Guild of Natural Science Illustrators (GNSI) | Science Illustration & Visual SciComm

Over the past few years, through my wildlife art and cartooning practice I have initiated and worked to develop strong relationships with the faculty, students and administration of the Borderlands Research Institute at Sul Ross State University, along with other regional conservation groups in Texas' Big Bend. By approaching these relationships as a partner with an enthusiasm for learning rather than a vendor in search of their budgets, and by keeping a constant focus on bringing value and furthering their goals and interests, I have been able to pitch successful interpretive projects and events that have both benefited my art sales and helped my partners meet their outreach goals.

The Sand Creek Regional Greenway in Denver, CO, has undergone decades of ecological restoration and public art activation. Once confined within airport tunnels, the creek has been daylighted and reimagined as a vibrant public trail. For its 25th anniversary, Nature Notes: Sand Creek, a new community mural, was commissioned to celebrate this transformation and the Greenway’s commitment to environmental education.

This mural applies scientific illustration at a larger-than-life, interactive scale through a series of field notebooks, each focused on an ecological theme. Community observations of native flora and fauna, gathered through public input, shape the content. Species are depicted from loose “pencil” line drawings to full-color renderings, alongside tools of observation and handwritten notes in English and Spanish (the notes are actually painted with a color called “Pencil Point!”).

We’ll explore this project from concept to execution, demonstrating how scientific accuracy, accessibility, and participation can coexist in large-scale public art.

Catie Michel is a science illustrator, public artist, and devoted naturalist based in Denver, CO. Having worked for NOAA and the Golden Gate Bird Alliance, her background in field research and science communication grounds her creative work in attention and inquiry. Finding great community in shared curiosity, Catie examines themes of connection, access, advocacy, and the intersection of science and art.

She has created public murals across Colorado and collaborates with organizations like The Nature Conservancy, NSF, the Royal Society for the Protection of Birds, and State Parks.

She is currently a Fireline Fellow at OSU, researching wildfire, through artistic and scientific inquiry, and teaches science illustration for the Denver Botanic Gardens and ASBA. Recent shows include the Roger Tory Peterson Institute (NY), GNSI (MA), RMCAD (CO), Creature Conserve (PA), and the Brinton Museum (WY). She is a bird banding volunteer for the Bird Conservancy of the Rockies/Denver Audubon.

The presentation is about my art PhD project "Art as a way to popularize science: the potential of drawing in talking about the biodiversity crisis". Its aim is to identify effective ways to use drawing to disseminate knowledge about the biodiversity crisis, in order to raise public awareness and to promote environmentally conscious behavior.

In researching the ways in which art communicates environmental issues, including natural science illustration, I identified a gap that the artwork of my doctoral project aims to fill. This gap is the popularization of science through art beyond scientific, artistic, or educational institutions, in order to reach people who are not already interested in science, art, or nature. Based on academic literature on human behavior and conservation marketing, I developed a set of guidelines for making the final artwork, and I designed illustrated products to reach tourists in Liguria, Italy.

I am a naturalist illustrator from Poland, currently living in Italy. Through my work, I aim to help popularize natural science, and I share my appreciation and respect for the natural world. I am particularly interested in the small-scale details of plants and small organisms that often go unnoticed. I work using traditional techniques, including pen and ink and colored pencil.

In recent years I have been working on my PhD thesis "Art as a way to popularize science: the potential of drawing in talking about the biodiversity crisis" at Nicolaus Copernicus University in Toruń, Poland. As part of this project I have illustrated rare, protected and endangered species in Liguria (Italy) along with the local landscape.

Beata Mierzwa studies how human cells divide and shares the beauty of science through art, fashion, and interactive media. After having worked on cytokinetic abscission during her PhD, Dr. Mierzwa’s current research at the University of California San Diego focuses on understanding mechanisms of cell division and the p53 pathway to improve cancer therapy.

Beyond her academic career, Dr. Mierzwa explores different approaches to visual science communication. Her hand-drawn illustrations use metaphor to portray scientific concepts in intuitive ways, while her microscopy fashion celebrates the beauty of the molecular world. She also created a science video game, Microscopya, that invites players to explore the beauty inside our cells.

Through her AAAS IF/THEN Ambassadorship for science outreach and her work with Young Women in Bio – Southern California, she aims to inspire creative students to pursue careers in STEM. For more information, please visit www.beatascienceart.com or follow @beatascienceart on social media.

Creativity is an integral part of both science and art, and combining them creates unique ways to communicate scientific information inside and outside the scientific community.

