Born in Poland, raised in Germany, and currently steering her own company in Sweden, Daria Chrobok found her passion at the convergence of science and art. During our conversation, Daria’s love for plants and illustration shone through.
What’s behind your unflagging love for plant physiology?
I love nature and I am a very outdoorsy person. Green is my favorite color. It all fits together: I studied general biology for both my bachelors as well as masters and was drawn toward plant physiology over animal physiology.
I think plant research is underrated and I believe it is very important to focus on plants. If we don’t have food, if we eradicate everything, we won’t have enough oxygen to breathe. I wanted to find my own way and never liked the herd mentality. Although I questioned myself frequently, I was always strongly drawn toward working with plants, one way or another. I think it is very important to listen to yourself and what you truly want to do in life.
Can you tell us about how you entered the world of scientific illustrations? How did you transition from the lab to DCSciArt?
I always had an interest in arts, be it drawing or painting. Also, I’m more of a service-oriented person; I wanted to share things and help others.
During my PhD I did a lot of illustrations not just for myself, but for friends and colleagues, too. When I faced the biggest crisis during my PhD, when I questioned what I wanted to do, I realized that I loved to sit and illustrate all day long. Illustrating was an antidote during my trying times.
To be honest, my journey started unexpectedly. During my PhD, a colleague approached me with an opportunity to illustrate a fantasy book she was writing for her niece. I had never done anything like that. I happily agreed and bought myself a graphic tablet to work on. After we finished the project, because we shared love for plants, we started a plant comics series. Seeing this succeed, another colleague approached me with an idea to publish the comic in a poster format to help with public outreach. We did it, and my network kept expanding. Then, another colleague came to me with an opportunity to write a grant to promote plant science. I applied for it, wrote a mini project, and started making comics for Physiologia Plantarum, a Nordic scientific journal. All these things led me in the direction of illustration.
Concurrently, I was contemplating on combining two of my favorite things: science and art. I felt that doing scientific illustrations would fit my personality the best, leading me to unequivocally take that leap of faith. So, I decided to hop on and start DCSciArt, my very own company. And, here I am!
I was of the opinion that holding a part-time position in the beginning stages of starting my company would be a good idea. So, during my first year, I worked part-time at Physiologia Plantarum, while DCSciArt was slowly striding toward building its customer base. As I started getting more customers, in my second year, Physiolgia Plantarum partially became my customers and I have been helping them with their social media and creative tasks.
How would you describe your workflow?
It really depends on my customer.
Typically, it starts off with a conversation where customers explain the concept and I ask questions to understand it better. Some customers give me sketches or scribbles or articles to read, and others get very specific, down to nitty gritty details such as color scheme. I work at it from my end and deliver the first version of the sketch. We work together to refine this, and I fine-tune it until they are happy.
In my current project, I am illustrating for a book chapter on the phytohormone Auxin and the different strategies that can be taken towards investigating Auxin biology. The focus is on systems biology and synthetic biology, how they complement each other, and where they can be incorporated better into research. At first this seemed very abstract and challenging to illustrate as the authors also had an open mind about its potential look. Eventually, I had to find out what they had visualised in their minds, understand this and match it to their expectations as much as possible. A lot of back and forth conversations and significant brainstorming sessions were needed. In the end it worked out and I find it immensely gratifying when I manage to break down something really complicated into a simple yet beautiful illustration.
Often, before moving to digital, I sketch on paper with a pen. I taught myself the software; I use Adobe Illustrator, Photoshop and Procreate. Based on my customer’s requirements, I pick vector- or pixel-based programs. Illustrations could be comics, in which case it doesn’t have to be strictly scientific to match publication standards. It could also be content for a webpage or brochure.
Can you share some information about a favorite project of yours?
Out-of-the-box projects are my favorites. These customers give me the freedom to choose the way I illustrate. Through Florian Hahn, a colleague of mine, there was one such project I got involved in last year. I was invited to join an organization about agriculture called Progressive Agrarwende, a German dialogue platform that facilitates progressive ways to change agriculture. As a part of this, we made a CRISPR-based advent calendar last December. Each day, in the form of a comic, information on a well-researched genetically modified plant was disseminated on social media. We came up with 24 such drawings of all kinds of genetically modified plants. I depicted the science that was happening, drew plants with funny expressions, and threw in a lot of Christmas decorations to spur the festive season.
