From the Co-Editors In This Issue: Presidential Address . . . . . . 3 AMI ...

Vol. 49, Issue 3, Fall 2008 

Above: Illustration by Andrew Swift, winner of the Ralph Sweet Member’s Choice Award, 

Fertility and the Fallopian Tube. Below: detail 

From the Co-Editors 

This issue marks our first effort in 

Co-editing the AMI news. It’s been a great 

learning experience and a wonderful way 

to communicate with our membership. 

Our goal as editors is to communicate the 

eclectic nature of our organization by 

offering a medium to share techniques, 

opinions, show work and become familiar 

with one another. 

You’ll notice we’ve restructured the 

newsletter by dividing it into sections 

including Government, Awards, Columns, 

and Members Interest. Within the Column 

section are various, continuing topical 

articles solicited from our membership to 

expand the content of the newsletter. We 

would like to continue involving more of 

our members, from student and emeritus 

members to active professionals, in new 

and creative ways by publishing collected 

commentaries, spot-art, and new articles. 

We offer our sincere thanks to Ted 

Kucklick for photographing the meeting 

and to the rest of our members who 

provide photos including: Jim Perkins, 

Gary Lees, Ophelia Lee and 

R. Michael Belknap. 

We’d like to call your attention to our 

request for submissions. Most important: 

we sincerely hope you enjoy this issue, 

Zina Deretsky and Lydia Gregg 

In This Issue: 

Presidential Address...... 3 

AMI Awards.............. 6 

New Feature Columns: 

From Your Board.. . . . . 4 

Book Review.. . . . . . . . 13 

Techniques. ......... 14 

Recent Graduate 

Perspectives ......... 15 

View From the 

Crow’s Nest .. . . . . . . . . 16 

Purse and Gavel...... 17 

On Stage. ........... 20 

and much more...

2 

Co-Editors 

Zina Deretsky and Lydia Gregg 

Graphic Design 

Alan Lapp 

Lydia Gregg 

Leslie Leonard 

Mike Konomos 

Advertising 

Annie Gough 

Editorial Review Board 

Anne Erickson 

Margot Mackay 

John Harvey 

Contributors and Feature Editors 

Michael Belknap 

Carl Clingman 

Sam Collins 

Zina Deretsky 

Donna DeSmet 

Patty Gast 

Chris Gralapp 

Lydia Gregg 

Jill Gregory 

John Harvey 

Tonya Hines 

Jane Hurd 

Gary Lees 

Margot Mackay 

Jim Perkins 

Tim Phelps 

Edith Tagrin 

Cynthia Turner 

Christine Young 

Executive director 

Vanessa Reilly 

The Association of Medical Illustrators 

assumes no responsibility for statements 

reflecting the opinions submitted by individual 

members published in the AMI News. The AMI 

News (ISSN # P-179) serves as a forum for the 

thoughts of its members as well as a vehicle for 

reporting news events and the proceedings of 

the Association’s committees. 

Postmaster, send address changes to: 

Association of Medical Illustrators 

Allen Press, Inc. Association Management 

810 East 10th 

Lawrence, KS 66044 

Letters Policy 

Letters printed in the AMI News do not 

necessarily reflect the editorial position of the 

AMI News or the opinion of the Association of 

Medical Illustrators. Letters should be sent via 

e-mail to the editor, must be exclusive to the 

AMI News and must include the writer’s full 

name, address and daytime telephone number. 

The editorial review board of the AMI News 

reserves the right to condense letters. 

An Interview with Past Newsletter Editor: John Harvey 

by Zina Deretsky 

QQHow long have you been involved with 

the Newsletter? 

AABack in ‘97 I wrote my first article for 

the AMI News, covering the Atlanta 

Conference. Following that, then-editor 

Anne Erickson asked me to help with 

her brainchild, Winning Ways. Taking 

over as editor happened a few years 

later, in 2002. 

QQWhat got you interested in it to begin 

with? 

AAI wanted to have a connection with the 

AMI: while working across the border, 

I could still familiarize myself with 

AMI members and their work. 

QQWhat is your fondest memory of your 

work with the newsletter? 

AAMy fondest memories all involve 

receiving positive feedback from 

readers and the editorial review board. 

QQWhat are you most proud of in your 

time at the newsletter? 

AAI’m proud that I persevered when 

initially no template was provided and 

I had to re-create some kind of 

document from scratch, having no 

design background. On top of that, 

there was pressure to cut costs, with 

cheaper printing, followed by a period 

of near-invisibility when a print/ 

mailing budget was unavailable. 

Thankfully there is renewed interest in 

the AMI News and an adequate budget 

is re-surfacing. 

QQWhat would you like to see in the 

newsletter in the future? 

AAI’d like to see a column on techniques, 

with accounts of on-the-job 

experiences, embellished with tales of 

personality conflict! 

Newsletter Submission Guidelines 

If you are interested in submitting material 

or would like to speak with us and ask 

questions; please contact us with your ideas 

at: Zina.Lydia.Newsletter@gmail.com 

We’re looking for a half page to a full 

page or about 750 words per article on 

topics of your choice. Accompanying 

image files must be 350 dpi, no smaller 

than 2.5" x 2.5". 

QQWhat are your 

favorite 

periodicals 

outside of the 

newsletter? 

