Showing posts with label Scientific Illustration. Show all posts
Showing posts with label Scientific Illustration. Show all posts

Wednesday, May 31, 2023

Cyber Canvas: Safeguarding Our Digital Nucleus in an Evolving Online Landscape

As an artist coaxes life from the austere medium of marble or a scientist awakens inquiry through the microscopic dance of cells, so too must we consider our digital imprint on the world wide web. A website, much like the nucleus of a cell, forms the crux of this complex tableau, defining, structuring, and fundamentally giving essence to our online identity. This isn't an analogy drawn frivolously; rather, it draws deep parallels with the magnificent designs of life. The nucleus is the cell's center, and it is filled with DNA blueprints that direct its function and purpose. A website is a meticulously curated digital fulcrum of our virtual existence, broadcasting our passions, capabilities, and contributions in a complex lattice of text, graphics, and links with code. On a website, we communicate who we are and what we do, shaping how the digital world perceives and interacts with us. Therefore, crafting this digital nucleus becomes an act of expression, blending the precision of science with the depth of art as we craft a coherent, authentic, and engaging narrative of our identity in the vast virtual cosmos.


This is an acrylic painting by artist Dawn Hunter of two dancers doing the tango in a cell body.

Dawn Hunter, Cell Block Tango Embrace, board, 12" x 17.5"
 

The sanctity of our online nucleus, our website, is non-negotiable. Just as a biological cell enforces a membrane barrier against invading pathogens, the integrity of a website's domain needs safeguarding against digital marauders. These agents of chaos, armed with malevolent intent, seek to infiltrate our digital identities, corrupt our narratives, and compromise the authenticity of our self-expression. Thus, prioritizing domain protection is akin to maintaining the cellular health in a biological context. Ensuring robust security protocols, utilizing cutting-edge encryption, and regularly updating safeguards not only preserves our artistic or scientific endeavor in the virtual realm, it also guarantees the trust of those who interact with our domain. Much like an art historian would painstakingly preserve a masterpiece, or a biologist would protect a specimen, we must similarly guard our digital presence from degradation and corruption. The fortress we build around our online nucleus thus becomes a testament to our commitment to digital security, the preservation of our identity, and the respect for the spaces we inhabit and share in the digital universe.

As we navigate the nuanced landscape of digital presence, it's essential to understand the interplay between domain ownership and website hosting—two fundamental elements that, while closely intertwined, serve distinct functions. This distinction is akin to the difference between owning a precious artwork and having a secure gallery to display it. Domain ownership is your claim on a unique address on the web, your 'digital real estate,' if you will. It's the URL that directs users to your piece of the internet, much like the title of a painting guides art enthusiasts to a specific work. Website hosting, on the other hand, is akin to the gallery space where the artwork resides. It's a service that provides the infrastructure needed to display your website - the content, images, and features - on the internet. The domain brings your audience to your door, but it's the hosting that allows them to interact with everything inside. Both are indispensable in shaping and presenting your online identity, requiring strategic investment and judicious management for an engaging and secure online presence.


This is a landscape study of Ayerbe, Spain.

Dawn Hunter, Landscape ideation sketch of Ayerbe, Spain, 12" x 12"

In the evolving digital landscape, the tactics employed by hackers have transformed into an intricate dance of deception, impersonation, and technical prowess. Their techniques echo the sophisticated forgeries of the art world, and just as the untrained eye may be fooled by a counterfeit, even the most seasoned online denizens can fall prey to such exploits. Recent developments have seen hackers impersonating reputable domain ownership and website hosting platforms, producing convincingly disguised emails to lure unsuspecting users into divulging sensitive information. This constitutes a form of phishing, where these digital miscreants masquerade as trusted entities, exploiting our reliance on these platforms and threatening the sovereignty of our digital nuclei. The deception is so intricate, the mimicry so convincing, that it lures the unwary into a dangerous game of trust, placing not just our personal data, but the very ownership of our online domains at risk. This digital art of deception, much like the craft of a master forger, is targeted towards creating opportunities for theft, underscoring the necessity of constant vigilance and fortified safeguards in our interactions with the digital world.

