We, as the Designer Interviews ("DI") had the distinct pleasure and opportunity to interview award-winning, most creative and innovative Seraphina Sol ("SS").
Seraphina Sol is an international artist and director whose work bridges the fields of art, science, and design. With an eye for detail, she creates scientific illustrations that bring the delicate beauty of the natural world into a strong focus. Her work draws inspiration from the precision of natural history museum collections, and blends traditional drawing techniques with modern digital methods to capture the essence of flora and fauna, and other often-overlooked elements of nature. Her illustrations have been featured across various media, from educational materials to international publications, exhibitions, and campaigns where they inspire a deeper understanding of nature and encourage its preservation. Seraphina Sol is currently based in Toronto, Ontario, Canada, and works worldwide.
Seraphina Sol Designs
We are pleased to share with you original and innovative design work by Seraphina Sol.
Seraphina Sol Design - Field Notes Botanical Illustration
Designer Interview of Seraphina Sol:
DI: Could you please tell us more about your art and design background? What made you become an artist/designer? Have you always wanted to be a designer?
SS : My background in art and design has always been grounded in close observation and a deep appreciation for the natural world. I initially studied fine arts and scientific illustration, which gave me a foundation in both traditional techniques and research-driven image-making. Over time, I expanded my practice by working with architecture firms—an experience that taught me how design shapes space, experience, and systems of meaning. It also helped me develop a sensitivity to materials, scale, and how visual communication functions in both practical and poetic ways. I didn’t always know I would become an artist or designer in this specific sense. What drew me in was the desire to connect disciplines—to create work that doesn’t just convey information, but fosters understanding. In both architecture and botanical illustration, there’s a shared emphasis on structure, clarity, and storytelling. That crossover continues to shape how I work: blending precision with emotion, scientific accuracy with aesthetic care. Ultimately, I see my path as one shaped by attention. Whether drawing a pressed plant or developing a visual narrative for a design project, I’ve always been most compelled by the question: how can we learn to see more deeply? That question still guides everything I do.
DI: Can you tell us more about your company / design studio?
SS : My studio practice is rooted in thoughtful design, art, ecology, and research. It was founded on the belief that design can be a powerful tool for attention, care, and environmental connection. We specialize in detailed, research-based visual storytelling—particularly through botanical illustration—but our work spans a range of formats, from print and exhibition design to educational materials and public art. At the heart of it all is a commitment to translating scientific knowledge into emotionally resonant, visually engaging experiences. The studio began organically, growing out of my background in fine arts, scientific illustration, and years working with architecture firms. That cross-disciplinary experience shaped the way I approach projects—blending clarity and structure with sensitivity and nuance. Architecture taught me how materials carry meaning, how scale affects perception, and how every design decision—no matter how small—is ultimately about shaping how people interact with their surroundings. Those lessons have become essential to the way the studio now works. One of our most recognized projects is Field Notes Botanical Illustration, a multi-year body of work that documents native and at-risk plant species through a blend of traditional drawing and digital refinement. This series has been exhibited in museums, universities, and public institutions across Canada, and it continues to evolve as both an art project and a platform for environmental education. The studio's practice extends beyond illustration alone—we develop our own materials, such as handmade recycled paper embedded with native wildflower seeds, to reinforce the ecological values embedded in the work. Collaboration is central to the studio’s ethos. We often work with scientists, conservationists, educators, and cultural institutions to create work that is not only visually compelling but also deeply informed. Whether it’s designing a publication for a botanical garden or developing interpretive graphics for a public installation, we aim to create experiences that are grounded in both accuracy and emotion—helping people connect more deeply with the living world. Sustainability and material ethics are also foundational. Whenever possible, we use eco-conscious materials—natural inks, post-consumer waste paper, biodegradable substrates—and always consider the life cycle of what we create. We see each design as part of a larger system, one that ideally gives back more than it takes. Ultimately, the studio’s goal is to inspire stewardship—through beauty, through knowledge, and through design that encourages care. We want people to not only learn something new from our work, but to feel something: a spark of curiosity, a moment of recognition, a renewed sense of connection. In a world that often moves too fast, our studio creates space to pause, to look closely, and to rediscover the wonder of the natural world. Whether through a finely detailed leaf vein or the careful design of a printed page, our work is an invitation—to see, to feel, and to protect what matters.
