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Read more..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 ("SS") interviewed on Wednesday, 9 July.
SS : My work as an artist and designer is deeply shaped by the years I spent working within architecture studios. That experience taught me how to think in layers—how structure, material, and intention come together to shape space and experience. It gave me a strong foundation in precision and process, but also a deep respect for the quiet details that often go unnoticed. When I illustrate now, especially in the botanical realm, I’m drawing not just from observation, but from that architectural way of seeing—understanding context, proportion, and how things relate to one another. It’s a practice of both care and building, and one that continues to evolve through each collaboration.
SS : I became a designer slowly—through a series of quiet recognitions rather than a single decision. Growing up, I was always drawn to observing the world around me, sketching small details, and noticing the way light would shift across surfaces or how plants responded to their surroundings. That curiosity led me to study both visual art and architectural design, where I found a language that combined imagination with structure. Working in architecture studios early in my career shaped the way I think—about space, material, and the importance of intention behind every choice. But alongside the technical training, there was always this desire to connect more deeply with nature, to slow down and observe. Botanical illustration became a way to do that—to blend the clarity of design thinking with the intimacy of close observation. I don’t think there was one person who pushed me toward design, but rather a continuous pull—an internal drive to understand, to notice, and to communicate care through the things we create. For me, becoming a designer wasn’t about arriving at a role, but learning how to see, and how to make that seeing meaningful for others.
SS : When I begin any project, my priorities are always rooted in observation, material sensitivity, and emotional resonance. I spend time closely observing—whether it’s a plant, a site, or a concept—studying not just how something looks, but how it lives in its context. I’m interested in the relationships between things: form, function, and feeling. That kind of deep noticing is the foundation of everything I make. Second, I care deeply about materials—how they’re sourced, what they communicate, and what histories they carry. Whether I’m working with handmade papers, botanical inks, or digital tools, I try to choose methods that reflect the values of the project. There’s a balance between hand and machine in my work; I often begin with ink sketches or field notes, then refine digitally to build depth and clarity. Lastly, I always consider how the design will make someone feel. I want the work to invite reflection, care, and connection—whether it's an illustration, a spatial narrative, or a printed piece. If the viewer pauses, feels something, or sees the world differently, even for a moment, then the design has done its work. At the center of it all is a quiet theme that runs through everything I do: to pay attention. That’s where it starts.
SS : Designing brings a mix of calm focus and excitement—almost like getting lost in a conversation with the work itself. There’s a certain ease that comes when I’m in the process, especially in the early phases of observations and sketching. That’s where I feel most connected—studying forms, exploring ideas, letting small details guide the direction. I find the journey most fulfilling. The act of slowly building something—shaping it through layers of thought, material, and care—is where the real satisfaction lies. There's a kind of joy in noticing the moment a design starts to speak back, when it begins to carry a feeling or idea beyond what I could have planned. Seeing a finished piece is meaningful, especially when it resonates with others. But what keeps me coming back to the work is the feeling of curiosity and exploration—of being reminded that design is a way of noticing the world more fully. That, to me, is the most rewarding part.
SS : Some of the most important aspects of my background that shaped me as a designer didn’t come directly from design at all. My early experiences working with botanists, for example, taught me patience and precision—how to slow down and really study a subject. That kind of scientific observation has stayed with me, grounding my visual work in a sense of care and accuracy. Similarly, my time working in architecture studios gave me a deep appreciation for process, material thinking, and the discipline required to bring an idea into form. Non-design skills like research, writing, and collaboration have been just as essential. Research allows me to understand context more deeply, writing helps me shape narrative and communicate ideas clearly, and collaboration opens me up to perspectives beyond my own. These skills make the work more layered and responsive—less about self-expression and more about shared meaning. If there’s a thread through it all, it’s the value of attention. The most influential figures in my life—whether mentors, artists, or peers—were people who knew how to look closely, ask better questions, and treat design as a form of stewardship. My journey has been shaped by working alongside those kinds of people—scientists, architects, craftspeople—who taught me that good design often begins with listening.
SS : I’m interested in growing in ways that feel intentional, thoughtful, and rooted in care: care for materials, for place, for process. I want to continue bridging disciplines—working at the intersection of botanical illustration, sustainability, and the built environment—while collaborating with architects, researchers, and communities to create work that’s both beautiful and responsible. In the future, I hope to develop more projects that explore regenerative design: using art and illustration to support ecological education, sustainable development, and public engagement. I’d love to contribute to larger spatial or cultural projects—working with museums, gardens, or community spaces to design site-specific installations or materials that encourage people to see their environment differently. My dream projects are the ones that create space—for reflection, learning, and care. Whether through a quiet drawing on seed paper or a larger collaboration with architects on sustainable materials, I want to design in ways that last—not just in time, but in feeling. I hope to be remembered as someone who helped people look more closely, and feel more connected, to the natural world.
