Invertebrates – Hoopoe – A blog by nhbs

Butterfly Conservation’s Moth Recorders Meeting provides an essential update for ecologists, wildlife watchers, and naturalists interested in the latest developments in moth recording, research, and conservation. Introduced by director of business and research, Russel Hobson, this year’s meeting was held online via Zoom on Saturday 25th January, and comprised of a variety of talks by keynote speakers including Dr Zoë Randle, David Hill and Dr Avalon Owens.

Dr Zoë Randle, Butterfly Conservation: National Moth Recording Scheme Update

The first speaker, Butterfly Conservation’s Dr Zoë Randle, shared an update on the National Moth Recording Scheme and key trends. Over 600,000 observations were submitted on iRecord throughout2024, bringing the total macro moth records to 36.2 million and micro moth records to 7.4 million in the National Moth Recording Scheme. Despite an increase in moth recording last year, Zoë emphasised the importance of both recorders and verifiers, while also stressing the need for more volunteers to streamline the verification process.

A map showing the density of records across the UK — Number of Records in the National Moth Recording Scheme per km square. Credit: Dr Zoë Randle

Dr Norman Lowe, County Moth Recorder, Breconshire: Charismatic Clearwings in mid-Wales.

Dr Norman Lowe, County Moth Recorder for Breconshire, discussed clearwings in mid-Wales, presenting the group as flagships for dayflying moths and provided an update on clearwing records during 2024. Last year, 31 more recorders and ten more pheromone traps/lures were supplied to aid in recording, resulting in a total of 80 clearwing observations for 2024. Data revealed some local and scarce species, including the Welsh Clearwing and Red-tipped Clearwings, and highlighted species which are common and widespread, like Lunar Hornet Moths.

David Hill, Conservation Manager (Scotland), Butterfly Conservation: Black, White, Red & Gold – surveying Argyll’s rare moths

Next to speak was David Hill, who reported on two key species that he has been working with in Scotland: White Spotted Sable Moths and Transparent Burnet. He discussed the background and biology of the species, as well as the efforts undertaken to better understand their pressures and distribution.

2024 larval surveys uncovered 30 White Spotted Sable caterpillars over three days and allowed surveyors to categorise habitat. This coming year, the team will look to rear caterpillars to confirm identification, start adult surveys and seek out sites where Anania terrealis, a commonly mistaken species, is present.
Transparent Burnets are a focus for Scottish conservation projects as part of the Species on the Edge programme. This rarely recorded species is one of concern due to loss of suitable habitat and work will continue throughout 2025 to establish the distribution and abundance of this moth across Argyll.

Transparent burnet moth — Transparent Burnet. Credit: David Hill

Dr Luke Evans, Butterfly Conservation: Can we measure the impact of insect change on bird and bat populations?

Dr Luke Evans discussed the DRUID project, which has operated since 2021 and aims to investigate the drivers and repercussions of UK insect decline. Evans discussed the impact of this catastrophic decline on species whose diets are adapted to insects, true correlation vs random correlation (the observation data conundrum) and the suggestive patterns of decline in birds as a result of this. The use of key data, including that in the National Moth Recording Scheme, demonstrates the importance of national monitoring data for evaluating insect abundance and the direct impacts of insect change.

Dr Sam Fabian, Imperial College London: Understanding why artificial lights trap flying insects using high-speed videography

The next presentation was delivered by Dr Sam Fabian, who explored the aggregation of insects around bright light sources, how artificial light can impact insect flight and the behavioural mechanisms behind it. Fabian suggests that circling behaviour around bright light sources is due to dorsal light response – a stabilising reflex where insects angle their body to orientate bright lights above them – which causes erratic flight paths around artificial light sources.

Circling behaviours around artificial light sources. Credit: Dr Sam Fabian

Dr Avalon Owens, Rowland Institute, Harvard University: Do sustainable lighting practices sustain moths?

Last to speak was Dr Avalon Owens, who concluded the session with an insightful discussion on the impacts of light pollution on moths. This growing threat is one of many that impacts global insect abundance and diversity, and can have a range of negative impacts on insect behaviour, including: fatal attraction, temporal and spatial disorientation and visual confusion. These can have catastrophic effects on insects internal body clock, navigation ability and recognition of resources. With light pollution levels growing and expanding exponentially, Dr Owens also outlined key routes to tackle the issue by creating sustainable lighting that is useful, targeted, controlled, low level and warm coloured.

Five lighting principles for responsible outdoor lighting and impacts of artificial light on insects. Credit: Dr Avalon Owens

This year’s Moth Recorders Meeting was a fascinating insight into the National Moth Recording Scheme, key trends and developments in moth ecology and conservation, and the threats to these undervalued insects. Find out more about Butterfly Conservation, their valuable work and ways to get involved on their website.