AAOutside of the 

AMI News, I 

read Outpost, an 

adventure travel 

magazine, and 

Canadian 

John Harvey 

Geographic, 

with an occasional disgusted glimpse 

at Details if my partner has picked up 

a copy. I get my culture fix by listening 

to Leonard Lopate on WNYC. 

QQWhat are the greatest challenges of 

working with the newsletter? 

AAThe greatest challenge was never really 

knowing whether it was serving its 

purpose. Outside of a handful of 

supporters, to whom I’m deeply grateful, 

readers’ silence was deafening at times. 

QQWhat is your work outside of the 

newsletter, and how did you balance 

the two? 

AAI freelance full-time: once a window of 

opportunity appeared close to the 

deadline and the majority of 

submissions had arrived, I’d set aside a 

weekend or several weeknights and just 

make it happen. 

QQWho or what is our champion in time 

of newsletter crisis? 

AAMy champion in time of crisis was 

Anne Erickson. She was fantastic, a 

real mentor, always very supportive 

and hawk-eyed with her reviews. In 

keeping with tradition, your champion 

would be... me! I’ll do my best to rise 

to the occasion. 

Dates: All materials must be submitted 

by Mon. Dec. 1st 2008. 

Like to doodle or cartoon? We’d love to 

include these and other small sketches in 

our newsletter. Please send your images 

to the address above if you’re interested 

in having them published. Images must 

be 350 dpi for color or tone and 1200 dpi 

for B/W line, no smaller than 2.5" x 2.5". 

We look forward to hearing from you! 

AMI News, Fall 2008

Government 

The 2008 AMI Presidential Address 

Delivered on July 21, 2008 in Indianapolis, IN at the 67th Annual Meeting 

by R. Michael Belknap, President 

I would like to begin by thanking Gary 

Schnitz and his team for hosting this 

year’s AMI conference. Every conference 

has its own unique and special qualities 

that separate it from other AMI 

conferences. This year’s conference is 

without exception, and will stand among 

the best to remember. So again, thank 

you INDY team for your dedicated and 

selfless support. 

In preparing for this address, I reflected 

over the past 33 years (yes, that’s correct I 

graduated in 1975 – the year of the Leroy, 

3M Color Key, Kroy machine, press-on 

type and the supply list goes on). Apple 

and PC computers, Adobe Illustrator, 

Photoshop, Lightroom, the hundreds of 

other digital products and the vocabulary 

that accompanies them were yet to come. 

As I contemplated over many varying 

themes for this talk, I kept centralizing on 

how much effort and the hundreds of 

hours our many committees have 

dedicated to the AMI. So I decided to be a 

little different this year by not being too 

prophetic or looking into my digital crystal 

ball to project into the future. I’d like to 

take a more traditional approach and share 

with you some of the AMI’s 

accomplishments and the workings behind 

the scenes over the course of last year. To 

springboard my presidential address I wish 

to set the stage with another presidential 

address I heard some years ago, with the 

speaker’s permission. 

However, first let me set the stage; I 

have a story that will most likely sound 

very close to many sitting in this 

audience today! How did I learn about 

medical art? What began my pursuit to 

become a medical illustrator? My 

introduction to the field of medical 

illustration was in my first year biology 

class. I was studiously drawing my 

dissections of Squalus acanthus (Spiny 

Dogfish Shark) to help me remember 

the anatomy when my biology professor 

commented on my drawing ability and 

suggested I look into the field of 

medical illustration. I knew nothing 

about this field, but did my research, 

and the rest is history. 

What is important in 

this short story is that 

an opportunity was 

afforded to me. 

Through my 

professor’s suggestion 

I could fulfill a desire 

by combining my 

love of art with 

science. But it did 

take some courage to 

pursue a profession 

that I knew little or 

nothing about. I was 

competing for one of 

five seats at the 

Medical College of 

Georgia. What would 

I have done if I were not accepted? There 

was another opportunity: a vacation in 

Southeast Asia at Uncle Sam’s expense, 

but that was not a very appealing 

alternative. Thank goodness, I was 

accepted to MCG and I did not take that 

vacation in Southeast Asia. Instead I went 

to Landstuhl, Germany to the 26th 

Medical Illustration Detachment, but that 

is a story for another time. 

You have heard me say three words thus 

far, OPPORTUNITY, FULFILLMENT, 

and COURAGE. Let me focus on these 

words. In 2001 I was the Chair of the 

Board of Governors (BOG) and Gary 

Lees was President. In his 2001 

Presidential address he challenged every 

AMI member with three tenets: 

Opportunity, Fulfillment, and Courage. 

I want to look back on this challenge and 

see how we, as an organization, have 

stepped up to the plate and incorporated 

these three tenets into our busy AMI 

lives. But first let us go back to Chicago, 

July 16–19, 1945, and restate the 

objectives of our organization that our 

founders established: 

The objectives of the Association are to 

promote the study and encourage the 

advancement of medical illustration and 

allied fields of visual education, to 

promote understanding and cooperation 

with the medical and dental professions 

President R. Michael Belknap testing out the Heart Bike. 

Photo: Ted Kucklick 

including public health and nursing, and 

to advance medical illustration. 

Sixty-three years later, July 20, 2008, I 

stand before you and I can say that our 

Association still supports these same 

objectives and much more. In 1997 David 

Rini, Chair BOG, stated: 

We are in the midst of a very pivotal era. 

Computers have irreversibly changed the 

way we view our profession and in some 

cases, the way we practice our art. The 

world wide web has not only given us a 

new resource, but an entirely new 

medium to reach an audience. 