SS : For designers just starting out, I’d say this: protect your curiosity, and don’t rush to define your path too quickly. The design world moves fast, but some of the most meaningful work takes time—time to notice, to listen, to understand the layers of what you’re creating. Stay open to learning from people outside your field—scientists, craftspeople, gardeners, builders—because good design doesn’t happen in a vacuum. One of the best pieces of advice I received early on was to stay close to the materials. That means understanding not just how something looks, but where it comes from, what it costs to make, and what happens when it’s no longer needed. That kind of care builds integrity into your work. It’s easy to feel pressure to be everywhere at once, especially in the digital world. But it’s just as important to take time to collect your own thoughts, to build a perspective that’s grounded and thoughtful. Read widely. Visit places. Keep notebooks. Find mentors. Most of all, allow yourself space to grow into your voice—not as a brand, but as a way of seeing and responding to the world with clarity and care.
SS : One of the most important practices is to listen deeply—not just to clients or collaborators, but to the context of the project itself: the site, the materials, the culture, and even the unspoken needs of the people who will live with your work. That kind of attentiveness shapes designs that feel honest and lasting. Avoid the trap of chasing trends or trying to please everyone. Instead, focus on clarity and intention. Ask yourself what story your design is telling, and if it holds up under scrutiny. A timeless design isn’t just about aesthetics—it’s about meaning and function working in harmony. Another key is collaboration. Surround yourself with people who challenge and expand your thinking. Different perspectives push your work beyond the obvious and open up new possibilities.
SS : Most of my days are spent in my studio, immersed in sketching and drawing, exploring finishes, textures, and materials with care and attention. Writing is also a big part of my process—to process new ideas and concepts and create a thoughtful archive I can return to later. I also love staying connected with my network of designers from studios around the world, keeping up with what’s happening globally. Being engaged with new shows, museums, and exhibitions constantly fuels my inspiration and keeps my work in conversation with the wider creative community.
SS : I keep an eye on design trends, but I never let them dictate my work. Trends can be useful, but lately I find myself more interested in developing work that feels authentic and connected to my own voice and values, rather than chasing what’s trending for the season. Inspiration comes from nature, history, and the subtle details I notice in everyday life—these are the elements that give my designs depth and staying power. Ultimately, I want my designs to transcend trends and invite people to connect on a more impactful, memorable level.
SS : Good design is thoughtful, emotionally resonant, and quietly invites you to return with new eyes each time.
SS : I know a design is ready when it feels like it naturally belongs—when it complements a space or project so seamlessly it’s as if it’s always lived there. It no longer feels like something I’ve made, but something that simply is, complete in its presence and purpose.
SS : One of the most meaningful projects I’ve worked on is a series of large-scale botanical illustrations commissioned by a hospitality group for their new hotel concept.. The work explored native plant species and how they respond to seasonal and environmental change—a theme that sits at the heart of everything I do. What made it special wasn’t just the visual outcome, but the way it brought together art, ecology, and place-making. It became part of the built environment, offering not just beauty but education and reflection. It challenged me to think about scale, narrative, and how illustration can live within architecture—not just on paper, but in public life.
SS : Isamu Noguchi has always stood out to me—not just for the elegance of his forms, but for how deeply he understood the relationship between object, space, and feeling. His work moved seamlessly between sculpture, design, and landscape, always grounded in a quiet sensitivity to material and place. If I could speak with any designer from the past, it would be him—not to ask about technique, but to listen to how he thought, how he noticed. His ability to make work that feels both timeless and human continues to influence how I approach my own practice.
SS : I travel often, exploring studios, architecture, and gardens that continually inspire and expand my creative perspective. I draw deeply from nature’s changing seasons and believe the best designs shape how we live, making even small choices meaningful and sustainable. I always carry my sketchbook and paints to capture ideas as they come, keeping my creativity grounded and alive. Working remotely and internationally, I’m always open to connecting with others who have ideas for new projects. Collaboration is at the heart of my practice, and I love partnering with people on exciting projects that advance sustainability, education, and art for change.
SS : My work centers around openness and collaboration. I know how great design grows from honest conversations and the exchange of ideas, so I prefer working with teams where everyone brings a unique perspective to a project. When choosing partners or collaborators, I look for people who are passionate, curious, and adaptable—those who care deeply about the process of design and are willing to explore new approaches. Clear communication and shared values are key because that’s how productive, creative relationships thrive. For me, it’s about shaping ideas thoughtfully while always keeping people and the environment in mind.
SS : I believe design is a form of care—and with that comes a responsibility to give back. Part of my work involves helping people and organizations meet their sustainability goals and deepen their engagement with the environment. This includes contributing botanical illustrations and documentation for herbaria and community gardens, projects that preserve plant knowledge and create meaningful connections between people and nature. I also support non-profits and sustainability-focused initiatives, and mentor emerging designers exploring nature-based or socially responsible work. Designers, artists, and architects have a unique opportunity to create systems and spaces that foster healing, inclusion, and awareness. When design moves beyond the studio and engages with communities, it becomes a powerful force for positive change. Helping others find their creative voice and align their work with sustainability is one of the most rewarding ways I contribute.
SS : Attending the A’ Design Award has been a truly positive experience—connecting with a global network of talented designers has broadened my perspective and deepened my understanding of great design. I’m looking forward to the collaborations that come from this connection. Design awards like this not only celebrate creativity but also open doors to growth, learning, and meaningful partnerships. Thank you for having me.
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