Rachel Ignotofsky



I am so happy to present to you today my latest in my series of Interviews with People I Admire, the amazing Rachel Ignotofsky, who has just published her first book through Ten Speed Press entitled Women in Science: 50 Fearless Pioneers Who Changed the World. I love this book not only because it focuses on often-hidden-from-history female scientists, but also because it’s beautifully researched, written and illustrated. This book is for all ages, but as Rachel points out in the interview, it’s especially awesome for young girls and teens who are interested in science. A book of brilliant role models for girls? Sign me up!

Rachel is an accomplished illustrator, who has worked for many impressive clients. Her career began right out of college as a designer at Hallmark. Now freelancing full time, Rachel’s work is inspired by history and science. She believes that illustration is a powerful tool that can make learning exciting. She has a passion for (and is incredibly good at) taking dense information and making accessible for readers young and old alike! Want to learn more about Rachel and her book? Ready, set, go…

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Lisa: Tell us about you! What’s your background? Where are you from? How did you become an illustrator and author?

Rachel: I was born and raised in New Jersey and I have been drawing ever since I can remember. In high school I decided to seriously become an illustrator and started prepping my portfolio for art school. I went to Tyler School of Art and graduated with a BFA in Graphic Design. Right out of school I was hired by Hallmark and moved to Kansas City, where I am based now. I left Hallmark to pursue my real passion, which was scientific illustration. I have always had a passion for history and science and now I dedicate myself to creating educational artwork that is both fun and jammed packed with information.

Although drawing came really naturally to me, reading was a different story. I was an incredibly slow reader in elementary school. It really wasn’t until I started reading densely illustrated books like Amelia’s Notebook, educational comic books and cartoons like Magic School Bus, that I gained my own love of learning. I wanted to make the same kind of books that I had so much fun reading as a kid and think are important as an adult. I always had in the back of my mind that my illustrations were part of a larger book project and when the opportunity came knocking I was ready.


{This is Rachel!}

Lisa: How did this book come to be?

Rachel: I was thinking a lot about why science and engineering is still considered such a “boys club.”  I have a lot of friends in education and we were talking about the massive gender gap in STEM fields even though girls test just as well as boys do in math and science.  I truly believe that one of the best ways to fight gender bias like this is by introducing young adults to strong female role models.

I started to dig and I was overwhelmed by the amount of female scientist who have contributed just as much (if not more) as Einstein or Tesla. but have landed in obscurity. So I decided to use my illustrations to help celebrate women and their accomplishments. Illustration is a powerful tool when it comes to telling stories.  I wanted this book to not only be educational but also have tons of illustrations, so the reader really has fun while they are learning. My hope for my book is to help make these women household names and encourage girls to follow always their passions.

Edith Clarke - p41

I love learning about the mechanics of how your world works. Ever since my high school human anatomy class I was seriously hooked on science. Whether or not you are going to pursue a STEM career, knowing how our world works empowers people to make educated decisions. Whether it is how the lights turn on, or why it rains outside, or why use tooth paste, it is all important. But I think people get scared when approaching dense subjects. A lot of kids and adults hear “astrophysics” or “x-ray crystallography” and think “Woah! That is too smart for me.” Through art work I want to take those subjects and make them accessible and fun! If you can make learning easy, all of the sudden people get the courage to learn even and all of the sudden they realize that they are capable of understanding even the densest subjects.

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Lisa: What was the most exciting, enjoyable part of the process of making the book? Conversely, what was the most difficult or frustrating?

Rachel: I loved learning these women’s stories. You read about everything the accomplished, the lives they saved and how much they had to overcome to contribute and you just feel so indebted to them. And of course the drawings, I always have a lot of fun with that.

