Portrait of Cynthia Turner in her studio.
Rapid Arc Treatment for Lung Cancer
RapidArc is a volumetric arc therapy that delivers a precisely sculpted 3D dose distribution with a single 360-degree rotation of the linear accelerator gantry.
Brachytherapy Treatment for Prostate Cancer
Temporary radioactive seed loadings are introduced into the prostate gland by carefully placed needles enabling the dose cloud to conform the radiation dose to the size and shape of the tumor target.
The sixteen pathogens indicated for antimicrobial treatment by the broad spectrum antibiotic Invanz™, for Merck Laboratories.
Mast cells degranulate and release histamine and cytokines when triggered by inhaled irritants, exercise, cold air, smoke or dust, provoking the inflammatory response of hyper-responsive airways to constrict, inflame and fill with excessive mucus.
Campaign Spotlight: Cynthia Turner
Medical illustration is a highly specialized discipline within the field of illustration, and one that has a venerable history dating back to Leonardo da Vinci and earlier. Cynthia Turner, one of the most highly awarded certified medical illustrators working in the field, is also a Fellow of the Association of Medical Illustrators. She was honored by Johnson & Johnson with a one-man show, The Medical Art of Cynthia Turner
in 1993; selected for inclusion in the National Library of Medicine Dream Anatomy Exhibition, 2003 and exhibited at the University de Andres Bello Art Gallery and the U.S. Embassy in Santiago, Chile in 2006, and included in the permanent collection at the Universidad Andres Bello Medical School.
Cynthia received a Bachelor of Fine Arts from Colorado State University, a Master of Arts in Biomedical Illustration from the University of Texas Southwestern Medical School, and is an Adjunct Assistant Professor of Biomedical Visualization, at The University of Illinois at Chicago.
She and her husband, Edmond Alexander, formed Alexander & Turner
in 1984. She is a founding member of The Illustrators’ Partnership of America (IPA) and spoke at the second Illustration Conference (now known as ICON) in Santa Fe in 2001. Cynthia and her husband live in Grayton Beach, Florida, a small, historic beach village on the Florida Panhandle Gulf coast halfway between Destin and Panama City.
Q. What brought you to this specialty of illustration? Do you have a medical background?
A. Like many medical illustrators, when I was younger I was imbued with a compelling desire to draw representationally and document from observation. This was not generally encouraged once I found my way to art school.
During my college years, when I was pursuing a Bachelor of Arts Degree in Advertising Illustration, I was fortunate that my frustrated advisor gratefully introduced me to a medical illustrator who had recently arrived on campus. He had just returned to the U.S. after spending several years launching the Biomedical Illustration Department at the King Faisal Hospital in Riyadh, Saudi Arabia. To my everlasting fascination, he introduced me to medical art as a potential direction and became my mentor. He assisted me in structuring my undergraduate art curriculum to prepare myself to apply to graduate school in biomedical illustration, as well as dreaming up challenging assignments for independent study courses.
I received my Master of Arts degree in Biomedical Illustration from the Southwestern Graduate School of Biomedical Sciences at University of Texas Southwestern Medical Center in Dallas. Southwestern was the first school in the world to offer a Graduate degree in medical illustration in 1945. After graduation medical illustrators also achieve and maintain board certification to pursue lifelong learning and assure professional competency. Board certified medical illustrators re-certify every five years. Many of us belong to our professional association that is over 60 years old: the Association of Medical Illustrators, an enormously talented, diverse, sharing and creative group of people. Many of them pursue their own fine art or other creative endeavors apart from medical art.
Q. Can you speak a bit about a recent project? What was the assignment, and what approach did you take?
A. I recently served as Artist-in-Residence for Varian’s Surgical Sciences group to create large 24” x 30” limited edition prints depicting stereotactic body radiotherapy (SBRT) for their TAKE A CLOSER LOOK educational campaign, highlighting Varian’s role in advancing radiation medicine for early stage prostate cancer and lung cancer treatment. I collaborated with the Varian team that manages the SBRT and radiosurgery business to determine the content and direction of the illustrations, and worked most closely with the Creative Director and two medical physicists. This has been one my most enjoyable projects to date. I can tell you that our phone conferences throwing around ideas and reviewing sketches were mind-blowing and stimulating. Then, they unleashed me to create the final art. The illustrations depict how Varian products work, and function as single-sheet brochures. These were complemented by a white paper on lung and prostate cancer respectively for their individual clinical targets.