Should you find yourself ensnared in such an unscrupulous situation, it's essential to recall several key principles to safeguard your digital fortress. Firstly, remember that legitimate platforms hosting your domain or website will never request sensitive information pertaining to domain ownership via email. Their integrity is akin to that of a respected museum, preserving, not violating, your trust. 

Secondly, if you own a premium website, like, for example, www.dawnhunter.com, no authentic platform will ever propose to auction off your domain, or cite its premium status as a reason list it in order to gain valuation insight on another platform. It's your masterpiece; they're simply the custodians.

Thirdly, it's imperative never to respond to or click on links within suspicious emails. Much like you wouldn't touch a fragile artifact in a museum without gloves, interacting with phishing emails can lead to irreversible damage. If you receive an email that looks authentic but raises suspicion, directly contact the supposed sender, such as your domain hosting or parking service, to verify its legitimacy. Never underestimate the power of double-checking, just as an art historian would verify a work's provenance.

Always ensure your domain remains locked, acting as the robust security system that protects valuable artworks in a gallery. If you observe dubious activity, it's not only permissible but encouraged to report such instances to ICANN or your local authorities. Like alerting museum security to potential threats, this proactive step can help maintain the security of the broader digital landscape, preserving the sanctity of our collective online expression.

In conclusion, our journey through the intersections of digital domain ownership, website hosting, and cybersecurity echoes the intricate choreography of The Dance: A Cell Block Tango Biological Pun, my recent artistic endeavor. This series, features figures emerging in the cell membrane, the nucleus, and the cytoplasm, and the inclusion of a painting from this series (along with a composition ideation landscape) in this article symbolizes the delicate balance we must maintain in crafting, curating, and safeguarding our digital identities. Like the dance of the cell, our online existence is a continuous ballet of expression, interaction, and vigilance. Our website—the nucleus of our online identity—demands the same respect, care, and protection as a cell in preserving life's vitality. It's essential to remain mindful of our potential challenges, understand the art of deception in the digital landscape, and equip ourselves with the knowledge and tools to protect our precious digital domains. In the end, our online presence is a canvas upon which we paint our intellectual, emotional, and creative identities; a masterpiece worth safeguarding with as much fervor as any priceless art or groundbreaking scientific discovery.


Tuesday, April 25, 2023

In Line with Nature Juxtaposition: A Mixed Media Drawing Adventure with Line, Shape, and Texture - Inspired by Cajal's Observations

Santiago Ramón y Cajal, the renowned Spanish neuroscientist, created an extraordinary body of work that showcased his unique ability to observe and record the intricate details of nature through drawing. Instead of approaching his drawings from a designer's perspective, Cajal relied on perceptual observation to uncover the inherent design of nature. His drawings served as a tool to observe, discern, and recount microanatomy structure, capturing the essence of nature's complexities with actual lines and implied space. Cajal's artistic philosophy centered around the belief that he was at the service of nature – recording and reporting the truthfulness of sight's journey.

Inspired by Cajal's attention to detail and descriptive lines, this blog post will explore an exciting mixed-media drawing assignment that encourages artists to closely observe and capture nature's beauty through line, shape, and texture. We'll explore the role of line variation and texture in adding visual dynamism and the importance of capturing the inherent "movement" or "gesture" of your chosen object. So, let's embark on this artistic journey together and uncover the truthfulness of sight's journey, just as Cajal did.




Artist Dawn Hunter's study of Cajal's scientific drawing at the Instituto Cajal, Madrid, Spain.

Introduction 


Nature has always been a source of inspiration for artists. In this blog post, we will explore an exciting mixed-media drawing assignment that brings together found objects from nature and your creative inventiveness. This project will utilize line, shape, and texture to create a captivating and descriptive piece. We'll also study the role of line variation and consistency in adding visual dynamism and the importance of capturing the inherent "movement" or "gesture" of your chosen object. So, let's dive into the details and embark on this artistic journey together!