Today, eleven years later, we find 

ourselves in the very midst of another 

pivotal period in the history of the AMI; 

artist rights issues are taking center stage, 

specifically those surrounding ownership 

of your intellectual property, copyright, 

and orphan works. Look at how much 

easier it is to publish and expose your 

work to a larger audience via the WWW 

and how much easier it is for the 

unscrupulous to steal your work. These 

are troubling and challenging times! THE 

GOOD NEWS is that we have banded 

together to confront these many 

challenges. I would like to think that this 

is an opportunity to educate the masses. 

In this case, the audience is Congress and 

your state representatives. You heard the 

many initiatives that have taken place 

thus far during the Members’ Forum. We 

continued on p.4 

AMI News, Fall 2008 3

Presidential…continued from p.3 

have gotten our name out to the media 

and let people know that there is a field 

known as medical illustration and there 

are medical illustrators. President Lees 

was very prophetic when he stated; 

…there are many uncertainties – from 

financial issues in health care to spins in 

technology; from legal confrontations 

with those who should represent us – the 

course of each path is unclear. I don’t 

have clairvoyance however, I do know we 

must band together, create alliances, and 

heed opportunity in our search for the 

best approach to move forward. 

And we have banded together and created 

alliances. These pivotal events are 

bringing us closer together as an 

organization and with other communities 

of illustrators across the United States. To 

this end, we aligned ourselves with the 

Illustrators Partnership of America—IPA 

in 2001 and more recently the American 

Society of Illustrators Partnership—ASIP. 

Yes, we have banded together and we are 

making great strides with many 

opportunities along the way. 

First, I would like to thank the members 

of the Board of Governors who have so 

diligently served the AMI and fulfilled the 

need for leadership. In addition, you may 

From Your Board 

by Chris Gralapp, BOG Parliamentarian 

The workings of the AMI Board of 

Governors can seem mysterious at times; 

a little blue sky is occasionally in order to 

keep the members current and informed. 

Being Immediate Past Board Chair, and 

therefore a consummate expert (!?) in 

Board doings, I thought I would interview 

someone near at hand—myself—to shed 

some light on this important part of the 

AMI mechanism. First, a few factoids: 

There are 17 Board members: 

❖❖ 12 Governors (including 3 elected per 

year for 4-year terms, Board Chair 

and Vice Chair) 

❖❖ 2 Elected Officers (Treasurer and 

Secretary) 

❖❖ 3 AMI Presidents (past, present and 

president-elect) 

❖❖ 1 non-voting Executive Director 

There are 2 Face-to-face Board meetings 

per year, in July and in February 

4 

not know it, but the AMI has 

approximately 45 committees with 45 

chairs and 45 opportunities to serve your 

organization. I would like to thank each 

committee chair and their teams for 

stepping forward and fulfilling a need. 

Hopefully, you did this because you 

wanted to, but it does take some courage 

to get involved in these opportunities. 

There is a fine line we walk, or think of it 

as a balancing act between work, family, 

social life, church, scouting, and all the 

other activities we are involved in. Yet we 

can still squeeze time in for the AMI. 

Where in the world do we find the hours 

in the day to get it all done? 

In President Lees’ closing presidential 

address he stated, “My Challenge for you 

is to help us embrace courage, to act by 

seizing opportunity, to reach out to other 

illustrators, and to band together.” 

And I say to you, carpe diem, “seize the 

moment.” The AMI membership has 

stepped forward and seized many 

opportunities as challenged by Past- 

President Lees back in 2001. 

If you are a student of Yoga then you may 

know the teaching of the Tao Te Ching. 

The Tao speaks of change (opportunity, 

fulfillment, courage) as a metaphor in the 

following way: 

CG: What does the Board do, and 

why should I care? 

cg: I never cease to be amazed at the 

amount of business our small 

organization generates in a year: from the 

routine to the extraordinarily complex. 

The Board takes up the difficult issues on 

behalf of the members, who have 

entrusted the Board the weighty policy 

and fiduciary issues that arise. The 

Board: 

❖❖ manages and disburses AMI funds 

❖❖ institutes and administers the many 

AMI committees, approves the 

budgets for the AMI and for the AMI 

Meeting 

❖❖ takes up business which affects the 

membership and organizational policy 

❖❖ determines how the AMI will be 

presented to the world via various 

media 

Men and Women are born 

soft and supple; 

Dead, they are stiff and hard. 

Plants are born tender and pliant; 

dead, they are brittle and dry. 

Thus, whoever is stiff and inflexible 

is a disciple of death. Whoever is soft 

and yielding 

is a disciple of life. 

The hard and stiff will be broken. 

The soft and supple will prevail. 

Embrace change, stay flexible, step 

forward, challenge yourself, challenge the 

organization and work together for the 

success of the AMI. If you are not sure 

how to get involved contact Wendy Hiller- 

Gee, Chair BOG, or President-Elect, Mark 

Lefkowitz, who is heading up the 

Mentorship Program, or ask a friend that 

is presently serving on a committee. You 

all know what challenges lie before us, just 

remember that you are all highly talented 

and creative individuals with unique skills 

that are needed and sought after. Stay 

together, work together, and the AMI shall 

persevere through whatever comes our 

way. I am very proud and honored to have 

had the pleasure in serving as your 

president. Thank you. 