I think the most frustrating things was figuring out who I was as a writer, what habits and what organizational systems work for me. It was the first time I ever authored anything. Whether or not I am “feeling creative” I can do a really cool illustration, because I have been doing it for so long. I just have the years of practice under my belt that help make good decisions while I work. That is not the case with writing. A good day means good writing and a bad day means bad writing. I learned a lot of little things, like I write best in the morning, or after a big meal. Silly stuff like that makes the world of difference when you are trying to churn out 500-1000 words a day. I bet in ten years it’ll come as naturally as drawing does, but until then I am going to wake up and eat a lot of pancakes and coffee to get creativity going.

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Lisa: Which of the women in the book surprised you the most?

Rachel: I think one of the most shocking stories was Lisa Meitner. Just how much she had to overcome and that she still made one of the greatest discoveries in the history of science, Fission. She would be forced flee Germany when the Nazi came into power because she was Jewish. At the time Lise was trying to discover a new heavy element with her lab partner Otto Hahn. They were smashing neutrons against uranium and the result they were getting were out of the ordinary. Although she found asylum in Sweden she did not want to leave her work in Germany behind.

She wrote secret letters to Otto to continue their work. When Otto did not understand the results of their experiment he wrote to Lise. She realized they were in fact stretching the nucleus apart and releasing nuclear energy! Her discovery of fission changed physics, energy and history forever. It is amazing, after all she went through it was her sheer love of science that kept her working, and allowed her to contribute greatly to the world, even if it was in secret. She could not return to Germany and was not included in the Nobel Prize for her discovery.

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Lisa: Which one woman in the book would you most like to have dinner with and why?

Rachel: Ooh, that is a good one. I think Sylvia Earle is one of my top picks. She is the marine biologist who broke the depth record for an untethered dive and has explored so much of our deep ocean. I would love to hear more about her life time of work, from living on tektite II under water for weeks, to when she was called the “sturgeon general” at NOAA, to her main project now called Mission Blue. Mission Blue is a conservation project much like the protected parks, but instead it is protected parts of the ocean. We get most of our oxygen from the ocean, and a healthy ocean is essential to our survival. She is working to try and stop the over fishing and pollution that is damaging the ocean’s ecosystems. Sylvia Earle’s research and photography has made even the deepest parts of the ocean more accessible, it is just fascinating!

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Lisa: I know the book is for everyone, but who do you most hope reads this book?

Rachel: I think middle school girls and boys. Middle school is that important age where you are start figuring out who you want to become. I think it is essential for both boys and girls to have strong female role models growing up. Children need to know that they can pursue their passions and make a real impact on this world regardless of gender.

Lisa: What do you hope people take away from the book?

Rachel: That women in the sciences is not something new. That throughout history women have been working hard and greatly contributing to progress. I am hoping that my book is part of a larger movement to make these historic women’s stories more available and help to normalize women in stem fields and positions of power. when a little girl closes her eyes, and imagines what a scientist looks like, she can see herself.

Lisa: Thank you, Rachel!! You are so inspiring!! And I love this book. Friends, you can get Women in Science here or at all major book sellers!


George McCalman


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I am so thrilled to share with you my most recent recorded interview — this one with my friend George McCalman, one of the most prolific and inspiring artists living today. After fourteen years as an art director in the magazine industry, working for publications like ReadyMade, Mother Jones, and Entertainment Weekly, George opened his freelance design studio in 2011. Now, in addition to design, George is also channeling his creative juju and enormous talent into hand drawn and painted illustration and type. He uses this enormous talent not only to work for clients, but also to document his life and passions through personal projects. We sat down and talked about his roots, what inspires him, the recent changes in his path and what he’s learned about what makes him tick creatively over the years. George is a fantastic conversationalist, and I know you will be inspired by his attitude and story. Just click play on the MP3 player below and enjoy photos of George’s work below (much of which we refer to in the interview). A great place to follow George is on Instagram, where he openly shares his creative process and work. I present to you the latest in my Interviews with people I Admire series, George McCalman!










