We caught up with the brilliant and insightful Erin Ellis a few weeks ago and have shared our conversation below.

Erin, looking forward to hearing all of your stories today. When did you first know you wanted to pursue a creative/artistic path professionally?

Always! I think it would be accurate to say I’ve always known. I chose to pursue this path because at some point I saw that creativity expression is essential to my sense of purpose, fulfillment and joy. I feel fortunate to have this clarity; I know that a lot of people don’t. To commit to it professionally seemed like the best way to put my energy there, and that my work would be useful to others.

My parents told me recently that my preschool teacher told them she observed a creative gift in me, and that they should encourage me to explore it. They always have, even when they don’t understand, and I’m grateful for that.

That said, haven’t always known *how* to pursue a creative path professionally. My combination of skills is sort of niche, and it’s been hard to know where my work fits in. It can be frustrating, as can the lack of structure that freelance brings. Or I get overwhelmed by the weight of running my own business. I used to question my ability; some days I still do. But I think that comes with the territory; most creatives would say the same. I can notice those feelings and and know that every artist has them, and keep going anyway. When I feel like that, I make a call or see a friend rather than isolate with my thoughts and emotions. Humans are evolved to do this, even though we artists sometimes feel that we just need to “hunker down” and make our work.

There’s a lot of negative messaging out there for creatives: that art isn’t a career we can make a living from, or that what we make isn’t useful or important. It’s easy to believe that. But on the flip side, there are so many artists and designers that I admire, many of whom are friends, who are making it happen. I try to keep my focus there. I can’t bear the thought of being old or sick and feeling like I didn’t passionately pursue the things that feel meaningful to me. I won’t let myself down like that.

As always, we appreciate you sharing your insights and we’ve got a few more questions for you, but before we get to all of that can you take a minute to introduce yourself and give our readers some of your back background and context?

I call myself a designer and illustrator specializing in custom typography and natural science illustration. I make scientifically accurate, aesthetically nice drawings of plants and fully custom, hand lettered or handwritten typography.

For the natural science work, I help communicate science and scientific concepts to the general public. Focusing primarily on plants, I employ a mix of beauty and accuracy to make information approachable, appealing, and meaningful for the viewer. This could look like interpretive waysides or identification plaques in your local botanical garden or state park, botanical illustrations in a book about gardening, drawing trees for a travel guide or edible plants for an editorial story.

The typographic work is most often for branding projects. Clients come to me for help adding a custom or human touch to their brand identity. This is often an organic element, something hand drawn in an expressive way, or with texture. It could be the actual logo ie. a custom logotype, illustrated brand assets, handwritten titles or headlines for advertising or packaging, to name a few. I create visual assets that make up the brand, elements that bring personality and help communicate what this company is all about.

And then there is overlap between the two. Some examples: a series of drawings depicting drought-tolerant plants for a landscape architect client–I think he used the drawings around his website and got some cute embroidered hats made. Or a project I’m working on now for a local arboretum, where I’m doing the design and illustration for interpretive signage and map of some specific native trees around the garden. Another good example is a series of illustrations that are lightly stylized while remaining botanically accurate, for a coffee table type book about growing roses.

As far as my background and how I came to occupy this peculiar professional niche, the short answer would be personal interest, curiosity, and luck. I studied illustration in undergrad, spent my twenties San Francisco, connected with many nice folks, some of whom eventually hired me. I took calligraphy and lettering workshops, completed the Type@Cooper certificate program, and later the Science Illustration Certificate Program at Cal State Monterey Bay. But the most pivotal moments aren’t on my CV. A professor lent me the Atkinson Sign Painting book that opened my eyes to vintage printing and typography. I attended a retreat called Type Camp and made friends who took me under their wing. I traveled to New Zealand to visit friends, became enamored with the plants there, and began to draw them. While visiting a friend in Paris, I wandered into the special collections library at the Jardin des Plantes and realized I love doing research. When I returned home, jet lagged and up at 5am, it came to me that I’d heard about a program to learn about science illustration. Last year I graduated from that program and, thanks to connections I made there, interned with the Smithsonian (in Botany) and here I am. I’ve been extremely fortunate to have had opportunities to travel and access to higher learning. But most of the significant moments were born out of sincere connection with other humans and a lack of expectation and openness on my part. That can happen in any setting.

