Iron Graphics, Illustration and Visual Communication Design · 2025
Field Notes Botanical Illustration
- A' Design Award 2025 Iron Winner in Graphics, Illustration and Visual Communication Design
- Awarded April 15, 2025
- CLIENT: Seraphina Sol
- Estimated Number of Design Views: 14,339
- Verification code 5596B41631 · Verify this award
About Field Notes Botanical Illustration
Field Notes is a conservation focused project that illustrates the often overlooked details of nature, highlighting native plants and moths from remote regions. Each specimen is carefully observed and documented under magnification, capturing everything from the veins of a leaf to the patterns of a moth's wings. Traditional scientific drawing methods are used to record the specimens, then digitally refined to enhance depth and clarity. Inspired by the precision of natural history museums, the project offers a close-up perspective of these specimens and their role in the environment.
Seraphina Sol's Field Notes Botanical Illustration represents a distinguished contribution to the enduring tradition of botanical documentation, a practice that extends from Renaissance herbals through Enlightenment natural philosophy to contemporary scientific and artistic inquiry, situating itself within a lineage that includes the meticulous plant studies of Leonhart Fuchs, the elegant watercolor plates of Pierre-Joseph Redouté, the systematic observations of nineteenth-century naturalists, and the biomorphic investigations of Ernst Haeckel, while demonstrating how traditional observational drawing techniques remain vital within contemporary visual communication, the work comprising fifteen individual plant specimens arranged in a precise grid that suggests both the organizational logic of taxonomic classification and the aesthetic consideration of visual rhythm and variety, each botanical study rendered with remarkable technical facility in monochromatic ink, employing parallel hatching to model form, contour lines of varying weight to define structure, and controlled mark-making that captures the distinctive morphological characteristics of each species including leaf arrangement, venation patterns, margin configurations, and reproductive structures, the compositional achievement lies in balancing scientific rigor with aesthetic sensibility, maintaining consistent technical approach across all fifteen studies while allowing each plant's unique formal character to emerge clearly, the restriction to black ink on white ground proves not a limitation but an enhancement, focusing attention entirely on line quality, tonal variation, and structural detail while evoking the economical elegance of historical botanical plates that served both documentary and educational purposes before the advent of color photography, the systematic grid organization establishes visual order and facilitates comparative observation, inviting viewers to discern relationships between specimens, to appreciate the astonishing diversity of plant architecture, and to recognize recurring structural principles across different species, thematically the work celebrates the intersection of scientific inquiry and artistic practice, honoring observation as a method of understanding, documentation as an act of preservation, and drawing as a technology of attention that requires sustained focus, patient examination, and translation of three-dimensional organic complexity into two-dimensional graphic notation, the work evokes the naturalist's field journal where specimens are carefully recorded during botanical expeditions, suggests the herbarium collection where pressed plants are mounted and catalogued for future study, and references the illustrated flora that made botanical knowledge accessible to broader audiences, each plant study demonstrating how close observation reveals intricate beauty in structures often overlooked in casual encounter, how methodical documentation serves both scientific and aesthetic purposes, and how traditional drawing techniques remain unsurpassed for capturing certain kinds of visual information, the work invites viewers to consider what is gained through slow, careful attention to particular specimens rather than generalized impressions of plant life, to appreciate the economy and precision of line-based representation, to recognize drawing as active investigation rather than passive recording, and to contemplate how systematic organization and consistent methodology can amplify rather than constrain visual expression, one might observe how the grid structure paradoxically creates both unity and diversity, how monochromatic rendering eliminates chromatic distraction while intensifying awareness of form and texture, how the neutral ground isolates each specimen as worthy of individual attention while the overall composition suggests ecological interconnection and taxonomic relationship, how the work functions simultaneously as scientific reference, aesthetic object, and meditation on the patient discipline required for careful observation, encouraging viewers to bring similar attention to the botanical world beyond the frame and to recognize the vital human practice of looking closely, naming accurately, and recording faithfully as both intellectual endeavor and contemplative act.
Press Kit
- Unique Properties
- Botanical illustration was once a crucial skill for documenting plant species, but it is becoming less common in today’s fast-paced, digital world. The collection of black line illustrations revisits the practice of careful observational drawing, making it relevant and accessible in both print and digital formats.
- Dimensions & Packaging
- 3600 x 3600 pixels, 300dpi, RGB.
- Tags
- Illustration, Botanical, Nature, Education, Exhibition, Art, Science, Conservation, Envrionmental.
- Production Technology
- Initial illustrations were rendered in ink, then refined digitally. The final illustrations were printed on handmade, 100 percent recycled cotton paper embedded with wildflower seeds. They have been showcased in various print and digital formats across museums, gardens, and exhibits.