Above, Dawn Hunter's study of an original scientific drawing of Cajal's housed at the Instituto Cajal. Photo © by Dawn Hunter.



The Assignment


Our goal is to create a mixed-media drawing that incorporates a found object from nature, juxtaposed and overlapped with imagery from one of your shape and texture inventories. The final piece should demonstrate your ability to engage the edges of the composition fully, create a descriptive drawing with overlapping images and lines, experiment with the juxtaposition of shape and texture, and participate in a visual critique process.

Materials You'll Need:

  1. Found object from nature
  2. Charcoal
  3. Pencils
  4. Ink
  5. Two sheets of 18" x 24" drawing paper

The Process: Begin by developing four thumbnail sketches on a quartered sheet of paper. These sketches will serve as the foundation for your final piece, so be sure to measure and divide the paper evenly using a ruler or by neatly folding it. 



Above, Renee's thumbnail drawings, pastel, marker, charcoal, India ink and graphite on paper, 18" x 24."



This is an image of four thumbnail drawings for professor Dawn Hunter's In Line with Nature Assignment.

Above, Cisnes Idrovo's thumbnail drawings, marker, charcoal, India ink and graphite on paper, 18" x 24."




This is an image of four thumbnail drawings for professor Dawn Hunter's In Line with Nature Assignment.

Above, Katlin Jeffcoat's thumbnail drawings, pastel, marker, charcoal, India ink and graphite on paper, 18" x 24."



Once your sketches are complete, select one to develop into your final drawing. As you work on the piece, consider the following strategies and questions:

  1. Composition and Format: Pay close attention to the edges of the composition and the placement of your found object. Consider whether a vertical or horizontal format would be more visually pleasing.
  2. Line Variation and Texture: Experiment with overlapping lines, varying their size, direction, speed, and degree of value. This technique will enhance the illusion of texture, adding depth and descriptiveness to your composition. Reflect on how line variation and texture contribute to visual dynamism in your artwork.
  3. Capturing Gesture and Movement: Think about the dominant "gesture" or "movement" inherent in your found object – if it were moving with velocity in a particular direction, which way would that be? Consider the factors that created this movement, such as the growth of a branch or the impact of wind. Contemplate the effects of enhancing this movement with texture and line direction to create a more engaging and visually striking piece.


This is a final project Studio Art, mixed media, nature drawing project created by artist Dawn Hunter for her Foundations class.

Above, Renee Kinney's final drawing, graphite, India ink, charcoal and pen, 18" x 24."


This is a final project Studio Art, mixed media, nature drawing project created by artist Dawn Hunter for her Foundations class.

Above, Cisne Idrovo's final drawing, graphite, India ink, charcoal and pen, 18" x 24."



This is a mixed media drawing exploring pattern, line and texture of a natural object.

Above, Katlin Jeffcoat's final drawing, marker, pen, India ink, and graphite on paper, 18" x 24."


Conclusion


This mixed media drawing assignment is an excellent opportunity to explore the natural world and develop your artistic skills. By focusing on line, shape, and texture, as well as considering visual dynamism and the inherent movement of your chosen object, you'll create a unique and descriptive piece that showcases your creativity and highlights the beauty of nature. So, gather your materials, venture outdoors to find your inspiration, and start sketching your way to an unforgettable artistic experience!


To view more examples of this project, visit my teaching portfolio website, here.



This is a texture inventory drawing study from artist Dawn Hunter's Foundations class.

Above, Katlin Jeffcoat's Texture Inventory drawings, India ink, graphite, and charcoal on paper, 18" x 24." project based on Mary's Stewarts Texture Inventory exercise.


This is a shape inventory drawing study from artist Dawn Hunter's Foundations class.

Above, Cisne Idrovo's  Texture Inventory drawings, India ink, graphite, and charcoal on paper, 18" x 24." project based on Mary's Stewarts Texture Inventory exercise.


This is a texture inventory drawing study from artist Dawn Hunter's Foundations class.