MCAD Commencement Speech




This past Saturday, I had the honor of giving the commencement address at Minneapolis College of Art and Design. This was a really amazing (and somewhat surreal) experience for me. That’s mostly because I never went to art college — not at MCAD or anywhere else. I am self taught, and didn’t begin my career till I was in my late 30’s. I am, for all intents and purposes, an outsider to the academic world of art and design. So it was such a privilege to be invited to speak at one of the top ten art and design colleges in the country. I am still pinching myself and feeling enormously grateful for everything that has happened in my life in the past 15 years that has led to this point.

The transcript from the talk is below.


First of all, congratulations! What you have accomplished is profound!

I would like to thank everyone at the Minneapolis College of Art & Design for inviting me to speak to you today, in particular to president Jay Coogan and his staff who have been truly wonderful to work with.

It is really quite an honor for me to be standing here in front of you today. For one, I never graduated from art school. In fact, I never went to art school. And so for me to be here in this academic gown, dispensing wisdom, is the honor of a lifetime.

The path I took to become a successful working artist was unconventional, and I am grateful for all of the opportunities I’ve had over the past 15 years since I began on this journey. I somehow managed to figure out how to make it as an artist. It took me a few solid years – likely much longer than it will take you.

And that’s because you are starting with a few things I didn’t have — enumerable skills, tools and relationships that will help you to build your careers with fantastic swiftness. Remember to cherish and take advantage of all of those things as you leave here today.

But also remember that the greatest challenges you will face starting tomorrow, have little to do with your talent. Sure, talent matters. It matters a lot. But I like to say that 10% of your career is your talent and ingenuity. And the other 90% rests on your energy and enthusiasm, your humility and perseverance, your professionalism and dedication to pushing through every bump in the road you will encounter.

While challenges are ahead (and that’s good news because without challenges, life is exceptionally boring), I have some very good news for you.

You are leaving one of the country’s greatest art & design colleges and entering the professional world of art & design at a time unlike any other in history.

There has never been a better time to be an artist.
There has never been a better time to be a designer.
There has never been a better time to be a maker.
There has never been a better time to be an innovator.

Never in history have there been more tools, more opportunities, more platforms, or more resources for creative people to build and sustain a career and to give back to the world.

Never in history.

The Internet has changed the landscape of opportunity for artists. How you make your work, how you share your work with the world, who will employ you, how you sell your work to feed yourself — all of that is vastly different than it was even ten years ago.

Ten years ago, I decided to leave my job and become a working artist. Unlike most of you, I was already in my late 30’s. I was self taught and had little idea what I was doing. I remember telling my parents that I was going to leave my career as a director inside a non-profit organization to pursue a living as an artist. They looked at me like I was absolutely nuts.

But with discipline and a commitment not to give in easily, over time I made a successful career for myself. The Internet was at the time becoming a space for artists to share their work and build connections. I began to use the Internet as my marketplace, my testing ground, my community, my publicity hub, and my feedback loop.

When I was launching my career, the barriers which once held artists captive until they landed the right job or gallery show, won a prestigious award or fellowship, or secured the right agent or promoter, were beginning to fade. Those barriers are almost invisible now, except at the highest echelons of the art world, and even there, they are growing dimmer.

Gone now are the days of needing an agent, a gallerist, or a handler to make it as an artist. Yes, galleries and agents are incredibly useful and important, with enormous history, knowledge and support. They are simply no longer gatekeepers for success.

Also, gone are the days when you had to move to a specific place — like New York or Los Angeles — if you had any hope of making it or finding a decent creative job.

Gone are the days when you had to choose between being an illustrator or a fine artist. An editorial illustrator or surface designer. An animator or a graphic designer. Today you can choose to pursue and thrive at any number of creative pursuits.

The Internet has created a space in which brave people have forged new paths that previous art, design and illustration paradigms never would have allowed. The rules that once dictated whether a person would leave art or design college and become successful are becoming obsolete.

