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In the third episode of this six-part Working Scientist podcast series about art and science, artists and illustrators describe examples where accuracy is key, but also ones where they can exert some artistic licence in science-based drawings, sculptures, music and installations.

For Lucy Smith, a botanical artist at London\u2019s Royal Botanic Gardens, Kew, measurement and accuracy is important, she says.

But accuracy can sometimes take a back seat for illustrator Glendon Mellow, who is also a senior marketing manager a life sciences learning and development company Red Nucleus, based in Toronto, Canada.

\u201cWhen I put wings on trilobites, I\u2019m not too concerned. It\u2019s not likely that anything I do is going to suddenly nudge opinions into someplace they shouldn\u2019t go on these fossils,\u201d he says.

But what if the science changes? You need 10 to 20 years to be able to look back on data to see whether something\u2019s accurate or not, says artist Luke Jerram, who describes a 2004 project to produce a glass models of the hepatitis C virus. \u201dYou ask the scientists if it actually look like that?\u201d And they say, 'Well, we don\u2019t really know.'\u201d

Sculptor and ceramicist Nadav Drukker outlines the challenges of capturing string theory in art, plus other concepts that form the basis of his theoretical physics research at King's College London.

Kelly Krause, creative director at Springer Nature, explains how the art displayed on a Nature front cover comes about, and how she and her team aim to strike the right balance between accuracy, creativity and clarity to draw readers in.

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