The resulting publicity expanded my reach to people with broader illustration needs. I thoroughly enjoyed working on it. I have also done some illustrations for popular science articles published by Progressive Agrarwende, about alternative protein sources, particularly insect-based products.
Who are your clients and how would you classify them?
I started off from my base with the network that I had, which is plant physiology. Although a predominant portion of my work revolves around plants, I am very open to illustrating other themes as well. If it is anything scientific, it could be methods, mechanisms or pathways. Sometimes it could even be logos; it doesn’t have to essentially deal with science only.
I do scientific illustrations for researchers, life science companies, educational platforms, publications, grants, presentations, journals, books, magazines, etc. When something science-y and artsy needs to be combined, I can do that. My customers can be anybody, literally; from a university, a company, a publishing house, or anybody managing a social media platform. It could even be a school teacher who wants some nice slides. It’s an endless box of potential clients.
The only restriction is that people need to be able to finance my services. I need to make a living from it as well.
Are scientific illustrations used heavily in Europe? How wide-ranging is your customer base?
From a career standpoint, scientific illustrators are not very well-known in Europe. However, scientists have started realizing that hiring professional illustrators is becoming a necessity. I am sure there will be more education and awareness in the future. I am based in Sweden, so the majority of my clients are from here. I have worked with clients from Germany and the United States, too.
Last year, when I designed the advent calendar for Progressive Agrarwende, to make its reach international and widely accessible it was translated into 10 different languages. Stemming from this project, I was contacted by customers from the Netherlands and Czech Republic. The work I do at DCSciArt is not constrained by geographical boundaries and customers are welcome from across the globe.
What would you say to someone considering scientific illustration as a career?
I think there is definitely no one way to do it. In my case, I did a PhD and then got into it. Someone can also hold a degree in arts and jump in. But not having the scientific background may pose a challenge. I have not done any formal education in scientific illustrations, but I can still do it. Online and distance learning courses can improve knowledge and skills. A colleague of mine took a natural science illustrations course offered at the Zurich University of Arts. There is no streamlined career path, one can jump in from different sides.
If you enjoy illustrating, keep doing more of it. When you are off work, in your free time during your PhD, find ways to practice the software and hone your illustrative skills. You have to transfer the knowledge you have through drawing something in a digital program. In my case, it has been a process of constant learning by consistently doing more of it—practice, practice and practice, loads of it!
I would suggest starting from your network and working your way around by taking up opportunities that let you explore and expand your scope, so that people will get to know about you through your work. Starting from a book illustration to clinching a grant, talking to people and telling them why I liked doing what I was doing, I built a strong network along the way. Sometimes we just have to dare, do things, not be afraid and simply try it out! You never know what is in store. One opportunity may lead to another and set the stage for new beginnings.
You can reach out to Daria here: https://www.linkedin.com/in/daria-chrobok-she-her-279124bb/
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Why did you leave academia?
Our interviewees describe their frustrations.
“I was on about my fourth temporary contract in academia, getting a bit frustrated. I would just get started with projects and then have to move on to the next job.”
—Dan Metcalf, microscopy sales manager
“After becoming a mother, I was thinking, ‘Do I really want to go back to research?’ And with two scientists at home—my husband is a researcher—I thought, it’s not possible.
—Gloria Fuentes, medical illustrator
“I realized that academic research wasn’t for me while trudging through days of failed experiments…I wanted to work on something that impacted society in my lifetime.
—Bani K. Suri, entrepreneur
“I realized I became a postdoc because it was the ‘default’ choice, rather than something I really wanted to do.”
—Anjana Narayanan, consultant and product manager
“We were doing non-applied science, basic research, and I had reached the point where I was like, ‘Why am I doing all of this?’ I decided to go to a company because I needed to have meaning in the work I’m doing.”
—Carla Pratt, organic farmer
On taking the leap…
Preparing, and then no turning back.
“When a recruiter approached me about selling Nikon products and training Nikon customers in superresolution microscopy, it seemed like a natural step.”
“I stumbled onto an opportunity to be part of a talent incubator. I learned a great deal about startups, thought processes, customer relations, doing market analysis and other ‘real-world’ skills.”