Board members take the long view, and 

are charged to consider the membership 

in every decision we make: Will this help 

the members? Will it further the goals of 

the AMI? Will it promote the profession 

of medical illustration? 

CG: What’s the EC? 

cg: The Executive Committee is a smaller 

body made up of the Officers (Chair, 

Vice Chair, Secretary and Treasurer), the 

three presidents and the Executive 

Director. The EC takes up AMI business 

throughout the year, makes mid-level 

decisions about policy that does not 

require a Board vote. It also makes 

recommendations to the Board for those 

items that need higher level attention and 

a vote. The EC helps expedite the work of 

the larger Board. 



News from the Nominating Committee 

by Tim Phelps, Chair of Nominating Committee 

Self-Nomination for the Board 

of Governors 

Your Association needs you! As the 

Chair of Nominating, I encourage each of 

you to get involved with the AMI. Many 

of you presently serve on or chair 

committees and we thank you for your 

efforts. We are looking for forward 

thinking, creative and energetic 

individuals to further guide our 

profession with service on the Board 

of Governors. 

Self-Nomination by the membership is a 

viable means for our association to be 

more inclusive and to better nurture and 

mentor qualified individuals to assist in 

the leadership of the AMI and to guide 

the forward progress of our profession. 

Any professional member can nominate 

himself or herself for a governor position. 

The criteria for consideration will remain 

unchanged from the previous selection 

process, only the process of garnering 

potential candidates has changed. 

All board candidates must have been a 

professional member for at least 5 years 

and have accumulated at least 200 

fellowship points through volunteerism 

from committee work or other service to 

the association. Salon entry points can be 

included in this total but should not make 

up more than 1/3 of the total point 

tabulation. There are no restrictions on 

the number of times an individual can 

submit his or her name for consideration, 

Board…continued from p.4 

CG: How do I get my issues 

addressed by the Board? 

cg: The Board operates behind the 

scenes, but not behind closed doors. All 

members may attend a Board meeting— 

and when they do, they will observe a 

very deliberative process. No decision is 

made lightly—it is thoroughly explored 

from many points of view, providing a 

quality assurance measure. Alternatively, 

you may approach any Board member 

with a suggestion, a grievance, or even a 

compliment, for communication to the 

Board. Every Committee is assigned a 

Board liaison, who can bring business to 

the Board. Members should not hesitate 

to air their issues. 

should that person not be elected; they 

are encouraged to resubmit their name in 

the following years, but, must do so as 

the process will not be automatic. 

Potential candidates will be considered 

for the Board of Governors through 

online individual submission to Central 

Office and/or other means by direct 

contact with the Nominating Committee 

Chair or current AMI Leadership by 

January 5th of the Ballot year. 

Candidates will be reviewed by the 

Nominating Committee, ranked on 

fellow points and AMI committee 

participation and forwarded to the 

Interim Board Meeting for Ratification. 

When possible, two names will be 

submitted for each board vacancy. 

Approved names will be added to the 

ballot. Selected nominees then prepare 

their bio/CV and mission statement for 

publication in the AMI News Election 

Issue, published in May of the ballot 

year. Nominees are voted on by the 

membership through online voting, mail 

or on-site voting at the Annual Meeting. 

So—get a leg up and heed this call to 

arms. Questions or clarification? I am 

encouraging each of you to contact me or 

any present or past Board member, your 

present and past Presidents and Chairs 

about coming aboard. 

The positions of President-elect, 

Treasurer and Secretary will continue to 

be reviewed by the Nominating 

CG: What happens at the Board 

meetings? 

cg: We take up the issues that come in 

from the committees in the form of 

motions. Among those motions we might 

deliberate such things as the details of the 

imminent new AMI website, approve 

budgets, consider accreditation issues, 

Orphan works and Reprographic rights 

policies, and the happy work of approving 

new members. Watching out for the best 

interests of the membership is the Board’s 

primary mission. 

Watch this space: in future issues of the 

AMI News, you will find summaries of 

the work the Board is concentrating 

on—work that strives to improve the 

professional life of all AMI members. 

Committee and 

the Executive 

Committee and 

will not be 

considered for 

self-nomination 

at this time. 

A Note on the 

Process of 

Electing 

our President 

I'd like to offer Tim Phelps 

point of 

explanation on why there is only one 

candidate for the AMI President. The 

President’s office is considered an 

honorary position based on many factors, 

including prior years of service in 

leadership roles such as being a 

Committee Chair, Board of Governors 

Chair and/or serving on the board as a 

board member. The Presidential 

candidate has been “vetted” as the 

political pundits like to say, through years 

of demonstrated leadership. Once elected, 

the President becomes the voice for the 

profession, for the AMI and its members 

as their advocate. 

The genesis of the decision to nominate a 

single Presidential candidate arose in the 

1990s from years of running equally 

qualified candidates against one another. 

The Executive and Nominating 

committees felt that creating a 

competition between two members who 

had each given so much to the AMI 

resulted in a tough choice for the 

membership, with the possibility of 

devolving into a popularity contest. 

Therefore, the election was changed to 

only list a single candidate in 1997. 

Finally, please be assured that none of the 

appointed positions are taken lightly: all 

candidate credentials are reviewed 

carefully with the needs of the 

association and its membership 

considered priority one! 


