
Like everyone before her, Teresa makes the ride via the crystal transporter without so much as a tummy rumble. I can’t say the same for me. Bathroom break later, I show her to the aft lounge where Harry, my irreverent droid, awaits with two Kokanee beers.

I settle into my chair and give my “old” green-eyed friend an appraising look: she’s matured. Gray flecks her thick mane; she’s let her hair grow long and flowing, like her art, and looks relaxed, awaiting my onslaught (she knows me).

SF Girl: I eagerly take the bait and send a barrage of questions at her like a machine gun: “How did you get started in art? How did it develop to what it currently is?”

Teresa: She takes an appreciative sip of her beer and beams an urchin smile at me. “When I was growing up, I was very interested in science fiction and fantasy books. This naturally also influenced my artwork in a big way, but the strange thing about this is, I drew largely in a realistic fashion in my youth. And I never pursued this artistic talent in a serious way as a career option. I think on some level, I had decided that doing it for a job would take the fun out of it. Also, doing portraits as a sideline for about fifteen years soured me quite young on selling my work. It's very rigid, only drawing what people want to see, especially when you are too young to realize that maybe what you want to see might be more valuable to you artistically. To this day, I shudder if someone asks me to draw them!”

SF Girl: I gasp and I’m about to ask another question when she blithely continues.

Teresa: “When I was fourteen, I started drawing in a surrealist style, but never showed this part of my artwork to too many people, perhaps thinking that it wasn't acceptable or something like that. So this part of my style developed separately from my "normal" artwork. I think it's like growing mushrooms in a back room or something.”

SF Girl: “You mean, like crack? What if—”

Teresa: She cuts me off, “Over time, the surreal and the abstract took over my art life. . . . Still in the shadows, developing in its own direction, it had a life of its own. When I am doing a piece, it is an expression of emotion, rather than a representation of a concrete reality. Life flows, emotions flow, and people grow. . . . So my artwork flows. I coined the term "emotional landscape" for some of my paintings; that is what they feel like to me.” She beams.

SF Girl: “But how does that—”

Teresa: She talks over me, “Lately, I have been wanting to seek an audience, so I have been getting some of my art out into the public eye. I was featured in December on an ezine called Latchkey.net. IAnd you can view a gallery of my work on Strange Horizons. I recently illustrated a story for a new magazine coming out in the next few months called !Ultra. Good thing the editor wasn't looking for strictly realistic pieces!”

SF Girl: I laugh. “But you also do—”

Teresa: She cuts in, “So if you would like to see more of my work, I have some pieces on a community website called webshots. It is quite nice, and they maintain it. (An added bonus for me!)”

She must have met my marketing manager, Karen Mason (SEO), I think, watching her pat a chortling Harry on the head and realizing that I haven’t gotten more than three words in edgewise and she’s marketed her work with the ease of a seasoned entrepreneur. Then, seeing that her beer is empty, Teresa leans forward and claps me hard on the back, then gets up to leave. I sigh…some things never change…
You can read Teresa's thoughts on art and philosophy on her blog, Surrealistic Reflections.

Friday, January 18, 2008

The Illustrations of Tomislav Tikulin

He’s one of the brightest stars in the fantasy and science fiction world. His digital art evokes vivid yet fantastical landscapes that transport your mind and elevate your soul. Croatian illustrator, Tomislav Tikulin, is my Friday Feature.

Tikulin, who was born and lives in Zagreb, Croatia, recently confided in me that he had never been to North America. I find this ironic, considering that his art is showcased internationally, having appeared in every country imaginable. Tomislav Tikulin’s art work has graced the covers of many SF and Fantasy books including Chris Robertson’s Voyage of Night Shining White, Arthur C. Clarke’s Rendezvous With Rama, and recently Ray Bradbury’s Dandelion Wine (50th anniversary edition).

Tikulin creates convincing images grounded in reality then throws them into fantastical alien landscapes.