DI: What is "design" for you?
SS : Design, for me, is a practice of deep observation and connection—an intentional way of shaping how we see, feel, and relate to the world around us. It’s not only solving problems, but also how we create meaning through form, material, and experience. At its best, design invites care, curiosity, and a deeper relationship with both people and place. I envision a future where beautiful design builds stronger connections, and where thoughtful innovation supports life by inspiring us to care for each other and the environment.
DI: What kinds of works do you like designing most?
SS : I’m most drawn to designing work that emerges from collaboration—projects where different perspectives come together to create something richer than any one voice alone. I especially love working on botanical and nature-based pieces that take me outside of my everyday rhythms and ask me to slow down, observe closely, and notice the often-overlooked details of the living world. These kinds of projects challenge and ground me—they’re as much about connection and care as they are about aesthetics or function.
DI: What is your most favorite design, could you please tell more about it?
SS : My favorite design is nature itself—it is the original and most enduring form of design. In every seed pod, branch, or wing, there’s a quiet intelligence, a sense of balance and purpose that feels both effortless and profound. The role of the artist is to respond to what already exists—to observe, to learn, and to reveal the beauty that’s often overlooked. Nature doesn't ask to be improved—only seen more clearly.
DI: What was the first thing you designed for a company?
SS : The first project I designed for a company was a series of botanical illustrations and prints inspired by the seasons. I created these visuals to support their branding across packaging, marketing materials, and stationery. Combining hand-drawn detail with digital techniques, the work aimed to capture the beauty of nature’s cycles while bringing warmth and personality to the company’s visual identity.
DI: What is your favorite material / platform / technology?
SS : I am most drawn to traditional botanical inks for their richness and the way they allow me to capture fine, expressive details by hand. At the same time, I embrace digital tools that allow me to deepen textures and add subtle layers, enhancing the illustration without overshadowing its original character. This blend of ink and technology lets me explore traditional drawing techniques while exploring new possibilities.
DI: When do you feel the most creative?
SS : I feel most creative after traveling—when I return carrying impressions, memories, and subtle marks left by new places. Travel breaks the familiar rhythm and opens me up to seeing details I might otherwise overlook: the way light shifts on surfaces, the quiet textures of a landscape, and sunrise from a new horizon.
DI: Which aspects of a design do you focus more during designing?
SS : When designing, I focus deeply on observation and intention—making sure every detail serves a purpose and speaks to the story behind the work. I pay close attention to structure and clarity, ensuring the design communicates its message accurately while remaining visually engaging and beautiful. Equally important is the emotional resonance—the ability of the design to invite curiosity, connection, and care beyond just its surface appearance.
DI: What kind of emotions do you feel when you design?
SS : When I design, there’s a blend of calm and curiosity—a feeling of ease that invites me to explore without boundaries. It’s a space where precision meets playfulness, where each stroke or detail uncovers something new. That balance between thoughtful control and creative freedom keeps the process fresh, alive, and deeply rewarding.
DI: What kind of emotions do you feel when your designs are realized?
SS : When my designs come to life, I feel a deep sense of fulfillment and excitement. There’s something extremely rewarding about seeing ideas move beyond the page, becoming tangible and being able to share that with others. It’s also a moment of connection—knowing the work can inspire curiosity, spark conversation, or foster care in ways I hadn’t fully imagined.
DI: What makes a design successful?
SS : A design feels successful when it truly connects—when people react, whether through curiosity, emotion, or new understanding. Success isn’t just about aesthetics or function; it’s about creating a moment that invites engagement and sparks a response. When a design moves someone to pause, reflect, or see something differently, that’s when it has truly succeeded.
DI: When judging a design as good or bad, which aspects do you consider first?
SS : With any design, I first consider the emotional reaction it evokes—does it invite connection, curiosity, or care? This emotional impact reflects the thoughtfulness behind how the design engages the viewer, encouraging them to pause, reflect, and fully experience the work. A successful design creates a meaningful experience that lingers and leaves a lasting impression. When a design invites repeated returns, offering fresh inspiration each time, it fulfills its purpose deeply.
DI: From your point of view, what are the responsibilities of a designer for society and environment?