We really had a wonderful experience working together. Now this is where my work usually ends. Like most freelancers, I don’t usually have direct contact with my clients during projects, and never with my final audience. But this time, after I delivered the art I got that familiar nervous feeling about leaving my comfort zone. This has been a two-part assignment: the illustrations were used in conjunction with an educational outreach to two disease-specific (lung cancer and prostate cancer) and surgical/clinical-specific medical specialists (thoracic surgeons, pulmonologists, thoracic radiation oncologists/urologists, urologic radiation oncologists) at three conference exhibitions that Varian Surgical Sciences attended over the past six-plus months.
The illustrations were printed on 100% rag paper with archival inks and delivered to the shows. I also appeared at the three different international medical conference exhibitions. I was in Varian’s booth along with their technology experts, and helped attract attention by showing how I created this art. My computer was linked to, and displayed by, a high luminosity light-emitting diode 10-foot wide by 8-foot high display (like the ones used at the Beijing Summer Games) hanging from the ceiling 15 feet above the audience. This attracted the attendees to the booth. I met the attendees, chatted with them and demonstrated how I paint on the computer, and signed and personalized prints for them. There were over a dozen Varian tech experts that could then follow on talking to the surgeons and radiation oncologists about Varian’s technology. There were also workstations in the booth for the attendees to have hands-on experience with the systems.
There was a huge amount of interest and appreciation for seeing the artistic process and meeting the artist behind the work. It was very exhilarating to have so much personal feedback from my audience. It has been rare to experience this during my career. I am used to mingling with my peers and clients at shows and exhibitions. I am not used to mingling with my audience of viewers. It was an amazing and gratifying experience.
Q. Do you work from photographs, or live models?
A. I utilize everything I can get my hands on: Electron micrographs, anatomical texts, surgical footage or imaging—whatever is available on the topic. There are wonderful subscription websites to access excellently photographed nudes for artists which I can sometimes use to substitute for a live model. I’ve also imposed on many people in my small community to pose. No medical illustration studio is complete without a skeleton and a few anatomical models that I find indispensable. Written descriptions are always extremely important to me, too. When I was kid growing up a good book was like a movie to me. I still remember books as if I had experienced seeing a movie from the words.
Q. Do you approach medical illustration from a natural history or diagrammatic technical illustration perspective?
A. Throughout the centuries artists have been examining and expressing all that they could observe. From the cave drawings of Lascaux, to the Renaissance when scientific and artistic attitudes dwelled easily within the single man, to present day medical illustrators, artists have advanced human understanding through imagery. Many of the first medical artists were also scientists and researchers of both their subject matter and their mediums. Leonardo da Vinci, Michelangelo, Albrecht Dürer, Andreas Vesalius— and Dr. Frank Netter in our time—are but a few examples. I don’t have to invent my tools and medium, or imagine, invent, discover or hypothesize my subjects. I am, however, challenged to take a great deal of information and synthesize it into a single condensed, edited and elegant visual message. Medical illustrators must judiciously edit and emphasize information in order to convey a clear and concise visual story that explains and teaches. I believe the measure of that artistry, is also defined by how well our hands and minds fuse that information with beauty.
Q. What medium do you work in?
A. I paint in Photoshop and have begun a tentative venture into combining that with Cinema4D, a 3-D program. It is said that “medical artists draw what cannot be seen, watch what has never been done, and tell thousands about it without saying a word.” I am honored to be part of this artistic fellowship that serves medical science and grateful to have ability to do so.
Natty Brooker’s Sweet Tooth
, 2009, acrylic on canvas, 17 x 24 inches
Tadeusz Trepkowski. Nie! (No!)
. 1952. Lithograph, 39 3/8 x 27 5/8", The Museum of Modern Art. Gift of The Lauder Foundation, Leonard and Evelyn Lauder Fund.
Chris Mars, Like Moths
Exhibitions of note nationwide.
Spacemen3’s Natty Brooker debuts Print Show
Through October 24
Artist reception: October 3, from 7–11 p.m., curator (and former band-mate) Will Carruthers will be in attendance and Los Angeles’s shoegaze band The Meek will be spinning a DJ set of the genre’s classics.
Substrate Contemporary Fine Art Gallery
709 North Ridgewood Place
Los Angeles, California
British artist Natty Brooker is best known for his collaboration with legendary UK bands Spacemen3 and Spiritualized. The exhibition will travel to art capitals around the world including New York, London and Berlin. Sadly the artist has terminal cancer so this will be the first and last time his work is presented as a collection. The show was curated by former band-mate Will Carruthers. Brooker painted on wooden boards, plastic sheets and other discarded objects in biro, felt tip or emulsion paint: whatever was at hand. To preview the art go to
Polish Posters 1945–89
Through November 30
Museum of Modern Art, Architecture and Design Galleries, third floor
11 West 53 Street
New York, New York
This exhibition draws from MoMA’s collection of posters from the Polish Poster School, a source of inspiration for many designers and illustrators. Despite the state control exerted over the poster creators, the surreal influences and sophisticated imagery make powerful statements about the designers’ social and political surroundings.
