I was playing with making lipoprotein phospholipid membranes this morning — the top is a whole and cut view of an HDL particle. Eventually these will be filled with cholesterol, triglycerides, and coated in apoproteins, and lit better. The bottom is VLDL – notice how much larger it is!
Rendered with caustics and some subsurface scattering.
whole and cut views of phospholipids that make up HDL
half of the phospholipids that encase VLDL particles
I revisited a piece from last December — issues that had not stood out to me at the time suddenly seemed really obvious. Saturation was upped, wet lights put in, color reflections added, and the terrible masking job was softened. Disregard the labels on the first one, they’re not important for this, unless of course you’re terribly curious about the anatomy of one of the cutest organs.
Click for a larger view of the after – on the default view I thought it only fair to give the two versions equal size.
BEFORE:
AFTER:
Update to portfolio – a hypothetical medlegal poster, designed for the plaintiff who is suing his attacker. The story is that this unfortunate fellow suffered a nasty punch to the face, giving him a multi-fractured zygoma that needed a complex surgery, complete with metal plates.
Medium: pencil, photoshop.
We’re digging into summer projects now, which means less time for blogging.
This week’s image is lighthearted - I’m posting a 13th century diagram of veins found in the Ashmole Bestiary . This was even before Vesalius’s work, and although the organs are pretty amusing (I love the snail like intestines!) you can still recognize specific veins we know today (i.e. facial, jugular, femoral.)
Interestingly, the image is labeled veins, but because they’re painted red and I can find little other information on this, I could just as soon read them as 13th century arteries.
Below are a few selected works by Kate Street, a London-based artist who mixes anatomy, florals, and macabre. A strong concept throughout seems to be the interdependency of life and death on each other. Her drawings are rich in tonal detail, and there’s a delicacy and subtlety to her technique that makes the more morbid elements seem all the more so. And yet this conceptual contrast ends up being more romantic (referring to the artistic movement, not relationships!) than grotesque. They’re still lovely to look at, and are much more than still lifes.
Currently Street’s work is showing in the exhibition in London, The Space Between (see earlier post).
Without further ado,
Orchis Gracilis -- Kate Street
Story of Orchis in Three Parts -- Kate Street
Orchis Edulis -- Kate Street
Below are selected works – the more anatomically and biologically related ones of course – by Hunter Stabler. He creates detailed paper cutouts, occasionally dipping into other mediums. But this puts it mildly — as one exhibition described his work:
“His work … is intricate, mostly abstract paper cutouts of varying size, along with one painting. The cutouts’ detail is astounding. Stabler hand-draws them with a compass and cuts them out with an Exacto knife. Each piece takes between two and six months to produce.”
The content is sometimes abstract, sometimes recognizable, and often both. There’s a pervasive use of symbols, often religious in nature. An interesting element is that even though his compositions look highly radial/symmetrical, on close inspection in some (see details below), the symmetry doesn’t quite hold up. It’s interesting because it still works for Stabler, charging the cutouts with a subtle sense movement and the organic, and this observation certainly doesn’t take away from the relentless detail in the forms themselves.
Now I’ll let the images speak for themselves:
Baba Yaga Misquotes The Face To Steeleye Span, hand-cut paper, Hunter Stabler
Hare Christmas Maharishi, India ink and graphite on paper, Hunter Stabler
Saint Vitus Architeuthis Manalishi With The Seven Tentacle Crown, ink and graphite on hand-cut paper, Hunter Stabler
detail of Saint Vitus Architeuthis Manalishi With The Seven Tentacle Crown, ink and graphite on hand-cut paper, Hunter Stabler
Sonic Pretzel Mastodon, ink and graphite on hand-cut paper, Hunter Stabler
The Cockatoo Is Moving Under You, ink and graphite on hand-cut paper, Hunter Stabler
Other links:
As per the end of the semester tradition, the online portfolio is now updated!
Here’s the preview — links to portfolio from these images:
Dynamics of Porcine Intestine
Ventricular System - coronal view
Ventricular System - lateral view
Ligation of Ovarian Vessels during Porcine Ovariohysterectomy
Cesarean Section
Finished patient education brouchure is below! Rather than target patients before they have a Cesarean section, this focuses on the post surgery healing process; most recievers of C-sections a) need unplanned operations and wouldn’t have time to read details in a pamphlet or b) have already had a Cesarean section and know the ropes.
Media: pencil, pen, Photoshop, Painter, Indesign
It’s constructed as a typical tri-fold brouchure — below are both the inside and outside of it.
Inside pages
Outside pages
Plate designed for a neuroanatomy atlas.
Medium: pencil, photoshop.
The concept here is less the structures of the ventricles, than how the major neighboring structures lie in adjacent to the ventricles. The adjacent anatomy isn’t shown, just where on the ventricles it creates a wall. After all, ventricles are essentially the brain’s negative space; they’re filled with CSF and occasionally choroid plexus but no neurons/support cells. It was rather a pain to research, because there are few good models and sources for the structures of ventricles, and oft times they’re rather variable and asymmetric anyways.
Ventricles and the Borders of Major Adjacent Anatomy
Below: diagram showing the circuit of Papez. This was a quick assignment – I think it’s useful to find out what you can pull off in one afternoon.
Physiologically, these pathways route through limbic system structures and are important in sustained emotional expression (i.e. “moods”).
Media: graphite, Photoshop