Lifetime Achievement Award 

by Donna DeSmet and Christine Young 

It is both an enormous honor and quite 

daunting to introduce this lifetime 

achievement winner. This award 

recognizes the legacy of a longtime AMI 

member who has demonstrated artistic 

excellence, meaningful visual 

contributions to medicine, leadership, 

humanity, humility, service to the AMI 

and is an inspiration to fellow illustrators. 

My advice…fasten your seat belts! 

Named after her great grandmother who 

caught and killed rattlesnakes with her 

bare hands, she was born in a Texas 

petrochemical town to an engineer father, 

an English teacher mother and 

grandparents that included doctors, Latin 

teachers and cattle-ranchers. 

Many of you will identify with some of 

her early childhood idiosyncrasies that 

foreshadowed her future career. She was 

a consummate perfectionist, crafting 

stacks of blocks a certain way, and 

competitively sculpting caves and tunnels 

in watermelon with her sister to see who 

could create the most intricate design. 

Driven to both design and visually 

organize everything, her family chore of 

hanging the laundry became hours of 

careful planning whether to hang it by 

descending size, color progression or 

fabric pattern. She dissected road kill and 

always had a bug collection. She loved to 

draw and her parents recognized her 

talent quite early. 

At age 14, while taking Biology, 

dissecting frogs and loving it, her sister 

came home from college on holiday and 

Jane Hurd. Photo: Ted Kucklick 

6 

described a friend taking a class in 

surgical drawing. The ecstatic Jane 

Hurd went to the high school 

counselor the very next day to look 

up our profession. She remembers 

clearly the day of that decision to 

become a medical illustrator and 

never looked back. It is through 

determination, passion, artistic 

inspiration and attention to detail 

that Jane found her inspiration to 

make a difference in the world… 

she had a passion to teach people 

about their bodies with pictures. 

Jane enrolled in the University of 

Illinois 5-year medical art Bachelor 

program. Julie Allen was Jane’s 

companion throughout UIC’s 

program. They hunted out as many 

autopsies as possible, to see more 

anatomy and pathology first-hand 

to improve their visual 

interpretations: another defining trait of 

Jane—always trying to do something 

better than it had been done before—or at 

least different. These characteristics 

combined with her excellent academic 

performance landed Jane her first job 

with Biagio Melloni at Georgetown 

University Medical Center, in a large 

cutting-edge medical communications 

department that served not only the 

academic institution, but also many 

commercial clients. 

The 1970s were the advent of 

multimedia and audiovisual self-pacedinstruction 

in education, and also the 

rebellion and protest years against the 

war, with a lot of creativity in the arts. 

Jane jumped right on the wave and 

began producing programs. From 1972 

to 1973 as Co-Director, Jane was 

involved in the creation of an 

Audiovisual Self-Instructional Center at 

the GU Medical Center. 

In addition, she was introduced to many 

AMI members through her annual 

meeting attendance and over time began 

to speak at meetings. By 1974 the AMI 

Newsletter described her as the busiest 

participant at the New Orleans meeting 

—demonstrating tone rendering, 

co-producing the “Foot Show”, and 

appearing on a local TV talk show to 

promote the AMI. 

Bacteria of the Colon © National Geographic 1993. 

Illustration by Jane Hurd 

Jane came to the decision to resign from 

Georgetown in 1979 to freelance. 

Over the next 13 years Jane’s clients 

evolved from surgeons and medical legal 

work – to Family Physician magazine and 

National Geographic children’s books, to 

controlled circulation magazines. With the 

help of Lydia Kibiuk, a recent Hopkins 

graduate, Jane painted several permanent 

installations for the Genome Project and 

the National Institute for Child Health and 

Development. As Jane’s style matured into 

a softer, gentler representation of 

medicine, art directors began selecting her 

work for patient audiences. 

A pivotal influence on Jane’s work was the 

painter, Maggie Siner, with whom she 

studied landscape painting in the early to 

mid 1980s. This began a dramatic change 

in Jane’s understanding and use of color. 

The resulting warm light, cool shadow 

muted landscape palette is a hallmark of 

the Jane Hurd style. 

In the mid-80s Jane and her friend, Carol 

Donner, took on the same New York 

agent, Renard Represents. They were the 

only medical illustrators in this rep’s 

stable of top-notch commercial talent. 

One patient education series for Eli Lilly 

on which they worked collaboratively 

won them both a Ralph Sweet Award. 

Through Renard Represents, Jane did 

more pharmaceutical marketing 


illustration as well as educational 

assignments on her own. 

By 1992 Jane’s freelance career was 

flourishing but she was facing airbrush 

frisket-cutting burnout! During the 1992 

Chicago AMI meeting, Bob Demarest 

asked Jane “How would you feel about 

heading up a cutting-edge computer 

graphics department for a daily television 

broadcast of medical news to physicians 

in New York?” 

Jane’s immediate response was, “What? 

Move to New York City? Take a regular 

job? Lose my freedom and the luxury of 

working in sweat pants? NO Thanks!” 

However, a driving force throughout 

Jane’s career has been her ability not only 

to recognize opportunities but also seize 

them despite potential challenges and fear 

of change. 

Six weeks later, even while completing 

award-winning bacteria art for National 

Geographic, Jane was moving to New 

York, to do something she, 

technologically, knew nothing about. In 

October 1992 Jane became Director of 

Design for the Medical News Network 

(MNN). Having never touched a 

computer, Jane made a career decision 

that put her on the bleeding edge of the 

digital revolution. 

