- Elizabeth Morales, Marla Coppolino, Carla DeMello, Lucy Gagliardo, and Annie Zygarowicz
GNSI 2021 Special Projects Award: Joel Floyd
Presented by GNSI President Kalliopi Monoyios at the All-Member Open Board Meeting on August 4th, 2021
There are few instructional books that are dedicated to the use of traditional pen and ink materials in natural history illustration. Those interested in developing those skills now have a new reference thanks to GNSI member, Sarah Morrish, who has written Natural History Illustration in Pen and Ink. The beautifully illustrated book provides instruction for both the beginner and the experienced illustrator who is looking for inspiration or new ways to combine media. Morrish is an illustrator for Curtis’s Botanical Magazine and has produced work for the Natural History Museum in London.
- Anthony James Gustafson
Our ancient ancestors told stories of great prehistoric beasts in the form of drawings on the walls of caves. These animals played a significant role in their daily lives, and they clearly felt their stories were worth telling. And whether they realized it or not, the stories themselves would long outlive those who wrote them. So, in effect, they’ve been able to tell those stories to us thousands of years later.
When considering my circuitous career path toward botanical and nature art over the past 40 years, I clearly see that—apart from quantum leaps, serendipities, and sheer determination along the way, the seed was well and truly planted during my time living in the Galápagos Islands. Witnessing first-hand the extraordinary forms, colors, and sizes that the flora and fauna evolved into—ensuring survival on these inhospitable islands 600 miles off the coast of Ecuador—engraved on my soul a powerful respect and awe for them. My view of the world we live in and our humble place as human beings was changed forever. Growing up, I was always “arty” and influenced by my father and grandmother, spending creative summers painting or building projects and tasting raw nature in rural Vermont. I went on to pursue Fine Art and a stint of Graphic Art before making my way to London for my semester abroad. I felt I had come home in England’s green and pleasant land. After nearly three years, my visa expired and I never finished at the university... but I knew I would return...somehow.
< The endemic mangrove finch (Camarhynchus heliobates) and red mangrove (Rhizophora mangle) on the Galapagos Islands.
Written by Donald B. Sayner and Gladys Bennett Menhennet. Edited by Lana Koepke Johnson and Jeanette R. O’Hare, foreword by Paul Mirocha.
— Reviewed by Joel Floyd
- Reviewed by Camille Werther
GNSI Past President, Dr. Dick Rauh, has written an invaluable reference book for those who love flowers, those who teach scientific and botanical illustration, and artists who want to deepen their knowledge of how plants work. The author is both an artist and a scientist, having earned a PhD in Plant Sciences at CUNY, and brings his knowledge of both disciplines to the format of the book.
My parents were always very supportive of everything I wanted to do, always encouraging my interests in art and science. Mom would often buy drawing paper and pencils for me; Dad built a great drawing table board that I still use. When I was a little kid, I would often make drawings of different types of animals and staple the sheets together to make simple books. I would create a book about spiders and one about snakes and so on. I never guessed that I would be doing the same type of work as a career.
(Left: In my studio working on a new drawing)
Artist Michael Holland discusses the materials, techniques, and knowledge he uses at the intersection of art and science to create skeletal reconstructions of dinosaurs. Images of various processes are shown, and he presents work in progress - a famous and iconic Smithsonian dinosaur that has been on display for over a century - as you’ve never seen him (or her) before! 
Dearest GNSI Members,
As we navigate through a season that in North America includes the winter solstice and day with the shortest span of daylight in our calendar year, I am in a reflective mood. Since accepting the honor of serving as President of the Guild this summer, I have enjoyed the challenges and rewards inherent in collaborating with the diverse and rich leadership and expertise that all of you bring to this organization. My every meeting and correspondence has deepened my respect for each of you and broadened my hope for what we are and what we can become.
The Guild of Natural Science Illustrators has three awards with which it can recognize the dedication and long-time efforts of its members. These are:
The Distinguished Service Award (DS): Established in 1994, this award is given to long-term dedicated workers, those who have put in countless hours and have usually served both on the Board and have coordinated conferences or portions of conferences. The award is given after several years of ongoing service on the part of the member.