Instead, the Internet has created a space in which you have the freedom not only to create, but to market and grow your art or design practice however you like –without needing the permission or hand holding of someone with more clout or experience.

This freedom is enormously exciting. I am sure many of you are feeling that right now. The excitement that comes with the vast potential of a creative career in which you can make a difference in the world? There is absolutely nothing like it.

But as with most things that leave us feeling exhilarated, it is also likely leaving you feeling frightened. Some of you are frightened of failure. Some of you are frightened, conversely, of success – of your own power. Some of you are frightened of being ignored. Others of you are frightened of attention. Most of you are frightened of competition, criticism, or not being able to keep up the pace.

And, if you are not careful (and I am certain that most of you have learned this already over the past few years), all that fear can leave you feeling paralyzed or creatively blocked.

The fear cycle can be vicious.

So you must learn to confront your fear. And part of confronting your fear is understanding on a deep level that everyone is scared.

Every single one of you, on some level, is scared.

Take comfort in the fact that you are not alone.

Legendary artist Georgia O’Keeffe once said, “I’ve been absolutely terrified every moment of my life – and I’ve never let it keep me from doing a single thing I wanted to do.”

I would hazard to guess that O’Keefe’s terror was connected to her deep commitment to putting new ideas and work into the world, not once or twice when it felt safe, but every single day she was alive.

As part of this next phase of your creative journey, part of your job when you get out of bed every single day is to tell your fears to piss off — or as the Buddhists might do, give your fears a giant bear hug.

You may even imagine that someday after you’ve got some years under your belt you will wake up and not feel scared anymore.

I’m sorry to tell you: that won’t happen either.

And that’s actually good news. Your fear makes you human. And fear is an integral part of the creative process. It’s an integral part of greatness. Of becoming great at something. Of being a great human being. Of becoming a great artist or designer.

And that’s because we cannot make a difference in the world without taking risks, without moving into new, uncharted territory, without forging new trails, without rubbing up against the status quo. Fear means you are doing all of those things. Fear means you are doing something right.

Develop a healthy relationship with your fear, and do not allow it to stop you from doing great things.

What a shame it would be if you hoarded all your ideas! What a shame it would be if you did not use your gifts!

It is, as writer Maya Angelou pointed out, in fact, your obligation to share your gifts. Fear, she said, “is not doing what you came here to do, out of timidity and spinelessness. The antidote is to take full responsibility for yourself – for the time you take up and the space you occupy. If you don’t know what you’re here to do, then just do some good.“

You leave here today with a rich education, you are entering the world of art & design at the most exciting time in history.

These are enormous privileges. Use those privileges wisely, and do not become complacent.

Show up every day.

Show enthusiasm.

Bring energy to your work and your working relationships.

Remain humble.

Grow the strength to persevere through every hardship, rejection or criticism.

Conduct business with professionalism and integrity.

Use your superpowers for good.

And last of all, be patient with yourself.

I hope you will each leave here today ready to let yourselves shine brightly, to share your tremendous gifts with the world, to be brave, to make a difference.

There has never been a better time to be an artist.
There has never been a better time to be a designer.
There has never been a better time to be a maker.
There has never been a better time to be an innovator.

I can’t wait to see what you create.

Thank you.


The Gutsy Girl by Caroline Paul



If you are a reader of The New York Times or spend much time on social media these days, you might have seen this article a couple of weeks ago on February 20. The article was written by my friend, Caroline Paul, and it was Paul’s perspective on how we actually teach girls to be scared. “When a girl learns that the chance of skinning her knee is an acceptable reason not to attempt the fire pole, she learns to avoid activities outside her comfort zone,” Paul writes. “Soon many situations are considered too scary, when in fact they are simply exhilarating and unknown. Fear becomes a go-to feminine trait, something girls are expected to feel and express at will. By the time a girl reaches her tweens no one bats an eye when she screams at the sight of an insect.” Paul goes on to argue that when girls become women, “this fear manifests as deference and timid decision making. We try to counter this conditioning by urging ourselves to ‘lean in.’ Books on female empowerment proliferate on our shelves.”