Above, Renee Kinney
's  Texture Inventory drawings, India ink, graphite, and charcoal on paper, 18" x 24." project based on Mary's Stewarts Texture Inventory exercise.


Sunday, May 1, 2022

Happy 170th Birthday Cajal!

Happy Birthday Cajal, you are my world, and your discoveries laid the foundation for many other research quests of the mind. 

Cajal within the pyramidal neuron cells, marker and pen on paper. This is a page from my sketchbook.


Since your contributions to the neuron doctrine the have been too many neuro/mind research questions and discoveries to list. But here are a few.

"Split-brain" surgery to control epileptic seizures was performed by Willian Van Wagenen in 1940, and during 1946 Robert Heath carried out deep brain stimulations. 

My recreation of Cajal's black and white self portrait photograph, marker and pen on paper. I observed the primary source while completing my Fulbright Fellowship at the Instituto Cajal, Madrid, Spain and I drew this work from direct observation. 


Eugene Aserinsky discovered "rapid eye movement" (REM) in 1953 and that those movements correspond to certain dream states. 

My recreation of Cajal's drawing of a retina, marker and pen on paper. I observed the primary source while it was on display at the John Porter Neuroscience Research Center at the NIH and drew this work from direct observation.


Roger Sperry and Michael Gazzaniga discovered that the two hemispheres of the human brain are unique and functionally different.

A sketchbook drawing of "...Buds budding, roots rooting and taking root -- Ha, some studio humor within my new series." Cajal branching out, acrylic and ink on paper. This is a conceptual work in which I referenced self portraits created by Cajal and my own research drawings of this work.


Based on blood flow, Seiji Ogawa measured functional MRI brain activity. The plasticity of the adult human brain was proven by Vilayanur Ramachandran in 1994, and Jin Hyung Lee discovered that high and low frequency stimulations generate unique and varied states of consciousness in the brains of rats.

My world of Santiago Ramón y Cajal, this is a photo of a wall in my studio covered in my drawings of and about Cajal.

Wednesday, March 23, 2016

The Arte Corporis

"The Arte Corporis: Exploring the Anatomical Body exhibition will showcase anatomically and medically inspired contemporary art including drawing, painting, and ceramics. The artists in the exhibition employ their own connection to the study of medicine and anatomy through a wide range of applications and approaches."

I currently have fourteen drawings, that explore Santiago Ramón y Cajal's scientific drawings, on display in The Arte Corporis:  Exploring the Anatomical Body  exhibition in the McMaster Gallery housed in the School of Visual Art and Design at the University of South Carolina, Columbia, SC.  The drawings of mine on display are works that I created while at on-site visits at the NIH.  Scientific drawings by Ramón y Cajal are currently on display at the John Porter Neuroscience Research Center. To understand his scientific drawings and how they are put together, I have been making regular trips to the NIH so that I can draw the actual works.

Other artists in the exhibition include Melissa Gwyn, Lisa Temple Cox, and Mallory Wetherell.  This exhibition is held in conjunction with the symposium, organized by Dr. Andrew Graciano, Art, Anatomy and Medicine since 1700, hosted by the Columbia Museum of Art from March 31-April 1, 2016.  The closing reception for The Arte Corporis will be March 31, 2016 from 5:30-7:30PM.  The McMaster Gallery is located on the first floor of the School of Visual Art and Design, McMaster College @ 1615 Senate Street on the USC campus.  For more information about the exhibition contact McMaster Gallery Director, Shannon Rae Lindsey, email:  slindsey@email.sc.edu or by phone:  803-777-5752.  

Below are some photos of the show.


A visitor looks at Lisa Cox-Temple's work, right.  The display of my drawings are on the left.



The display of my drawings in the show.


A closer view of the display of my drawings in the show.



Detail, of one of my works from the show.


Melissa Gywn's work, left and two works by Mallory Wetherell, right.

A work by Mallory Wetherell.

A work by Lisa Temple-Cox.

Three works by Lisa Temple-Cox

Two works by Melissa Gwyn.