Nicole Sawallich recently joined the U-M Herbarium as a plant mounter, where she plays a key role in preserving plant specimens for future research. “For me, it’s this perfect combination of art and science,” said Nicole. “I know that the work we do now will far outlive us, and these specimens are truly irreplaceable.”

What does a typical day look like for you?

Every day is a little different, because plant mounting happens in stages. I usually start by working through a bundle of specimens at a time. I set each individual specimen up on archival herbarium paper with its corresponding label while checking that all of the information is accurate. I’ll add a small packet for loose material, then carefully arrange the specimen so its key features are visible.From there, I move into mounting. Depending on the plant, I might use a brush to apply glue, spray adhesive, or even dip the specimen. After placing it on the sheet, I layer wax paper, absorbent material, cardboard, and weights – like sandbags – to press everything into place. The specimens sit for about a day, and then I return to do touch-ups, securing any loose parts with glue, straps, or stitching if needed.

Why is plant mounting important?

Plant mounting is really about permanent preservation. These specimens can last for centuries in herbarium collections, so it’s important to prepare them in a way that both protects them and highlights their identifying features. They’re used for research, education, and so many future applications we can’t even anticipate yet. For me, it’s this perfect combination of art and science. I know that the work we do now will far outlive us, and these specimens are truly irreplaceable.

What kinds of specimens are you working with most often?

Right now, I’ve been working through a lot of Michigan collections, and a good portion of those are sedges. It really depends on the collection I’m assigned, but each specimen brings something different to the table.

What might surprise people about your work?

How rewarding it is! The process can be detailed and repetitive, but knowing these specimens will serve as educational tools and support research for generations makes it incredibly meaningful.

Are there particularly delicate or challenging specimens?

Every specimen has its own quirks. Some of the most delicate ones I’ve worked with are aquatic plants. They can be very fragile, sometimes stuck to the paper they arrive in, and require a bit of careful “surgery” to remove and preserve all their parts. It really comes down to finesse. Each plant needs its own approach.

What tools do you use?

I have a small arsenal that I keep nearby at all times. Some of my go-to tools include fine-tipped forceps, small paintbrushes, and even a needle used for ceramics to help move tiny plant parts into place. I also use a small spatula for lifting specimens and weights to hold sections in place while I work. One of the more unique tools is a pressurized sprayer. I'll use it to apply a uniform mist of spray adhesive to the backs of select specimens in order to secure the specimens on to the herbarium paper more effectively.

What drew you to this work?

I’ve always been drawn to nature. I spent a lot of time exploring woods and wetlands growing up. I also have a strong background in art. I draw, paint, and play violin, so that creative side has always been part of who I am.Later, I became more interested in plants through gardening and started asking bigger questions about the environment and the future. That led me to study environmental science at Eastern Michigan University, where I was first introduced to herbarium work. From there, internships, research, and professional experience all built toward this role. What really drew me in was the combination of art, science, and collaboration. Also, I am looking forward to passing these skills down to students by providing training on plant mounting processes.

Has this work changed how you see plants in your everyday life?

Absolutely. It’s deepened my appreciation for plants and for the role collections play in understanding them. Being part of such a large and important collection – and contributing to it! – is incredibly gratifying.There’s also something special about seeing a specimen transform.When you first receive it, it can be difficult to conceptualize how the finished specimen will look, almost like a rough draft to a story. But after mounting, you lift the sheet the next day and everything has come together. It really does feel like a work of art.

Do you ever come across anything unexpected?

Sometimes it’s not the specimen itself, but the label that stands out. I’ll see names of collectors I recognize, places I’ve visited, or researchers whose work I know. It’s a reminder of how interconnected this field is. Those small moments of recognition are always exciting. They make the work feel even more connected to a larger community.