A joint venture of Whittle 

Communication, Time Warner and 

Philips Electronics, MNN was a unique, 

innovative interactive daily television 

program for physicians, delivering 

medical news, continuing education, 

convention coverage and additional 

programming directly into physicians’ 

offices via satellite broadcast. Jane set up 

the department, hired the illustration and 

design staff, and art directed all of the 

1-2 hours of programming produced 

daily. 

Jane worked with the production and 

editorial staff to conceptualize, 

storyboard and produce medical 

animations. She battled with the 

producers and writers as she tried to 

educate them that we medical illustrators 

are far more knowledgeable about how to 

tell these stories - that we are indeed 

more than just talented hands. It was at 

MNN that I, Donna DeSmet, was 

fortunate enough to meet and work with 

Jane during my summer internship. 

Unfortunately, MNN went 

bankrupt in August of ’94. It 

is fairly universal that we 

come to find misfortune 

often brilliantly disguises 

tremendous opportunity. It 

took a few months for that 

opportunity to land at Jane’s 

door. 

In November of 1994 Jane 

became the third person 

hired for a new venture, 

Time Life Medical. With C. 

Everett Koop, former US 

Surgeon General, as the 

Medical Director, and additional input 

from thousands of physicians, nurses and 

other medical authorities, Time Life 

Medical produced 30 one half-hour 

educational medical videos to be 

distributed through national drugstore 

chains. 

These ‘At Time of Diagnosis’ programs 

were designed to help patients understand 

the pathophysiology, symptoms and 

treatments for diseases such as infertility, 

Alzheimer’s, back pain and depression. 

Jane had just found her dream job, 

creating a library of high quality medical 

animations to teach patients about their 

bodies for an unrivaled brand. 

As SVP and Executive Art Director, Jane’s 

major contribution was storyboarding, 

scripting, illustrating and art directing a 

team of over 25 artists, designers and 

animators, including Craig Foster and 

myself, to complete over 90 minutes of 

animation for 30 programs, each with a 22 

page illustrated booklet - all within 9 

months. Few medical illustrators were 

proficient in animation then, so Jane often 

found herself art directing animators with 

no medical knowledge. 

Jane’s dream job ended when Time Life 

Medical went bankrupt and closed in 

December 1996. All the equipment was 

put up for sale. Undaunted, Jane took all 

her savings and bought as much of the 

TV and computer equipment that she 

could. She’d had enough of seeing all her 

hard work end up in a dumpster through 

the failure of venture capital start-ups. 

She had seen and learned a tremendous 

amount about the medical animation 

industry; it was time to capitalize on it, 

create a totally new business model and 

put medical illustrators at the top. So, 

Hurd Studios was born. 

Bacteria © National Geographic 1993. Illustration by Jane Hurd 

So we lugged all the equipment to the 

fourth floor of her Brooklyn brownstone. 

First she was contracted by MedCast, the 

predecessor of WebMD, to help with the 

design, launch and first year of operation 

as their Medical Art Director. 

Simultaneously, she was contracted as 

Medical Creative Director for the design, 

launch and medical animation for 

HealthWeek, a new PBS weekly 

magazine show. 

All the while Jane was working out the 

details of starting Hurd Studios with two 

business development partners she met at 

Time Life Medical. In January 1998, 

Hurd Studios secured its first large-scale 

animation project with a leading 

pharmaceutical company and hired its 

first 3D animator. 

A year later, we had more animation 

contracts and 8 people working. Jane and 

her partners had a beautiful animation 

studio built in SoHo’s silicon alley. As 

President of Hurd Studios, Jane provided 

leadership, creative and business 

direction, and a truly educational 

experience for her employees. We worked 

hard but also had tremendous fun. 

With Hurd Studios it was Jane’s mission to 

create an environment that allowed her the 

freedom to set a higher standard of quality 

in medical visualization. From experience 

gained in New York’s television and 

animation production industry, Jane knew 

that medical illustrators, if allowed in the 

driver’s seat, could vastly improve on just 

about every aspect of visual strategy being 

developed by the existing pharmaceutical 

vendors. She turned the business model 

upside down, put art higher on the totem 

pole and medical illustrators in charge of 

content creation. Jane’s business model cut 

out the middle-men and instead went 



Lifetime…continued from p.7 

straight to the top -- to the pharmaceutical 

companies. The model worked! The brand 

teams viewed us as true strategic partners. 

Through this new business model the 

value of our entire skill set was realized 

and respected. 

In late summer 2004, Hurd Studios was 

acquired by Grey Global Group and 

became a division of Grey Healthcare 

Group. Today Hurd Studios continues to 

function as a premier visual science agency 

despite the unfillable void left by Jane’s 

leave of absence last year. Her devoted and 

long-time staff continues to maintain Jane’s 

legacy and lifetime of artistic achievements 

through an unwavering dedication to her 

original mission and objective - to provide 

the highest quality 3D medical animations 

for the world’s leading pharmaceutical 

companies. 

Jane’s career has been truly amazing and 

filled with SO many accomplishments - 

through it all though, it’s ALWAYS been 

about producing QUALITY work, so - this 

is for you Jane… 

ACCEPTANCE SPEECH 

by Jane Hurd 

Thank you, I am honored to receive this 

award. Christine and Donna, thank you 

so much for this thoughtful and thorough 

presentation. 

My career has been quite a trip – 

challenging, wonderful and fun. I have 

been driven by passion and a goal to 

continually find new ways to tell visual 

stories better, with accuracy and beauty, 

and always to challenge the status quo. 