“I tried to learn as much as possible about management consulting. I read articles about top consulting firms, connected to consultants on LinkedIn, did informational chats, and signed up to a consulting newsletter.”
…and landing on your feet.
What skills did you need in your new position?
“Presentation skills are important in the medical liaison industry. Communication really underpins everything we do.”
—Sheri Hussain, medical liaison
“You need to know and communicate the science in order to put all these things into a visual that makes sense for the project. I find illustrating trickier than writing sometimes.”
“Being my own boss, I have to be strict enough to keep my own schedule and make sure I do all the work. ”
In a startup, you work long, intense hours on your own work while putting other processes in place at the same time—you roll up your sleeves and do what needs to be done! You learn a lot and wear many hats.”
The best part of your new career…
It’s still about science, many told us.
“Meeting with clinicians and talking to them is probably my favorite bit.”
“I really enjoy keeping up with the latest research. Even when I was on maternity leave, instead of watching Netflix I was reading scientific papers. Today, I’ve been burying myself in papers related to Covid-19 just like any other researcher.”
“When I was a consultant, I loved working on different cases, understanding business scenarios and problem solving.”
…and the worst.
Paperwork, managing people, and oh, the emails!
“Meeting tender deadlines is the most stressful. Filling out tender documents can be several days of work…You can miss a £300,000 sale by missing a tender deadline by just an hour.”
“The least favorite is probably admin. That’s something I work on; I try to make sure I make time for my admin first up.”
“Continuous human interaction, which is often lacking in a lab setup, is a major part of startup life that can sometimes overwhelm people from academia.”
“After two years as a consultant I realized that consulting is more than a job, it is a lifestyle. Constant travel and living out of a suitcase was hard.”
Advice for those who want to leave academia?
Words of warning and encouragement.
“As a scientist, you have many transferable skills that are highly valuable. The key is to make sure you showcase them in the right light.”
“For creative people, I think the field of medical illustration is here to stay—especially animation. Five years ago, you wouldn’t think someone working from home could do it. Now, you invest in a GPS card and you can make it.”
“My advice for biologists venturing into entrepreneurship is to carefully consider the type of incubator you wish to join and thoroughly assess their capability to support your specific ideas and startup style.”
“Employers are less interested in knowing which labs you worked in and for how long. Focus on things you have done and skills you have picked up at each stage of your professional journey.”
—Tony Cabrejos, recruiter
“It’s only as difficult as you make it in your head.”
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After more than twenty years as a researcher, says Gloria Fuentes, her brain was wired for science. But when her life’s circumstances changed, she found a new profession where her knowledge of how the human body works and her passion to create could combine.
When did you start illustrating?
After becoming a mother, I was thinking, “Do I really want to go back to research?” And with two scientists at home—my husband is a researcher—I thought, it’s not possible. We had been moving from job to job and country to country quite often.
At first I thought I might edit scientific text, but it didn’t really click. And so I went to a course about illustrating science, and I thought, ‘This is great!’ Because I can keep reading science, getting inside the topics I like, and then translate this knowledge into illustration and animation.
I hadn’t thought of myself as an artist, but I don’t think in the world of scientific illustration every visual has to be a piece of art. You need to know and communicate the science in order to put all these things into a visual that makes sense for the project. I find it trickier than writing sometimes.
Which course on medical illustration did you do?
It was a workshop called “A Day of Art in Science,” organized by Sci-Illustrate. It didn’t cover much material, but it was a turning point: I realized I could do this work. I think these courses are good for revealing new career paths: you don’t have to leave science if you don’t want to do research anymore.
You’re able to keep up with the latest research?
Yes, I really enjoy it. I never give up. Even when I was on maternity leave, instead of watching Netflix I was reading scientific papers. Today, I’ve been burying myself in papers related to Covid-19 just like any other researcher. If you are drawing viruses and the cells they invade, you need to check the research papers to extract the information.
Which programs do you use to make your illustrations?
Most of the time it’s Photoshop and Illustrator. But I’m learning 3-D modeling and animation, too. I use a program from Autodesk called Maya, which is expensive, but you can have it for free if you use it for educational purposes.
Scientifically, one of the best people doing these educational animated videos is Janet Iwasa, an assistant professor of biochemistry at the University of Utah who also studied animation software in Hollywood. She’s using these techniques that you use, for example, for moving the fingers of an animated character, and she applies them to proteins and cells.