Alongside my research on cell division, I explore approaches to visual science communication with hand-drawn illustrations, science fashion, and interactive media. My work conveys complex biological concepts using visual metaphor, abstract imagery, and real scientific data to make visuals engaging across various levels of expertise. This form of visualization provides a powerful tool to facilitate communication between researchers from diverse fields, promote creativity in scientific research, as well as spark fascination in our next generation.

In this talk, I will share my experiences in using metaphors to communicate complex ideas in intuitive ways, highlight the impact of artistic practices on my own research and communication, and explore ideas to initiate a broader conversation on the use of visual metaphor in research and science communication.

The "Color Philippine Natural History by Number" is a 2-volume educational coloring book launched by the National Museum of the Philippines in early 2024 as a free PDF and print publication. It features illustrations of unique Philippine flora, fauna, and prehistoric species from terrestrial and marine ecosystems. The series promotes biodiversity awareness through interactive artistic engagement.

This study reports findings from a survey of the National Museum of the Philippines and its regional component museums outside Metro Manila, assessing the integration of coloring books/sheets into educational programs, exhibitions, and outreach activities. Results evaluate their practical use, effectiveness, and impact on public engagement with Philippine natural heritage, providing insights to guide the development of future NMP educational resources.

Aissa Domingo is an artist at the Zoology Division of the National Museum of the Philippines (NMP). Dedicated to merging art and science, she creates precise illustrations and photographs of Philippine flora, fauna, and fossils. Her works have been published in local and international scientific journals and exhibited across the Philippines and Southeast Asia.

In 2024, she held her debut solo exhibition, Secret Garden, at ANIMA Art Space in Quezon City, featuring botanical illustrations and blind contour drawings that celebrate Philippine flora while exploring nature documentation and the transience of memory—drawn from her field hikes and observations.

Aissa leads workshops on scientific illustration and botanical art, and is a key artist for the NMP’s popular Color Philippine Natural History by Number books. A cum laude BFA Painting graduate from the University of Santo Tomas, her interdisciplinary practice inspires a deeper appreciation for Philippine biodiversity through meticulous observation and artistic vision.

A Woodstock, New York native, Zoe Keller's creative upbringing in the rural Catskills shaped her future as an artist and amateur naturalist. After graduating from the Maryland Institute College of Art, Keller made homes and studios in Minneapolis, Philadelphia, on the rocky Maine coast, in West Michigan's farm country and Eastern Oregon's Wallowa Mountains before finally returning to her hometown. Using graphite and digital media, she creates meticulously rendered visual narratives. Placing a special focus on at-risk species and wildlands, Keller weaves drawings that explore the interconnectedness of fragile, vanishing ecosystems. Over the past decade, Keller has illustrated newspaper and magazine articles and book covers for clients including The New York Times, The Nature Conservancy, Penguin Randomhouse UK and Texas Monthly. She is currently working on her first children’s book with Storey Publishing.

Jennifer Fairman brings more than three decades of experience in science education, business policy, and research in visual biocommunications. She specializes in patient education, journal and editorial illustration, 2D animation, web development, and small business practices. Her work has been widely published in top peer-reviewed and professional publications, and has collaborated extensively on NIH‑ and NSF‑funded research and Nobel‑related work.

Jeni holds a BS in Biological Sciences and a BA in Studio Art from the University of Maryland. She earned her MA in Medical and Biological Illustration from the Johns Hopkins University School of Medicine. She is a Vesalius Trust Research Grant recipient and was named the Trust’s 1999 Inez Demonet Scholar. She also holds an MPS in the Business of Art and Design from the Maryland Institute College of Art (MICA), receiving the Ratcliffe Foundation’s top grant in MICA’s UP/Start Venture Competition.

Her experience includes serving as a scientific illustrator and research associate at the Smithsonian’s National Museum of Natural History, specializing in systematic entomology, and interning at Hurd Studios, an animation pioneer for patient education and biotech/pharma. She later worked as a staff medical illustrator at Lahey Clinic before launching her own art studio. Jeni has served the Association of Medical Illustrators as Chair of the Mentorship Committee and as a member of the Board of Governors. A Fellow of the organization, she has received numerous salon awards, and is a two-time recipient of the AMI’s Outstanding Service Award. She currently serves as President of AMI. Outside AAM, Jeni plays jazz trumpet and is an accomplished metalsmith.

I am SayoStudio's founder, leading our design studio that communicates complex science and technology with art and animation. We work with climate, cleantech, and environmental organizations, as well as life science and deep tech companies, who are eager to visually share their passion for innovation and discovery. Our work helps organizations secure funding, close critical commercial agreements, and earn press recognition by making their science impossible to ignore. To fully support science-driven organizations, we offer graphic design services including brand development, web and pitch deck design. Based in Bellevue, WA, I have a fantastic team across the United States and Europe.