SS : From my perspective, a designer’s responsibilities extend beyond aesthetics and function to include care for both society and the environment. Designers have the power to shape how people interact with the world, so it’s vital to create work that respects cultural contexts, promotes inclusivity, and encourages thoughtful engagement. Environmentally, designers should prioritize sustainable materials and processes that minimize harm, fostering a deeper connection between people and nature. Design holds the power to inspire stewardship and to open meaningful pathways for caring for both the planet and its people.
DI: How do you think the "design field" is evolving? What is the future of design?
SS : The design field is evolving toward greater connection and collaboration, breaking down traditional boundaries to embrace multidisciplinary approaches. It’s becoming a space where diverse perspectives and ideas are not just welcomed but essential—where design at its best is about listening, learning, and responding to complex, real-world challenges. The future of design lies in its ability to create empathy, bridge gaps between disciplines, and innovate solutions that are inclusive, thoughtful, and deeply connected to both people and the environment.
DI: When was your last exhibition and where was it? And when do you want to hold your next exhibition?
SS : My last exhibition was held in Canada, where I had the opportunity to engage with a diverse audience and share the work deeply connected to local ecosystems. For my next exhibition, I’m excited to expand abroad—and bring the project to new places and communities to foster broader conversations about nature, art, and conservation on an international scale.
DI: Where does the design inspiration for your works come from? How do you feed your creativity? What are your sources of inspirations?
SS : My design inspiration comes primarily from the natural world—its forms, rhythms, and intricate details that invite close observation and reflection. I feed my creativity by spending time away from home, exploring different landscapes, and immersing myself in the subtle textures and patterns that might otherwise go unnoticed. Beyond nature, I draw inspiration from art, history, and the stories embedded in places. I am always looking to connect ideas across disciplines and uncover new ways to see and express the world around me.
DI: How would you describe your design style? What made you explore more this style and what are the main characteristics of your style? What's your approach to design?
SS : My design style is rooted in careful observation and a balance between precision and poetic expression. It blends traditional techniques—like detailed hand drawing—with digital refinement to create work that feels both grounded and alive. What led me to this style was a desire to honor the complexity of natural forms while making them accessible and engaging, inviting viewers to slow down and connect deeply. The main characteristics of my style include clarity, texture, and a thoughtful layering of details that reveal new insights on closer look. My approach to design centers on respect—respect for the subject, for the viewer, and for the broader context—always aiming to create work that is both informative and emotionally resonant.
DI: Where do you live? Do you feel the cultural heritage of your country affects your designs? What are the pros and cons during designing as a result of living in your country?
SS : I live in Canada, where experiencing the full cycle of four distinct seasons—each with its own colors, textures, and rhythms—deepens my botanical inspiration and encourages me to capture the subtle changes and resilience of plants throughout the year. While the harsh winters can be challenging, limiting time spent outdoors, they also invite deeper reflection and artistic experimentation, offering space to explore new techniques and perspectives until the landscape begins to bloom again. One of the advantages of living here is the friendly, open spirit of collaboration—there’s a genuine willingness to meet people different from oneself and to work together across disciplines. This approachability creates a supportive environment where ideas can grow and evolve.
DI: How do you work with companies?
SS : I work with companies both locally and internationally, often remotely, in ways that are flexible, collaborative, and grounded in shared values. My botanical illustrations help bring a sense of care, clarity, and connection to their projects—whether it's for packaging, product design, interiors, or storytelling. Alongside the artwork, I offer guidance rooted in sustainability, helping teams think more deeply about materials, environmental impact, and how to align their work with sustainability goals in a thoughtful, meaningful way. What I bring is not just an image, but a way of seeing—supporting projects that want to communicate with intention, care for the natural world, and create lasting, responsible design.
DI: What are your suggestions to companies for working with a designer? How can companies select a good designer?
SS : Some of the most important things for companies is to look for are shared values and a clear alignment of goals. The strongest collaborations for me have been built on mutual respect, openness, and a willingness to listen and exchange ideas. I pay attention to how a designer thinks, communicates, and approaches problem-solving. A good designer doesn’t just execute a brief, but they ask the right questions, challenge conventions, and help shape the project with genuine care and insight. The best partnerships happen when there’s trust and a shared commitment to creating something meaningful, thoughtful, and lasting.
DI: Can you talk a little about your design process?