Recently, a student asked me how I kept 

my passion alive for 40 years. I thought 

the answer was obvious, - but replied, 

“it’s just me and my DNA.” Of course, 

along with that DNA comes 

perfectionism, bull-headedness, and a 

rigorous work ethic. So, now, I take this 

opportunity to formally extend my 

deepest appreciation to my family and all 

of you who have worked with me for 

tolerating this tenacity over the years. 

Most of all, I would like to thank the 

Association of Medical Illustrators. I 

could never have achieved my success 

without the AMI and the educational and 

networking venues it provides. The AMI 

is the cornerstone, our family. How lucky 

we are to have this camaraderie. 

8 

George Lynch, Alice Katz, William Stenstrom, Gary Lees, Jane Hurd, Edith Tagrin, Robert Demarest and 

Craig Gosling. Photo: Ophelia Lee 

I owe a huge debt of gratitude to the many 

AMI members who, especially early on in 

my career, provided me with generous and 

ceaseless guidance (and job referrals, no 

less). Thank you, Carol Donner, one of my 

biggest inspirations who blazed many 

trails, and thanks to the greats like Bob 

Demarest, Neil Hardy and the others, too 

many to name. And thanks to the many 

that worked with me during my pre-digital 

freelance years. I owe particular thanks to 

Lydia Kibiuk, my cheerful, energetic and 

talented protégé, and Tomo Narashima 

who generously came to my rescue more 

than once, and to my dear friend, Carrie 

DiLorenzo, who worked tirelessly with me 

for years on the colossal job of creating 

and maintaining the Source Book mailing 

list. 

For my transition into the digital world, it 

took a village. First of all, thanks to David 

Bolinsky, “the Father of Medical 

Animation”, for blazing the animation trail 

in the “digital stone age,” and for setting a 

high standard to follow. Thanks to Bert 

Oppenheim and Craig Foster for your 

excellent teamwork at Medical News 

Network and Time Life Medical. 

Finally, in creating Hurd Studios, my 

very deepest thanks to two incredibly 

talented and dedicated team members 

without whom I could not have 

succeeded. My deepest gratitude goes to 

Donna DeSmet, one of the most brilliant, 

talented, and lightning-fast visual 

problem solvers I know. She engineered 

the animation capabilities of Hurd 

Studios and was my right hand for 14 

years. And to Christine Young, my 

“secret weapon”, whose mind is a 

treasure trove of analytical wonder and 

insight, and who was critical in making 

our leap from “simply artists” to 

comprehensive science content creators. 

And to the many other talents that 

worked with our creative team – Andy 

Wagener, Jason Guerrero, Primo 

Tolentino, Doris Leung, Jodie Jenkinson, 

Meaghan Brierley, and many others, I am 

deeply grateful. Thank you all. 

In conclusion, my proudest 

accomplishment is that Hurd Studios 

created a new business model; the visual 

science agency. We proved that medical 

illustrators have the knowledge, skills and 

capabilities to sit at the table with 

pharmaceutical company marketing 

teams without other vendors in the 

middle. The formula – put medical 

illustrators in charge of all science 

content creation, not just the pictures, but 

the scripts, the message development and 

the use of visual science in various media 

for numerous marketing tactics. And 

though we were initially viewed as very 

expensive for animation, after working 

with us, they understood the value that 

we brought to the table with our unique 

integration of skills and expertise that 

was lacking in other vendors. When 

compared to the “old model,” using 

numerous stratified vendors, our prices 

proved economical. They loved us and 

had tremendous respect for us. This 

model is our future. Medical illustrators 

can and should sit at the table with the 

decision makers and be in charge of 

content, not just pictures. I hope that this 

model lives on. Thank you very, 

very much. 


Max Brödel Award for Excellence in Education 

by Margot Mackay 

It gives me great pleasure 

to introduce this year’s 

recipient of the Max 

Brödel Award for 

Excellence in Education. 

I have known Linda from 

the beginning of her 

Medical Illustration career. 

Entering as a mature 

student, I recognized early 

on that she was a born 

educator! Every project she 

undertook was approached 

in a scholarly manner, well 

researched and analyzed 

for its didactic qualities. If 

Linda had difficulty 

understanding a particular 

concept in anatomy or 

another discipline she 

would come up with a 

visual solution not only to 

increase her understanding, 

but to facilitate her 

classmates’ and fellow 

medical students’ 

comprehension as well. 

An accomplished freelance 

commercial artist and 

sculptor, Linda always had an eye on 

future endeavors. During her 3 years at 

AAM (Art as Applied to Medicine), in 

addition to her student projects, Linda 

found time and funding to produce a 

series of 9 embryological models 

demonstrating early folding in fetal 

development, still used today in Grant’s 

Museum. She initiated a project 

illustrating the cranial nerves, 

subsequently continuing on as illustrator 

and coauthor of the award-winning book 

Cranial Nerves (1988), published in 

several languages and taken to a 2nd 

edition Cranial Nerves in Health and 

Disease (2002), along with publishing a 

companion text, Autonomic Nerves 

(1997). She also commenced work on a 

series of 5 posters on the endocrine 

system, which she later negotiated with 

Sandoz Pharmaceutical to have printed 

and distributed world-wide. 

