The authors, an artist, a mathematician and a biologist, describe their collaboration examining the potential of drawing to further the understanding of biological processes. As a case study, this article considers C.H. Waddington's powerful visual representation of the “epigenetic landscape,” whose purpose is to unify research in genetics, embryology and evolutionary biology. The authors explore the strengths and limitations of Waddington's landscape and attempt to transcend the latter through a collaborative series of exploratory images. Through careful description of this drawing process, the authors touch on its epistemological consequences for all participants.

ABSTRACT The literature on art and mathematics has focused largely on how geometric forms have influenced artists and on the use of computer visualization in mathematics. The authors consider a fundamental but undiscussed connection between mathematics and art: the role of drawing in mathematical research, both as a channel for creativity and intuition and as a language for communicating with other scientists. The authors argue that drawing, as a shared way of knowing, allows communication between mathematicians, artists and the wider public. They describe a collaboration based on drawing and “inverse vision” in which the differing logics of the artist and the mathematician are treated on equal terms.

ABSTRACT Drawing has long been the backbone of zoological taxonomy. Recently, however, morphological drawing has quietly fallen into a critical decline and is now an endangered practice. The author discusses the reasons for this decline and why morphological drawing is worth saving.