SS : My process always starts with slowing down and really paying attention. I spend a lot of time observing—whether I’m walking through a garden, visiting a natural site, or studying specimens in a herbarium. I’m drawn to the smallest details: the texture of a leaf, the curve of a stem, the way a plant leans toward light. It’s in noticing these quiet things that a bigger picture starts to emerge—how a plant fits into its landscape, its history, its relationships with other species. That kind of study helps me understand not just what I’m looking at, but why it matters. From there, I sketch by hand in ink to get the structure and feel of the plant, then bring the work into a digital space where I add depth and texture. It’s a process that blends observation, research, and care—so the final piece holds both accuracy and a sense of presence.
DI: What are 5 of your favorite design items at home?
SS : My top design items at home include my drawing tablet, a collection of inks, handmade seed papers, vintage botanical prints, and a fountain pen that adds a timeless touch to my creative process.
DI: Can you describe a day in your life?
SS : A typical day for me blends is a blend between creative focus with collaboration. I start by sourcing inspiration—whether through nature walks, visiting gardens, or exploring new materials—and then dive into writing, sketching, and digital drawings. Most of my time is spent working alongside other artists, design studios, and architects, to support their projects that help achieve their sustainability and community engagement goals. Balancing independent work with these collaborative moments allows me to bring both fresh perspectives and thoughtful expertise to every project.
DI: Could you please share some pearls of wisdom for young designers? What are your suggestions to young, up and coming designers?
SS : As a young designer, I’d say: stay curious and patient. Design is as much about seeing and understanding as it is about making. Notice the smallest details and the stories they hold. In this digital age, take moments to write, sketch, and gather your own thoughts—these quiet practices shape a vision that’s truly your own.
DI: From your perspective, what would you say are some positives and negatives of being a designer?
SS : Being a designer means balancing creativity with responsibility. On the positive side, there’s a lot of joy that comes with bringing ideas to life and the privilege of shaping how people experience the world—whether through objects, spaces, or stories. It is a career that invites continuous learning and connection across disciplines. On the other hand, the work can sometimes be unpredictable and the need to adapt to different perspectives. It can also demand patience, as progress often unfolds slowly and requires ongoing study. Still, these challenges offer opportunities to grow and deepen your understanding of both the craft and yourself.
DI: What is your "golden rule" in design?
SS : My golden rule in design is to create more than I consume—and to leave things better than they were found. My goal is to contribute original ideas while improving the world around me, making design a force for positive change and lasting impact.
DI: What skills are most important for a designer?
SS : The most important skills for a designer go beyond just creativity—it’s about having a clear vision and the focus to see it through. Being organized, communicating effectively, and building trust with clients and collaborators all come together to turn ideas into something real. It’s this combination of clarity, connection, and follow-through that really makes design work.
DI: Which tools do you use during design? What is inside your toolbox? Such as software, application, hardware, books, sources of inspiration etc.?
SS : I work with a blend of digital and traditional design methods to bring ideas to life. Adobe Photoshop, Illustrator, and InDesign help me layer details and refine compositions, while my drawing tablet bridges hand and screen—offering precision with a human element. Much of my process begins with fountain pen and ink on paper, capturing the subtle imperfections and spontaneous energy that only hand drawing can offer. There’s something deeply comforting about surrounding myself with the history plants hold—vintage botanical guides, herbarium specimens, and illustrations. These carry stories of the natural world across time and provide a grounding force behind my work, creating a quiet dialogue with the past. Museums and gardens are my favourite places of reflection and inspiration, and remind me that design is more than creation, and problem-solving, but and has the ability to inspire and give back deep sense of gratitude for the world around us.
DI: Designing can sometimes be a really time consuming task, how do you manage your time?
SS : Design can definitely demand a lot of time and focus, so managing it comes down to balance and intention. I set clear priorities and break projects into manageable time blocks and deadlines, which helps keep the work steady. I also make space for breaks and moments away from the screen—whether it’s a walk outside or time spent observing nature—which recharges my creativity and keeps me grounded throughout the process.
DI: How long does it take to design an object from beginning to end?
SS : Designing an object can take anywhere from a few focused minutes to several years—it really depends on the complexity and purpose and no two projects are the same. Sometimes inspiration comes quickly, and a concept comes together almost instantly. Other times, the process involves deep research, conversations, multiple revisions, and layers of refinement that unfold slowly over time. Every project has its own rhythm, and part of the craft is learning to be patient and open to the needs of the project.