- Design Challenge
- A key challenge was illustrating dried, pressed plant specimens from museums, as they lose texture and depth once preserved. Capturing their true form while maintaining accuracy required careful observation and creative interpretation.
- Project Duration
- Since 2020, the illustration project has been exhibited across Canada, following research at institutions, botanical gardens, and various museums.
- Operation Flow
- Designed to engage both academic and general audiences as educational guides, exhibition pieces, and visual assets for digital and printed media.
- Research
- The aim was to capture the beauty of moths and plants, blending detailed scientific illustration with a more artistic-design approach. The process involved field research, collecting specimens, and carefully studying their details before translating them into hand-drawn sketches, which were then refined digitally.
By showcasing these organisms through both a scientific and creative lens, the project encourages viewers to connect with the natural world, reflect on its beauty, and inspire its preservation. - Inspiration
- The often overlooked details in nature, such as the shape of a leaf or the texture of a stem, are brought into focus through these illustrations. With the aim to foster a deeper appreciation for the natural world, the project depicts the beauty and complexity of plant life. Inspired by herbaria and natural history museums, the project strives to document botanical specimens accurately and preserve a record for future studies. By combining traditional and digital techniques, the illustrations highlight the importance of these plants and encourage efforts to protect and preserve them.
- Image Credits
- Image #1: Seraphina Sol, 2025.
Image #2: Seraphina Sol, 2025.
Image #3: Seraphina Sol, 2025.
Image #4: Seraphina Sol, 2025.
Image #5: Seraphina Sol, 2025. - Patents
- Copyrights belong to Seraphina Sol, 2025. All rights reserved.
Colors of Field Notes Botanical Illustration
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Design Interview about Field Notes Botanical Illustration
The main principle behind my design work, especially in the Field Notes project, is rooted in deep observation and connection to the natural world. It’s about capturing the subtle details of plants, landscapes, and seasons—like a botanist’s careful study—translating those moments into visual stories that feel both intimate and universal. The inspiration comes from the quiet rhythms of nature and the way it shapes our surroundings, inviting a thoughtful dialogue between environment and design. Ultimately, it’s a practice of noticing—paying attention to what’s often overlooked—and honoring that through each line and texture.
I wanted to bring a sense of calm and awareness through natural elements—inviting quiet moments of reflection in busy spaces. More than just aesthetics, the goal was to inspire a deeper connection to nature that promotes sustainability and care, encouraging people to think about their impact and foster a more mindful relationship with the environment. My main focus in designing this work was to shift how people feel and truly notice the world around them.
My future plans for this award-winning design are to continue developing the botanical illustrations and integrate them more deeply into architecture and the built environment. Right now, I’m collaborating closely with architects and designers to bring these natural elements into their projects, creating spaces that feel alive and connected to the landscape. It’s exciting to see how these illustrations can transform environments and inspire a greater appreciation for nature within design.
The project began with visits to natural history museums and botanical gardens, where I immersed myself in the intricate details and stories of plants. From there, the work naturally expanded into the architectural realm, exploring how these botanical elements could be woven into built environments. It’s been a thoughtful progression, connecting nature’s history with contemporary design over the past five years.
This concept grew entirely from a place of knowledge, research, and inspiration—it wasn’t commissioned at first. Over time, it naturally evolved and expanded into commissioned work focused on public engagement and art, allowing these ideas to reach wider audiences and create meaningful experiences.
I hold all rights to my work, but I also take on commissions of similar scale and scope for other clients. Those commissioned pieces can be licensed or produced by partner companies, depending on the project. This approach allows me to maintain creative control while collaborating with others to bring the work into different spaces and contexts.
I’m always open to new projects and connections, working internationally across the design industry. Collaborating with architects, designers, and companies around the world keeps my practice dynamic and allows me to bring botanical illustration and sustainability into various contexts. It’s exciting to explore new ideas and contribute to projects that share a commitment to thoughtful design.
I’m always open to new projects and connections, working internationally across the design industry. Collaborating with architects, designers, and companies around the world keeps my practice dynamic and allows me to bring botanical illustration and sustainability into various contexts. It’s exciting to explore new ideas and contribute to projects that share a commitment to thoughtful design.
This work grew naturally from my love for the intricate details found in nature and a deep appreciation for how those details connect us to the world around us. I'm also inspired by the power of art to engage and add beauty, creating moments that encourage reflection and care. Combining detail, nature, and the transformative power of art was a driving force behind this project.
Absolutely. My work draws heavily from the rich traditions of botanical illustration and the careful study of natural history collections—especially the dried specimens found in herbaria. These archives offer a timeless dialogue between science and art. I’ve also been inspired by architects who thoughtfully integrate nature into their designs, creating spaces that honor both form and environment. These influences ground my work in a lineage of observation, precision, and respect for the natural world.