To hear more from this year’s speakers, a recording of 2025’s meeting can be found on the Butterfly Conservation YouTube channel.

Featuring 130 of the most common and readily available spider species, Pocket Guide to British Spiders is the ideal companion for both beginners and more experienced enthusiasts alike. Detailing identifying features, webs, egg cocoons and behaviour, these accounts are interspersed with beautifully illustrated spreads showing similarities and differences at a glance, making this introductory guide the perfect companion for use in the field.

Richard Lewington is a renowned wildlife illustrator, whose beautifully detailed drawings feature in a wide array of identification guides including The Butterflies of Britain and Ireland, Field Guide to the Moths of Great Britain and Ireland, and Field Guide to the Bees of Great Britain and Ireland. In 1999, he was awarded Butterfly Conservation’s Marsh Award for the promotion of Lepidoptera conservation, as well as the Zoological Society of London’s Stamford Raffles Award for contribution to zoology in 2010.

We recently had the opportunity to speak to Richard about his latest book, including how he first became an author, why he chose to focus on arachnids and which techniques he uses to create these stunning illustrations.

Firstly, can you tell us a little bit about yourself, and how you first became an author and illustrator?

I became a freelance wildlife illustrator soon after leaving art college in the 1970s. I’ve always had an interest in the natural world, particularly butterflies and moths, so invertebrates were the subjects I concentrated on right from the start. I’ve always worked in collaboration with various experts, until about 25 years ago, when I wrote and illustrated my first book How to Identify Butterflies. Since then, I’ve written and illustrated five books, though most of the books I work on are collaborations with authors with specialist knowledge of the subjects.

Pocket Guide to British Spiders is your 29th identification guide published since 1979. What inspired you to focus on arachnids for this book, and how did you choose which of the 680 British species to include?

I’ve had an interest in spiders for many years and have a collection of paintings, some of which I did about 50 years ago. I thought they would form the basis of a pocket guide, and I added more illustrations in the last few years to go with those I already had. The aim was to include common, well-known and easily identifiable species – about 130 in total. As many spiders are very small and similar to each other, it is necessary to examine them through a microscope to identify many of them, which is the next step up for those who want to study them in greater detail.

I was surprised to learn about the somewhat limited conservation efforts being undertaken to protect endangered spider species across Britain. What are the largest threats to spiders, and how can we protect these vital invertebrates in the future?

As with much of the natural world, spiders are under threat from habitat loss and pollution, but because they don’t have the same appeal as some other groups, they receive less attention. However, they are just as important, helping to keep the balance in ecological systems by eating and being eaten by a vast number of other creatures. Gardens are becoming more important, and we can all help spider well-being by not being too tidy in the garden to encourage a good variety of mini habitats in which they can live.

Pocket Guide to British Spiders includes a vast amount of detail on nomenclature, structure, anatomy, mythology, identifying features and more. What was the most interesting thing you learned while researching this book?

Probably their diversity. They vary hugely in size, shape and colouring, and can be found in every habitat from mountain tops to beneath the surface of water. Many also occur throughout the year when many other invertebrates are dormant.

Having illustrated many guides throughout your career, can you give us an overview of the techniques you use to create such detailed works of art, and explain how your painting style has evolved over time?

I start by doing a detailed, measured drawing on layout paper. This is transferred to watercolour paper and, using Designers’ Gouache paints, I apply washes, gradually building the colour intensity and the effect of light and shadow. Details such as textures and highlights are added to give a three-dimensional appearance. More recently, I’ve been scanning the artwork before sending it to the publishers, so that I can adjust, enhance and touch-up the images using a tablet and image enhancing software.

What were the most difficult aspects of illustrating spiders, given their intricate and often microscopic features?

Spiders can’t be preserved in museum collections like butterflies and beetles, as they have soft bodies which shrivel after death, so working from live specimens or from detailed photographs are the best options. This means going into the countryside to find specimens and asking other spider enthusiasts to help. I like to take my own macro photographs from the exact angle to avoid any distortion, I can then work using the photos and the live specimen, observing it under my microscope. It’s also necessary to have a good knowledge, so that the subjects can be correctly identified, as some are very similar.

Finally, what’s taking up your time at the moment? Are you planning to write or illustrate any more books over the coming years?

My next book will be a field guide to Orthoptera, which I completed several years ago but has been long delayed. After that I shall be working on a project about my work as a wildlife illustrator, concentrating mainly on British moths, butterflies and their caterpillars.

Pocket Guide to British Spiders is available from our online bookstore.

Tag: Invertebrates

UK Moth Recorders’ Meeting 2025

Author interview with Richard Lewington: Pocket Guide to British Spiders