Where botanical illustration
meets science.

Drawing from life.
Science through observation.

Each illustration starts with a specimen — held, turned, examined under different light. The goal is not to make a beautiful picture of a plant but to make an accurate one that happens to be beautiful. That distinction is what separates botanical illustration from decorative nature art, and it is the reason illustrations still appear in scientific publications alongside photographs.

The studio sits on Lake Como, which is why the catalogue looks the way it does. Rosalia alpina and Pinguicula alpina are pre-alpine species. The fungi come from the same woods. The lemons and figs come from the lake’s own sheltered gardens, where citrus has been grown for centuries in a climate that has no business supporting it.

Every piece is drawn digitally on a large tablet — a medium that allows the layering and correction that botanical accuracy demands, while preserving the hand-drawn line quality that defines the tradition. No filters, no stock references, no shortcuts.