The target for this design is really about engaging communities—bringing art and nature into everyday spaces where people live, work, and gather. It’s meant to invite quiet reflection and a deeper connection with the environment, making sustainability and beauty part of daily life for everyone.
What sets this design apart is its thoughtful use of seed paper, which allows the artwork to come full circle—after being enjoyed as art, it can be planted and eventually return to the environment. This cycle of creation, appreciation, and regeneration makes the work not only visually engaging but also deeply connected to nature and sustainability, inviting a living, ongoing relationship between people and the spaces they inhabit.
The name came from the idea of “field notes”—the careful observations scientists make in nature, capturing details that often go unnoticed. It reflects my process of deep noticing and study, as well as the connection between art, science, and place. The name speaks to curiosity and mindfulness, inviting people to slow down and truly observe the world around them.
For this project, I began with hand-pressed plant specimens and detailed drawings created directly from life. These initial sketches were then digitized and refined using Adobe Illustrator on a drawing tablet. This workflow allows for precise control and flexibility, combining the accuracy of traditional botanical illustration with the efficiency and scalability of digital tools. The process ensures that the integrity of the original natural forms is maintained while adapting the work for application in various design contexts.
What sets this design apart is its seamless blend of art and ecology — using seed paper means the artwork isn’t just visual but also living. Over time, it returns to the earth, creating a cycle where design actively participates in regeneration. It’s a deliberate choice to move beyond static objects and invite a deeper connection between people and their environment.
This project was carried out as independent research, drawing extensively from botanical gardens and natural history museums. I referenced scientific collections to ensure accuracy and depth, but the process was largely self-directed rather than a formal collaboration with specialists. This approach allowed me to blend technical precision with personal interpretation.
Technology plays a supportive yet essential role in this design. While the foundation is rooted in hand-drawn illustrations and pressed botanical materials, digital illustration and adobe programs were used to refine and clarify the work. This balance allows for precision and scalability without losing the organic quality of the original drawings, and allows it to be produced in many formats for different contexts.
Yes, the design is deeply informed by careful research. I spent considerable time studying botanical collections, herbaria specimens, and natural history archives to understand the plants’ forms and contexts. This analytical approach ensured accuracy and authenticity, grounding the beauty of art in real scientific observation.
One of the biggest challenges was illustrating live plants and preserved specimens with precision—capturing not just their form, but the subtle details and essence that make each unique. It required a delicate balance between scientific accuracy and artistic interpretation to honor the original while still creating something visually compelling.
I’m fortunate to be surrounded by a thoughtful support system—fellow designers and creative professionals who constantly encourage me to share my work beyond where I live. Their belief in the value of what I create gave me the idea and desire to connect with a broader global audience.
Throughout the process of designing this work, I deepened my patience and attention to detail, especially when translating the subtle complexities of living plants into precise illustrations. It sharpened my ability to balance artistic creativity with scientific accuracy, and reinforced how research and creativity must work hand in hand. This project also strengthened my understanding of how design can support connections—to nature, to history, and to community—this makes the work feel more meaningful beyond just aesthetics.
I encourage others to engage with this practice of noticing nature, to instil a sense of calm, mindfulness, and deeper awareness. In a fast-paced world, taking the time to study and reflect on the natural world can bring balance both to our work and our lives.
Grand Interview about Field Notes Botanical Illustration
When I illustrate a plant, I’m studying its structure, but also its essence. By blending traditional hand drawing with digital tools, I’m able to bring out both scientific clarity and visual depth. This approach makes botanical specimens more accessible to researchers studying everything from climate change to invasive species and complex taxonomy. At the same time, it continues a long tradition of botanical illustration—a practice where art helps us look closer, appreciate details, and connect more deeply with the world. It’s about more than just documentation; it’s a way of truly paying attention.
Balancing scientific accuracy with artistic expression starts with respect for the plant and its history. Working from herbarium specimens, which can feel flat, I like to draw with ink, to capture precise details, then digital tools to add subtle depth and texture. This approach doesn’t just make the images visually engaging—it helps viewers connect emotionally while supporting research and education. The art invites curiosity; the science ensures clarity. Together, they keep botanical illustration alive and relevant, helping us see and protect the natural world with care.
Using handmade recycled cotton paper with embedded wildflower seeds and botanical ink felt like a way to honor the life cycle of the plants themselves. It’s not just about documenting these specimens—it’s about creating something that can give back to the earth. The paper preserves the plant’s history while holding the possibility for new growth through the embedded seeds. Through choosing materials that return to the soil, the design mirrors nature’s cycle of life and renewal. I wanted to bring sensitivity to the materials and encourage people to engage actively—with the illustration, the plant, and the environment—to turn viewing into an act of care and connection. This choice invites people to hold a piece of that cycle in their hands, to become part of a process that’s bigger than the image—one rooted in care, connection, and the future. The design intent is to inspire stewardship—encouraging viewers to plant seeds of change that extend far beyond the page and into the world around them.