King Tut: The Golden King and the Great Pharaohs
November 24–April 18, 2010
Art Gallery of Ontario, Musée des beaux-arts de l’Ontario
317 Dundas Street
West Toronto Ontario Canada M5T 1G4
In an exclusive Canadian showing, the awe-inspiring artifacts of the Egyptian king return to the AGO, but this time he’s bringing his fellow pharaohs with him. One hundred thirty artifacts including a 10-foot statue of the boy king, derived from temples, tombs and other royal sites will provoke wonder and inspiration.
Chris Mars Solo Exhibition
Through October 31
Longview Museum of Fine Arts
215 E. Tyler
Musician and artist Chris Mars will have a solo exhibition of his paintings that will subsequently travel on to Billy Shire Fine Arts in Los Angeles December 12–January 2 and other venues. “All art is political in some sense, be it through conformity, reflection, propaganda or rebellion,” Mars says. “My paintings are rallies and trials, photographs of a moment when Truth was made public, and Mercy known.”
The exhibition will travel on to the Phipps Center for the Arts (WI, Mesa Contempoary Arts (AZ) and the Erie Art Museum (PA) after Billy Shire Fine Arts.
Art Revolution: Alternative Approaches In Art
JOHNNY CASH: I See a Darkness
David Park, Painter: Nothing Held Back
A brief review of notable titles and inspiring monographs.
Art Revolution: Alternative Approaches In Art, by Lisa Cyr, published by North Light Books, 160 pages, softcover, $26.99.
Using stellar examples from a range of topnotch illustrators including Marshall Arisman, Brad Holland, Cynthia von Buhler, Richard Tuschman, Stephanie Dalton Cowan, and herself, ilustrator/author Cyr examines how today’s artists explore alternative and innovative ways of conceptualizing and creating art. They are reinventing, reinterpreting and redefining how art is made and marketed.
JOHNNY CASH: I See a Darkness, by Reinhard Kleist, published by Abrams ComicArts, paperback, 224 pages, 220 black-and-white illustrations (November 2009), $17.95.
This innovative graphic novel takes readers through Johnny Cash’s colorful and often-tragic life from his early recording sessions with Elvis to his 1968 concert at Folsom Prison and his 1990’s comeback with the aid of producer Rick Rubin. The “Man in Black” has been seen as a loner, a music rebel, and a true American iconoclast. Berlin-based graphic novelist Kleist, whose previous titles include Havanna, Lovecraft, and Amerika has garnered awards for this dynamic best-selling title in Europe.
David Park, Painter: Nothing Held Back by Helen Park Bigelow, forward by Richard Armstrong, published by Hudson Hills Press, paperback, 224 pages (October 2009), $60.
This insightful book chronicles the brief but prolific, and influential, career of one of the seminal members of the California Bay Area’s Figurative Painting movement, begun in the 1950s. Written by his daughter, Helen Park Bigelow, the book features 100 paintings and examines the career, life and times of this talented artist who died at the age of 49. David Park’s paintings are featured in major museum collections, including the Whitney Museum of American Art and The Museum of Modern Art, in New York; Hirshhorn Museum and Sculpture Garden and Corcoran Gallery of Art, Washington, DC; San Francisco Museum of Modern Art; Museum of Fine Arts, Boston, MA; and the Oakland Museum of Art, Oakland, CA.
A few hot breaks to check out while surfing the net.
http://www.theillustrationconference.org — Save the date for the 6th iteration of The Illustration Conference now known as ICON: Sunny Side Up to be held July 14-17, 2010 in Los Angeles. See you there!
http://www.artivists.org —The 6th Annual Artivist Film Festival is currently in production. The Artivist Film Festival screens shorts, feature length films, documentaries, narratives, music videos, animated works, experimental and animated film and videos directed by international filmmakers. In the past 5 years, they have screened more than 300 international activist films from 35 countries at the renowned Egyptian Theatre in the heart of Hollywood; this year’s event will be held December 1-5; dates for New York City TBA.
http://societyillustrators.org — The Society of Illustrators has issued their Call for Entries for Illustrators 52. For more information and downloadable entry forms, visit their website; the deadline is October 30.
http://abookaboutdeath.blogspot.com — Artists contributed 500 postcards each to create an unbound book about death, exhibited at the Emily Harvey Foundation in New York City through September 22. This fascinating, and yes, a bit macabre, undertaking is a global exploration of death; the variety and emotional impact of the offerings is compelling and thought-provoking. Thanks to participant Bonnie Gloris for bringing it to my attention.
http://www.moleskine.com/events/mydetour/mydetour_san_francisco/ — Chronicle Books has partnered with Moleskin® for the myDetour project, dedicated to all who use their Moleskin notebooks (and that’s a lot of illustrators I know) for creative projects. It’s a chance to share, both online and offline, their imaginations and artwork with local communities and the larger Moleskin word. Chronicle Books will feature a special display in their San Francisco headquarters as well as at other Bay Area venues through October 1st.