Zoe Keller, Jeni Fairman & Nicolle Fuller

Freelancing and self-employment offer many incentives: a self-determined schedule, more creative freedom. But how does one actually find their footing as a self-employed artist?

This becomes an increasingly complicated question in today's world. How can new artists break into the market or pivot from regular employment? How does one find a niche? What tools or tricks exist that newly self-employed artists might not be aware of yet? How does one juggle responsibilities such as family or other jobs? How can artists make room for themselves in a culture that encourages hustle and burnout? Are market trends changing, and what's required to find new work today?

This panel will feature three illustrators who have found success in different corners of the field. We look forward to hearing their perspectives on what it means to be self-employed in 2026.

This 90-minute panel will consist of brief introductions from each illustrator, followed by moderated discussion and an open Q&A. Registered attendees will have the opportunity to submit questions in advance or during the live discussion.

Paleontology (and dinosaurs particularly) has played a fundamental role in both the history of animal locomotion studies, as well as the history of film and animation.

Many are familiar with the roles that Eadweard Muybridge played in these histories, but the depth is far greater than just that. Further, the anatomical rules known to scientists and scientific illustrators are critically important to those working in the entertainment industry, particulary to those in animation and its many new subdisciplines as computer animation has complemented tradition hand-drawn animation. This extends logically to visual effects artists as well. A recognition of the mutually beneficial tools of anatomy and creative entertainment provide powerful strategies for science, art, and educational outreach for both disciplines, and the discipline of their integration.

Stuart Sumida is the current president of the Society of Vertebrate Paleontology and an expert on the animals that completed the transition from water to land, approximately 300 million years ago. Additionally, he has been an anatomical and scientific consultant for nearly 100 animated and visual effect-heavy films, ranging from “The Lion King” (the 1994 version) to the most recent Zootopia 2, the How to Train Your Dragon trilogy, Life of Pi, Ratatouille, and many others. He has also worked with video game companies such as Blizzard, Guerilla, and Valve, and on theme park rides in both Disneyland and Walt Disney World.

I’m an author, typographer, programmer, and lawyer. Like millions of other authors, artists, and programmers, my work was copied for the training datasets of commercial generative-AI systems without consent, credit, or compensation. In response, I reactivated my law license and invented the first set of cases in the US challenging the legality of generative AI. I now serve as co-counsel, representing fellow authors, artists, and programmers against numerous AI companies, including OpenAI, Midjourney, Meta, NVIDIA, Google, and Apple. I have a visual-studies degree from Harvard University and a law degree from UCLA.

James Silverberg, Esq., is the CEO of the American Society for Collective Rights Licensing (ASCRL), the largest visual material trade organization in the United States. His work with ASCRL includes collective management administration, copyright and artificial intelligence matters, and frequent presentations at international conferences for IFRRO and CISAC, as well as for Congress, and interfaces with the US Copyright Office. He comes to this position after 40 years of litigation experience advocating for copyright owners throughout the United States.

Matthew Butterick and James Silverberg

AI is the elephant in every room right now, and artists have found themselves in a particularly sensitive and rapidly changing position. All artists, whether they have integrated generative AI or resist it, will be affected by its ethical and legal questions. What do artists do with this new world? What rights do they have (or not have) when dealing with AI? Where should one be looking for information? What sorts of legal or technological changes could be on the horizon?

This panel will feature two lawyers who are each working in different ways on behalf of artists. We will hear their perspectives on the latest in AI news and what they think artists and other creatives need to know.

This 60-minute panel will consist of brief introductions from each speaker, followed by moderated discussion and an open Q&A. Registered attendees will have the opportunity to submit questions in advance or during the live discussion.

Visual SciComm Conference

Presentations

Connecting with the Research Community as an Artist: A Practical Case Study

Field Notes at Full Scale: A New Community Mural

Principled Design: An Ethics of Data Graphics

Art as a Way to Popularize Science: The Potential of Drawing in Talking About the Biodiversity Crisis

Communicating Science Through Visual Metaphor

Color Philippine Natural History by Number Survey Findings on Impact and Future Directions in National Museum of the Philippines Biodiversity Outreach

PANEL: Self-Employment in Today's Market

The Power of Science + Art and the Importance of Anatomy and Paleontology to Animation and Its History

Panel: Artists' Rights in the Face of AI

Beyond the Poster: Designing for the Built Environment

Learning in the Field: Collaborative Outdoor Science Illustration with the Georgia DNR

Illustrating Wingspan

The Art of Time Travel

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