DI: What is the most frequently asked question to you, as a designer?
SS : The question I hear most often is, “How did you start?” For me, it’s less about a single moment and more about following the gentle call of curiosity, shaped by the quiet courage of those who simply began before me. Like a slow unfolding, design is a continuous journey—a conversation with time, place, and self—where each step has revealed something new to me, and invited me to keep moving forward with openness and patience.
DI: What was your most important job experience?
SS : One of the most important experiences in my career was the opportunity to study closely with both botanists and leading architects. Working alongside botanists truly deepened my understanding and appreciation of the natural world—how plants grow, adapt, and interact within their environments. This knowledge shaped my approach to design, teaching me to observe with patience and respect for nature’s subtle complexities. At the same time, training under prominent architects gave me a rigorous grounding in process, precision, and structure. I learned how careful planning and attention to detail turn ideas into something tangible and functional. My background has given me a blend of scientific study and technical discipline which I've found to be essential—it reminds me that my creative concepts are not just visually compelling but also practical and purposeful. Combined, these experiences have shaped how I approach design as both an art and skill, balancing inspiration with technical knowledge to create work that feels both thoughtful and grounded.
DI: Who are some of your clients?
SS : I’ve worked extensively with clients in the built environment—real estate developers, architecture firms, interior designers, and urban planners. These collaborations often focus on integrating botanical illustrations and sustainable design principles into residential, commercial, and public projects. I also collaborate with museums and cultural centres, helping to create narratives and visuals that connect visitors with nature and history. Beyond spaces, I work with clients in product design and packaging, bringing the same thoughtful, nature-inspired approach to materials and storytelling across different platforms.
DI: What type of design work do you enjoy the most and why?
SS : I’m most drawn to design work that invites collaboration and pushes me beyond my everyday perspective. Projects that involve botanical themes are especially rewarding because they connect me to nature’s quiet complexity and invite a slower, more thoughtful way of seeing. I enjoy work that encourages me to notice details often overlooked, whether it’s in a plant’s form or the interplay of light and texture. These moments of discovery keep the process fresh and inspire designs that feel alive and meaningful.
DI: What are your future plans? What is next for you?
SS : I’m focused on deepening my knowledge of sustainability and material exploration, seeking out new ways to create with intention and respect for the environment. Moving forward, I'm excited to continue collaborating across disciplines—with architects, other designers, educators, and innovators—to bring thoughtful, conscious design into spaces, products, and experiences. Ultimately, my goal is to keep pushing the boundaries of what design can do, blending beauty with purpose to inspire deeper connections between people and the natural world.
DI: Do you work as a team, or do you develop your designs yourself?
SS : I usually begin with a clear vision for the project, but I believe great design is rarely a solo effort. When a project calls for it, I bring in talented specialists and collaborators to help shape and refine the work. It’s about guiding the creative process while trusting the expertise of others, knowing that the best results come from a thoughtful balance between personal vision and collective skill.
DI: Do you have any works-in-progress being designed that you would like to talk about?
SS : Right now, I’m developing a series of paintings and illustrations specifically for interior designers, designed to complement and enrich built environments. These works explore themes of sustainability, wellness, and our relationship with nature, aiming to bring a subtle, thoughtful presence into spaces people visit daily. It’s a project that blends art with purpose, and I’m collaborating closely with design teams to make sure these pieces resonate both visually and conceptually within their settings.
DI: How can people contact you?
SS : People can reach me through my website, seraphinasol.com, or on Instagram @seraphinasol. I’m always open to messages and conversations—whether it’s about a new project, collaboration, or simply to connect over shared ideas. The best way is to send a message directly, and I’ll get back to you as soon as I can.
DI: Any other things you would like to cover that have not been covered in these questions?
SS : One thing I’d like to highlight is how much I value the physical, tactile side of design, even in a digital age. While much of my work happens on screens, I’m a strong advocate for hand-drawn sketches and materials that you can touch and feel. There’s a kind of quiet reflection and connection that comes from working with your hands—whether it’s ink on paper or studying plants in person—that digital tools alone can’t replace. This balance between deep noticing, care, and technology is central to how I approach each design and the creative process.