The essay by Paul resonated with many. It was the most popular article in the entire New York Times for two days straight after it was published. But how do we go about changing the “scared girls” paradigm that permeates even progressive American culture?


For one, if we are to encourage girls to be daring, just like we encourage boys, we need more resources. Thankfully, Paul has also just written a book for girls that aims to encourage and foster a sense of adventure. In the book, entitled The Gutsy Girl: Escapades for Your Life of Epic Adventure, Paul shares not only her own greatest escapades (and there are many), but those of daring women and girls throughout history. The book also includes activities and writing prompts to get girls thinking about how they can be more daring in their own lives.


{some of the Gutsy Girls featured in Paul’s book}

Paul, herself an adventurer, flies planes, climbs mountains and was the first female fire fighter in San Francisco back in the 1990’s (about which she wrote this best selling book). Paul grew up as a shy and awkward kid, but she was also enormously inspired by the escapades of athletes, knights and spies in the books that she poured over. When she began to act out adventurous scenes in her play, instead of stopping her, her own mother encouraged Caroline through allowing her to skin her knees — and then to get back up the next day and do it all over again, as if it was the most normal part of life. Soon, Caroline gained more confidence, which led to the kind of adult she is today. In her 50’s Paul continues to live through adventure.


The book is illustrated by Paul’s partner, the great Wendy MacNaughton, in her wonderful iconic style. The illustrations have an air of humor and sarcasm which is (like embracing fear) totally appropriate for girls (the flow chart about jumping off the cliff below is my favorite).


About The Gusty Girl, from writer Cheryl Strayed: “Inspiring. The book of the year for daredevils, doers and dreams of all ages.” Do you know a girl (or grown woman) who would love this book? You can purchase a copy here or at your local bookstore.

Have a great Wednesday, friends, and don’t forget to JUMP.

CATEGORIES: Inspiration

On Being Open



{Quilt by Shawna Doering, entitled “Red Hot” which won my Judges Choice Award at QuiltCon 2016}

About a year ago in 2015, I got an email from a woman named Heather Grant. Turns out, the Heather who emailed me is the Director of Marketing & Programming for the Modern Quilt Guild. She wrote to ask if I would consider being a judge for the 2016 QuiltCon, a huge yearly show of modern quilts — the largest show of its kind in the world.

I am a fan of modern quilts and, feeling honored, I agreed to travel to Los Angeles in 2016 (where the Modern Quilt Guild HQ is based) to work as one of three judges for the event. Each year they choose three judges — two quilters and one artist or designer who is not a quilter (that was me). The judging for the show happens in January and the show happens in February. So, excited, but also thinking “ah, this commitment is so far in the future,” I signed an agreement last year with Heather and got back to my regular life.

Fast forward to early January 2016 — the beginning of last month. Nine months after I signed the contract, it was time to get on an airplane and travel to Los Angeles to do this thing I’d agreed to almost a year earlier: spend a week at the MQG offices & join fellow judges Scott Murkin and Cheryl Arkison to look at — and judge — hundreds of quilts. We’d be working 9-11 hour days to finish the judging on time.

In thinking about all of this, I had a moment of panic and out loud groaning: how the hell could I take a week off of work to go to LA to work 9-11 hour days to judge quilts? I had a new employee and a heavy workload in my own studio. Why had a said yes to this crazy endeavor? Clearly I hadn’t been thinking!

Somewhere in my internal huffing and puffing, I had a moment of clarity. And I made a resolve: I would treat this week as an intentional vacation from my work. I would try to have a positive attitude about the whole experience. I would be open.

