About Tina

Tina Fuller Somers is the illustrator behind the species featured in The Naturalist. She holds a master’s certification in science illustration from Cal State University Monterey Bay, and her work reflects a deep commitment to both scientific accuracy and the beauty of the natural world. Tina’s drawings are informed by a mix of careful field observation and thorough research, allowing her to represent species even when a visit to their natural habitat isn’t possible. She is fascinated by how animals move, adapt, and interact with their environment, and she works to capture these details in every illustration.

In addition to her own illustration work, Tina teaches in the Science Illustration Certificate Program at CSU Monterey Bay, a highly regarded 12–15 month program that combines traditional and digital media with fieldwork and professional practice.

Tina’s work is about seeing clearly — noticing behavior, movement, and unique traits — and using illustration to communicate the importance of protecting nature. Every drawing is part of a larger goal: helping people understand and care for the living world around them.

How the Illustrations Come Together

Tina’s process begins with observation, either in the field or through detailed study of scientific resources. She records notes on posture, behavior, and habitat, and then refines her work using photographs, field guides, and expert knowledge. The result is an illustration that does more than depict appearance — it communicates something essential about how the species lives and thrives.

Q&A with Tina Fuller Somers

We asked Tina a few questions about her background, what she looks for in the field, and what it means to observe closely.

How did you get started with illustration?

Art was always a favorite subject, but in 7th grade, my science teacher, Mr. Keedy, introduced us to science illustration. I loved the idea of combining art and science, using drawing to learn, teach, and communicate concepts. As an Art major at UC Santa Barbara’s College of Creative Studies, I even audited biology classes just to draw what was being taught. After graduation, I earned my master’s certification in science illustration and began my dream career. I also now teach at Cal State Monterey Bay’s Science Illustration Certification Program.

What does a good field day look like for you?

Any day spent sketching in the field is a good day. It is even better if an interesting animal appears, the weather cooperates, the snacks are sufficient, and the pen ink flows smoothly. The sketch itself does not have to be perfect. What matters is observing, learning, and soaking in the experience. Later, these notes inform more intentional, polished illustrations.

How do you decide what details matter most when drawing a species?

At first, everything matters. If I already know something about a species, I might focus on key details, like the blue-footed booby’s dance. But especially with a new species, every observation can reveal something important. Body markings that attract mates, color variations that denote gender, or behaviors that protect against predators all matter. I try to capture as much as possible so I don’t miss anything that might deepen understanding.

What tools or materials do you always bring with you into the field?

I like to travel light. I usually bring a sketchbook, a pencil or two, a small watercolor kit with a waterbrush, and an ink pen. A pencil sharpener, eraser, and sometimes a foldable camp stool help too, especially if the ground is muddy or rocky. Comfort helps me get the most out of a session.

What’s the biggest challenge when trying to capture a species accurately?

Fast-moving animals are tough because they require patience and careful observation. It is also important to remember that one individual does not represent the whole species. Observing multiple animals and doing thorough research ensures my illustrations are broadly accurate, not just based on a single sighting.

Is there a moment in the field you’ll never forget?

There are so many. Unexpected animal encounters stick out: an endangered Hawaiian monk seal appearing near a nesting albatross, a condor soaring overhead at Machu Picchu, or a curious llama in Colombia. Other times, the quiet moments in beautiful landscapes are unforgettable. Sketching in Big Basin after the CZU fires, seeing blackened forests alongside bright green regrowth and returning wildlife, was a moving reminder of resilience and hope.

What advice would you give someone who wants to start sketching from life?

Just start! Don’t worry about producing a masterpiece. Field sketching is about observing, being present, and learning, not the final product. Slow down, really look at your subject, and ask yourself what you would need to record if you didn’t have a camera. Like any skill, it gets easier and more rewarding the more you practice.