To choose a couple favorite projects:

Years back I worked with a team of friends on a project for the Jet Propulsion Laboratory in Pasadena. It was a labor of love to collect and make known the rich cultural history of the Lab. There is a ton of quirky folklore and endearing oddities around that campus that we felt deserved to be compiled and shared. We created an intricate map called The Mysteries and Curiosities of JPL, a series of posters, and a playful redesign of of their new employee welcome pack.

And then, as part of the internship phase of my science illustration coursework last year, I made a botanical dissection plate illustrating a newly discovered species of Oxalis. (When you look down and see a 4-leaf “clover”, lots of times that’s actually Oxalis!) This drawing aws recently published in a prestigious scientific journal, so it was used to describe three botanists’ research to other scientists and researchers. To me, that is truly art in the service of science.

What do you think is the goal or mission that drives your creative journey?

Yes, there are a few. One is to create beauty and meaning in a reflection of the world around me.

And to support our natural world through my work. I care deeply that our ecosystems are appreciated and valued. Science illustration serves as a bridge between scientists and the general public. It is the illustrator’s job to translate scientific concepts in a way that the general public can understand. I love this aspect of the work. I want the projects I work on to help evoke a sense of wonder and respect for nature, encourage environmental stewardship, and help folks ultimately vote in the way of conservation.

Have you heard the expression, “if you want to keep something, you have to give it away?” I’ve been super fortunate to study with some of the best in the industry; including folks who have noticed my work and helped me to hone my skills and find my place in the field. Passing that on to others is important to me, and it helps me learn as well. There are still limited opportunities for learning in the fields of science illustration and typography, and I want to make this little corner of art and design accessible and relatable for others who are interested. I do that through mentorship and teaching.

In your view, what can society to do to best support artists, creatives and a thriving creative ecosystem?

Well number one would be use your vote to support the Arts. And creating funding opportunities, like grants and fellowships.

Support with your dollars. Hire people you know or ask around. A lot of my work comes by way of referrals. Don’t default to Google or Amazon, or even Etsy. See if you can find someone local, or check the search filters on your platform of choice to look in your area or state. Try and buy direct from the artist at markets or on their website, because third party retailers take a big cut. Seek out a local freelancer over an agency. Build community.

But really I think it starts with understanding.

Artists feel misunderstood, but it’s not for lack of opportunity to be heard or seen. I get a lot of blank stares when I tell people what I do and I know I’m not alone. The other day, a new doctor asked what I do for work and responded with a quiet but polite “oh” when I mentioned I’m a science illustrator. I added that if she had questions about what that means I’d be happy to share more. We chatted, and now she has an idea of what science illustration is, and I learned that she grew up in the tiny seaside town where I currently do some contract work. Those small moments of connection can mean a lot.

Artists, work on your “elevator pitch”. Be kind. Help others understand your work. Practice on your friends or family. Put it in your notes app. Be clear on:
1. what your product(s) or services are
2. how your work is used and who it benefits
3. example of where in real life someone might encounter work like yours
4. what types of projects you typically work on

Find a way to make yourself and your work relatable. Start simple, communicating at a fifth grade level. If they inquire further, go deeper.

For folks on the other side of that conversation, if someone tells you they do a creative or artistic-sounding thing, and it sounds confusing to you, ask more questions. A simple “what does that mean?” is great! You can ask what they’re currently working on, or how to make money in that field. Or why they chose this, or what they love about this job. And work on describing your job or creative hobby in a fun way, too.

In my humble opinion, if we can help make creative careers and artistic endeavors better understood, the more likely non-artists will be to appreciate and support us and our work.

Contact Info:

• Website: https://www.erinellis.com/
• Instagram: @leavesandletterforms
• Linkedin: https://www.linkedin.com/in/erin-ellis-85652057/

Image Credits

Carson Ellis, Laura Forest, Ryan Chard Smith, Scott Boms