On September 18th GNSI members and a Smithsonian botanist participated in a panel discussion on the critical role of art used in the pursuit of science. The participants were (GNSI members) Sally Bensusen, Alice Tangerini, Britt Griswold, Diana Marques, along with (botanist) Kenneth Wurdack.
In conjunction with the GNSI 50th anniversary exhibit “Visualize: Art Revealing Science” that was on display at the American Association for the Advancement of Science (AAAS) gallery, it was a well-attended event that gave all the panelists an opportunity to talk about their careers and about visual science communication at large. It was streamed on Facebook live and the video can be accessed here.
Maeve Doyle, of the Association of Medical Illustrators (AMI), has written a good article about the process of reconstruction of an invertebrate at the Burgess Shale and the importance of art and the artist in science.
> Artistic reconstruction of Habelia optata by Joanna Liang.
Longtime GNSI member Alice Tangerini is featured in the July issue of the Smithsonian Magazine.
Alice Tangerini’s botanical illustrations all begin the same way: with a seemingly simple line drawing, in which she explores a plant’s features—leaves, seed, stem, perhaps a flower or two. Next, she uses a microscope to investigate her specimen’s tiny hairs and veins, recreating their likeness in delicate lines with the pressure-sensitive pen of an architect or engineer drafter. Tangerini has adopted the tools and the vision of both the artist and scientist for her work, which is, as she describes it, “art in the service of science".
My artist origin story takes a form I think is fairly common for scientific illustrators. I grew up in Seattle with parents who didn’t study science, and knew little about art, but encouraged my interest in both. In our household, you could maintain a concentrated area of chaos in some corner by saying “don’t touch that, I’m in the middle of a project,” and my brothers and I usually each had several projects going at any given time, ranging from painting to rebuilding machines bought from the thrift store.
My family loved nature, and we enjoyed camping, hiking and outdoor sports. Travel was also a priority, and a few times during childhood we were pulled out of school for months at a time for “sabbaticals,” which profoundly impacted my goals for adult life.
I’ve always been inquisitive and fascinated by nature. I would spend many hours drawing as a child but, despite my interest in nature, I never thought to draw it. Instead, I spent my time reading and drawing Marvel Comics superheroes. Being the son of immigrant parents, I was encouraged to pursue a career that was stable and with a steady income; they didn’t want their son to become a struggling artist. So I set my sights on science with the hopes of going to medical school.
In my senior year in high school, my biology teacher noticed that I used drawings to record my observations in labs and mentioned that some people made a living from illustrating scientific concepts. Looking back now I’m shocked that I didn’t even consider a career in scientific illustration. I guess I thought since this vocation involved art, it would be a hard sell to my parents. So I put it out of my mind.
Visit the Database of Science Illustrators 1450-1950, active since 2011, to find information about over 10400 illustrators active in natural history, medicine, and technology, in more than 100 countries, between 1450 and 1950.
“Study nature, love nature, stay close to nature. It will never fail you.”
~Frank Lloyd Wright
Like so many artists and so many more scientific illustrators, I have spent my lifetime wondrously inspired by the natural world. The path to my current career in illustration has been somewhat roundabout, and due to a lack of formal training in the sciences, I will likely always suffer from a little impostor syndrome when labeled a scientific illustrator. Nonetheless, nature has been a consistent guide throughout my life and work, and I have found a remarkably broad audience for my particular style. I am grateful daily for my role as an image maker and storyteller of natural histories.
I was educated to be an illustrator in the old school tradition, and even though the professors did not come to class wearing academic robes and require us to rise to attention when they entered the room, I am certain they all entertained such fantasies. It was rigorous training, long before computers, but even though digital and electronic advances have greatly impacted the printing process and added new dimensions to illustration, much of what was taught remains relevant. For example, the development of a preliminary drawing is still the first step in creating a scientifically accurate illustration. They may be called working drawings, sketches, final sketches, or preliminary drawings but throughout the literature, they are always identified as the start of the illustration.
In addition to working as a professional illustrator, I also teach drawing classes but the students are not, as we were back at the university, a captive audience agreeing to be there for a lengthy period of time, pay a lot of money, and eventually work in the field. My classes are part of educational outreach programs and the participants do not have either the time for rigorous training or the inclination to become professional illustrators. They are there to learn about nature drawing as a means of enjoyment.