I had, after all, been going through a difficult time. The late fall and early winter of 2015 was a time of unprecedented creative block & angst for me. I was feeling frustrated and uninspired in my work in a way I hadn’t in a long time, possibly ever. At least this experience away from my studio would give me time to reflect and be away from the frenetic busy-ness of my deadlines. Compared to that, how bad could it be to look at beautiful modern quilts all week? And enjoy some California sunshine?

So on January 18, I boarded an airplane, left all of my work behind with my studio staff and set off for Los Angeles.

I really had no idea what to expect when I landed in LA on that Monday. I tried to keep an open mind and positive attitude. If nothing else, I was in sunny and warm Los Angeles (and away from cold, wet and dreary Portland).

In this case, I am so glad I did. Judging Quiltcon was a life changing experience for me. Not the judging part, per se, but the immersion into the modern quilt aesthetic.

Let me explain.

As you can imagine, any artist who has the opportunity to look at the work of other artists intensively over a short period of time is going to begin to see their own work in a new way. It’s inevitable. If I had looked at (and looked closely enough to judge) 350 abstract paintings in three days, I might have felt overwhelmed or instantly would have tried to make comparisons to my own work (which is always a slippery slope).

But because I was looking at fabric quilts (and modern quilts for the most part have a very unique minimalist aesthetic), I experienced only joy and curiosity. I was so moved and inspired by the quilts we looked at, that even at the end of each long day of judging — which was admittedly tiring — I was energized with enthusiasm & insight.

As the three days passed, I began to see things like negative space, color and shape in new ways. And even though I was looking at pieced fabric, I began to feel super invigorated about getting back my own painting. I had new ideas. I felt inspired for the first time in a long time.


Since my career took off in 2011, I have worked mostly in commissioned illustration for publishing, editorial, stationery, fabric and home decor clients. I absolutely LOVE this work, but in the process of building my illustration & writing career, I have mostly abandoned my fine art practice in the last few years. I have a gallery in NY who sells my original works when I have time to make them, but lately what I’ve been sending them has felt, to me, very sporadic, dry and uninspired.

Because I’ve made less and less personal work, I’d been feeling like a part of me had died. Would I ever make a painting on canvas that I liked again? Would I ever have a show of original works again? I’d been trying to get my painting mojo back but with frustratingly little progress. So in early 2016 I made a commitment that this year I would get back into making more personal work, maybe even work toward an exhibition somewhere, but I had no idea if or when I’d be successful at fulfilling that commitment.

Fast forward again to the day I got back from Los Angeles. Inspired and enthusiastic like I hadn’t been in ages, I went immediately into my studio and began bringing to life some of the ideas that had been floating around in my head all week. I ended up making three paintings that day (yes, in one day!) and was completely in the “flow” as I made them. It was amazing — and something I hadn’t felt in over a year.


{Three of the new pieces in my latest series, inspired loosely by modern quilts and also by 1970’s graphic design}

Fast forward again to the following Monday. My gallery in NY emailed to ask if the gallery director and curatorial director could talk to me on the phone — they had something they wanted to discuss with me. So we made an appointment for Tuesday. Long story short: they loved my new series so much (after only seeing the three pieces I made Saturday on Instagram) that they wanted to organize a solo show for me in New York for this fall.


I’ve been showing work with this gallery for over two years, but I have never had a solo show with them. In fact, I haven’t had a solo show since 2013.

More than the upcoming exhibition (which is exciting, yes), I am so grateful to feel inspired to paint again, and to have a focus again in my personal work.

And I owe it all to the kismet of the universe working in my favor — if I had not been asked Heather and her team to judge QuiltCon this year, I am pretty sure this never would have happened. I’m also pretty sure I never would have met the amazing people I worked with that week: Heather Grant, Executive Director Alissa Haight Carlton, fellow judges Scott Murkin and Cheryl Arkison, and scores of kind hearted and smiling volunteers.

So next time someone asks you to do something that seems interesting but will take you away from your “work” for a week, say YES. You never know where being open will lead you.

Have a great Friday, friends.