Advice from an industry of one, but a determined one.
This is one of my pet peeves. Admittedly, as an editor and writer, I proofread my messages before I send them out, which obviates some of the spontaneity of “instant” communication and may label me a bit anal-compulsive. Even so, I probably make mistakes, and I’m guilty as the next guy of hitting the send key too quickly and forgetting to send an attachment. I get hundreds of emails a week in my professional capacity and I am always annoyed when someone sends an obvious group letter but forgets to customize the message. I have received messages addressed to the Editor of Print magazine (never worked for them), or to the Photo Editor (read the masthead please) and my name is often misspelled (check ask.com or google if you don’t have a magazine handy). There’s really no excuse for these types of mistakes if you are trying to persuade the message’s recipient to feature your artwork, or that of your client, or cajole information from them. That’s why I thought the following piece from The Creative Group—while targeted to corporate workers—might provide great advice for all those who send messages on a regular basis.
The following is reprinted with their permission:
Most professionals have experienced at least one cringe-inducing moment after they’ve hit “send,” a new survey suggests. Nearly eight in 10 advertising and marketing executives polled confess they’ve made a mistake when sending e-mail. When asked to name the worst snafu they or others they know have made on the job, the responses ranged from erroneously sending out an employee’s salary information to the entire company to recalling a nasty e-mail about the boss that made its way to top management.
The national survey was developed by The Creative Group, a specialized staffing service providing marketing, advertising, creative and web professionals on a project basis, and conducted by an independent research firm. It is based on 250 telephone interviews—125 with advertising executives randomly selected from the nation’s 1,000 largest advertising agencies and 125 with senior marketing executives randomly selected from the nation’s 1,000 largest companies.
The Creative Group offers the following seven tips to help professionals avoid e-mail errors:
- Give it your undivided attention. Avoid multitasking when responding to important or sensitive messages. If you can’t respond right away, let the person know when they can expect to hear back. Then, compose the e-mail when you’re free of distractions.
- Save the distribution list for last. When writing a confidential or sensitive message, wait until it is complete before carefully selecting the recipients. This will help you avoid sending out an incomplete thought or selecting the wrong individuals.
- Take care with those you copy. Think twice before hitting “reply all,” and only copy people who need to be in on the conversation.
- Review it on a big screen. E-mailing using handheld devices with small screens and keyboards may increase the likelihood of typos and other mistakes. When sending an important e-mail, it can be helpful to view it on a full-size computer screen or use spell-check before transmitting.
- Check attachments. Insert any documents—and confirm that they’re the right ones—as soon as you refer to them in the memo.
- Don’t hit “send” when you’re seething. E-mailing when you’re angry is never a good idea. Give yourself time to cool down before responding. It may be better to speak in person.
- Keep it professional. Bear in mind that electronic messages can easily be forwarded and employee e-mails may be monitored. Avoid saying anything unkind or unprofessional.
The Creative Group has offices in major markets across the United States and in Canada, and offers online job search services at http://www.creativegroup.com.
Blue Moon Studios Blog
Its been a good sign to see more women artists, readers and fans show up at each successive
remember the Papercraft book I told you about a while ago, well my very own copy arrived
Plentiful as Blackberries: Steve Morrison Illustration
The Phantom Darkroom
Henri Matisse in the very decorative corner of his apartment in Nice, France, around 1927.
Hey there! Just wanted to post this new work which I did in commemoration of the upcoming
Origami n' Stuff 4 Kids
Classic Pinwheel for your pencil eraser. Not suitable for young children.Difficulty:
Between Heaven and Earth: An Illuminated Torah Commentary
Artist Ilene Winn-Lederer's conception of Between Heaven and Earth: An Illuminated Torah Commentary had its roots in the unique invitation she designed for her son's bar mitzvah in the 1980s. She focused her studies and skills on the subject for five years, producing a unique 192-page book that illustrates the first five books of the Bible, the Torah, with 108 full-page color illustrations. Published by Pomegranate Communications Inc., the hardcover smyth-sewn casebound book, with jacket is $45.
If you have received an award, published a book or have other exciting career news, please email firstname.lastname@example.org.