Capturing the details of the botanical illustrations begins with patient, close observation. I spend time carefully examining specimens—fresh or preserved from gardens or herbarium collection. I then use magnification tools to understand the intricate structures, from leaf veins to moth wing patterns. Each drawing begins with detailed hand sketches, focusing on accuracy and proportion, to capture the plant’s form as precisely as possible. Then, I refine the work digitally, adding texture and subtle depth to bring those hidden details to life. This process transforms overlooked elements into a clear, meaningful story that connects viewers to the complexity of nature.
This project is a powerful invitation—to see and celebrate the vital role plants play in our world. Field Notes Botanical Illustration brings the quiet strength of biodiversity into focus, reminding us that every species is part of a larger, interconnected story. By making these delicate forms visible and tangible, the work inspires attention and respect. It calls on us to engage thoughtfully—not just as observers, but as committed stewards—planting seeds of awareness that grow into lasting care and renewal for our environment.
Pressed specimens are inherently flat, stripped of their original form and texture. My challenge is to rebuild that presence—studying the plant’s natural curves and structure through fresh references and detailed observation. I begin with precise ink drawings to capture form and detail, then use digital tools to add depth and clarity. This approach brings back a sense of volume and life while respecting the specimen’s scientific integrity. It’s a careful balance—restoring dimensionality without losing the authenticity of what’s preserved.
In a world that moves faster every day, detailed botanical illustration does more than just capture images—it sparks real conversation. It invites us to pause, to really look closely, and to reconnect with the plants that surround us—in gardens, natural history collections, or even right outside our doors. This kind of work brings science out of the lab and into the public eye, translating complex details into something clear and accessible. It breaks down barriers, making it possible for everyone—not just experts—to join the conversation about the natural world we all share.This isn’t just about showcasing plants; it’s about creating a space where curiosity grows, where people feel more connected to the natural world. The illustrations become a bridge between art and science, between observation and care. They remind us that understanding nature is a collective effort—one that calls for respect, attention, and action. Through this work, I hope to open doors and inspire a deeper relationship with the environment, one that fuels conversation, connection, and ultimately, change.
Since the exhibition began touring Canadian institutions in 2020, the audience response has offered a deeper understanding of how this work resonates. I’ve seen students, scientists, artists, and researchers engage with the illustrations in ways that spark conversation—about memory, place, and the plants that shape our environments. Many are surprised by how much information a drawing can hold, and how it invites closer looking. There’s something about seeing a plant rendered in such detail that invites people to pause, to ask questions, and to reflect on their own relationship with the natural world. Whether it’s a researcher recognizing a species or someone encountering it for the first time, that moment of connection matters.These interactions have reaffirmed for me the importance of accessibility—not just in how the work is displayed, but in how it can become a powerful tool for research and a point of connection. It’s shown me the importance of creating ways for research to engage more perspectives—it needs pathways to reach people, and that art can be a quiet but effective way to open those doors.
Traveling to different regions and experiencing their ecosystems firsthand showed me how plants exist within a larger network of life—how their behaviours respond to environment and time. As you I became more familiar with these rhythms—seeing wildflower petals open and close with the sun, or moth wings fluttering quietly—I realized how those small, living gestures disappear once pressed and dried. It reminded me that my job isn’t just to copy a shape, but to hold the full presence of the plant—to bring its life, its movement, and its connection to the environment into the work.This awareness transformed how I approach each illustration. It’s no longer about just form or detail, but about conveying the relationship between plant and place—the unseen dialogue between organism and environment. Every line, every shade becomes a way to honor that connection. The work asks viewers to look deeper, to understand plants as part of a larger story, a web of life that’s beautiful, dynamic, and alive. In this way, the illustrations become more than images—they become invitations to witness and care more deeply for the natural world.
Looking ahead, I’m really excited to push the boundaries between science and art even further. For me, it’s about blending traditional techniques with digital tools to capture not just what plants look like, but the energy and life they carry—their story within the ecosystem. I want to make those connections visible, so people can feel that deep relationship.I also want this work to live beyond museums and galleries—bringing it into more schools, community spaces, anywhere people gather—so it sparks curiosity and makes science feel personal and accessible. Art has this beautiful way of opening hearts, inviting everyone to be part of the conversation about protecting our planet.There’s so much opportunity for this project to promote healing, not just for the environment but for the people who interact with it. Art can create spaces where both nature and community are nurtured together. Ultimately, it’s about creating a bridge—connecting detailed observation with emotional experience—to inspire people to care for each other and the world around them.