Do firms hire illustrators full-time, or do they mostly hire freelancers?
Mostly freelancers. When it comes to scientific illustration, Singapore lags behind the United States and Europe. There, when you submit a paper or a grant, all these visuals are made professionally by illustrators. Here, it’s considered to be unnecessary, or a job that a postdoc who’s a little more artistic can do. So it’s difficult here to convince people to give you a job, much less hire you full time.
How did you get the cover for Cell magazine?
A friend of a friend told me they were looking for someone to create cover art for a scientific paper. They asked what other covers I had made, and I said, I’m just starting out, I don’t have any covers. They said they would go with an established company. I said, well, I have this idea of mixing the three main ethnic groups in Singapore to create a piece that represents the local diversity. I made one sketch and sent it in anyway and said, listen, this really resonates with the research paper you’re profiling, and it could be artistically engaging. And it’s completely different from your typical covers, which are more technical.
There were other people working on the cover, but at the last moment, the paper was out much faster than they thought, and the only person who could deliver the artwork in time was me.
I worked long hours for a whole weekend. My hands were getting numb. In the end it was worth it. Everyone was very happy with it.
How easy is it to get work in medical illustration?
My husband works very long hours, so I’m the one holding the house, taking care of our child, plus working. So I’m using my ex-colleagues and people that I know. I don’t advertise that much; I go to LinkedIn and Twitter, and I try to post things there. It looks like it’s working. Whenever I have an illustration, my webpage has a big peak in views.
Did the Cell cover give you more exposure and work opportunities?
Apparently it was a really big hit in GIS [Genome Institute of Singapore]. They’re considering organizing a workshop for postdocs and others who might be interested in illustration. But honestly, I keep doing the same things—I’m working with and getting new work through the people I know.
Today, someone comes with a logo, I make a logo. I’ve been developing web pages, which is not what I thought I would do. But I do think some people are thinking, when they have something big, to call me. So I think the seed is there, but it’s not fully grown.
Do you think that moving to the U.S. will help your business?
The two countries are completely different. Here in Singapore, I feel they don’t yet have a strong belief in the value of illustrations—but there is limited competition. In the States, it’s the opposite. Everyone is using illustrators, but there are many people doing it. I will need to think about business in a different way. I am trying to position myself like, ‘Ok, you have these people who excel artistically, but I can be the middle woman, between the scientists and the more sophisticated graphic designers.’ You can’t go again and again to the scientists to have them explain to you what to draw. I can do that myself, the first sketch, and then if they want to elevate my graphics, that’s great.
But I think Covid-19 is going to change everything.
How so?
There will be less funds, so people need to prioritize and may drop illustration. But it’s also clear that with Covid we need a lot of information, a lot of scientific content. Like my parents—they want to know about the coronavirus, but they’re not going to read a bunch of scientific papers. My mother, she’s the first one who wants to know what I’m doing: ‘Why,’ she asks, ‘Why is this protein important, why not the other? Why, why, why?’ So I think there is a thirst for scientific content, but it needs to be delivered in an easier and prettier way.
You’re one of the few illustrators with scientific experience.
There are very few of them with a long history in research. We’re the minority. It’s true that in some master’s programs for medical illustration they do have a lot of scientific content—anatomy classes, biochemistry—but it’s typically just two years.
When you were doing science and enjoying it, did you feel like a creative side of you was not being expressed?
In Spain, when I decided to go into science there was no option to study science along with something more artistic. It was one way or the other. I took the scientific path and was very happy. But I was always the one playing with the proteins and making the pretty figures. I used to draw and do pottery, and then I went for the PhD and you forget about these things.
Now, it’s coming back. With this 3-D modeling, it’s not pottery, but it’s OK, and it’s cleaner. So it feels like I’m closing a cycle.
Are you optimistic about the future of medical illustration?
Yes, particularly about animation. Five years ago, you would not think that someone in a house would be able to do it. Now, you invest in a GPS card and you can make it. So I think it’s all coming together to say, ‘This field is here, it’s going to stay, and it’s going to increase.’
You can reach out to Gloria Fuentes via LinkedIn.
The views and opinions expressed in this article are solely those of the author and not that of ImagenScience.
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