In 1985, Nancy Joy, the chair of the 

Department of AAM retired the year 

before Linda’s graduation. The University 

of Toronto threatened to dissolve the 

President R. Michael Belknap and Linda Wilson-Pauwels. Photo: Ted Kucklick 

program due to lack of funding and no 

apparent qualified replacement for the 

chair. Linda took on the political powers 

that be and saved the program from a 

premature death. 

She graduated in 1986, and became 

acting chair and director of AAM, a 

position which required a doctoral 

degree. (AAM then offered a Bachelor of 

Science degree.) Undaunted by this task, 

she completed her Master and Doctorate 

degrees in Education in 1989 and 1993. 

Her doctoral thesis “The Development of 

Academic Programs in Medical 

Illustration in North America 1911 

–1991” is a monumental tome tracing the 

roots of the education of our profession. It 

is a valuable document and needs to be 

continued from where Linda left off. 

As acting chair and director, Linda began 

a massive curriculum renewal. Believing 

in a content - rather than media-driven 

curriculum, she set about developing 

courses which would parallel advances in 

medicine, health care and health 

communication. To enhance the scholarly 

activities undertaken by the students, 

many innovative projects 

were added and 

scholarship possibilities 

were initiated. 

In 1987, with an eye on the 

future of emerging 

technologies, she procured 

funding to establish the 

Moore-Decker Macintosh 

computer lab, switching 

the emphasis from 

traditional to digital 

media. 

In 1990, Linda 

successfully negotiated the 

transfer of the Department 

of AAM into a division 

within the Department of 

Surgery. At this time she 

attained the rank of full 

professor with tenure and 

became the chair of the 

Division of Biomedical 

Communications. The 

name change reflected the 

growing use of technology 

in the curriculum. 

Her main goal now was to 

elevate the program to a graduate level, 

which was accomplished in 1995. The 

program was shortened to two years. It 

was at this time an innovative course in 

the Evolution of Medical Illustration was 

added, a subject that has become a 

passion of Linda’s. 

With the growth industry in animation, 

Linda’s sights were now set on 

establishing a liaison with Sheridan 

College’s internationally renowned 

School of Animation and Design. In 

2000, a joint program was established for 

BMC students to enroll in the digital 

animation program. This relationship 

continued for 4 years, during which two 

BMC joint-program graduates were hired 

to take over teaching MAYA in-house. 

Meanwhile, the political landscape in the 

Department of Surgery shifted and in 

2004 BMC found themselves on the move 

to the Institute of Communication and 

Culture, at the UT Mississauga Campus, 

located 25 miles from the downtown St. 

George campus. This move brought new 



Brödel…continued from p.9 

challenges for Linda and her faculty who 

were now expected to teach 

undergraduate courses in addition to 

graduate teaching. New courses were 

developed for the undergraduate program 

in Health Science Communication. 

If all these changes in curriculum, saving 

of programs and shifting of homes were 

not enough, somehow Linda always has 

found time to teach, to write, to illustrate 

and to counsel students and colleagues. 

Her strong belief is that it is not good 

enough to be an excellent illustrator - you 

must substantiate and qualify that, by 

writing about the what, the why and the 

how of your work in a peer reviewed 

journal. This quality earned her a special 

recognition award from the AMI in 2005 

for her contribution to the JBC, not only 

for serving on the editorial board for 

many years, but for her encouragement of 

students and faculty to contribute to the 

Journal of Biocommunication. 

Linda has been extremely successful in 

obtaining grants to fund research 

projects. One in particular stemmed from 

a need to educate her mother, who had 

been prescribed numerous medications 

and was confused as to when to take 

them and what they were for. Linda drew 

simple charts, out of which grew the 

funded project of PharmaPlanner, an 

innovative technology-based medication 

organizer for patients and their healthcare 

providers. 

I want to emphasize - Linda is not 

retiring!!! After 22 years of brilliantly, 

expertly and selflessly guiding 

Biomedical Communications through 

many changes, Linda is stepping down as 

director of the program and passing the 

torch to the capable hands of Nick 

Woolridge. 

Linda has a few things on her wish list: 

to pursue her own research work, to 

continue her travels around the world, 

and finally to be able to get home at a 

decent hour to the two loves of her life, 

her husband Hugh (who deserves much 

credit and gratitude for his patience and 

understanding over all these years) and 

her Yorkshire terrier, Brié. 

Linda, Congratulations !!!!! 

AMI Literary Award Goes to John Cody, MD 

By Gary Lees 

John Cody, MD, received the 

Literary Award this year at 

the annual meeting in 

Indianapolis. This award is 

presented by the AMI for 

outstanding contributions to 

the Journal of 

Biocommunications (JBC). 

Dr. Cody wrote Ranice W. 

Crosby: A Tribute to Fifty 

Years of Teaching in 1993 in 

honor of Ranice’s fifty years 

of teaching. The alumni of 

the Department met in 

Baltimore in June of that year to present 

her with a copy and to celebrate the 

occasion. While the book has been 

available in a very limited edition, it has 

not seen the widespread accessibility that 

it rightfully deserves. John graciously 

agreed to share his book with all of us 

through the two part series appearing in 

Volume 33-2 and 33-3 of the Journal of 

Biocommunications. 

Dr. Cody is often referred to as the 

“Audubon of Moths” and is a true 

renaissance man. Prior to practicing 

psychiatry for 30 years, he trained as a 

medical illustrator under Ranice at the 

Johns Hopkins School of Medicine 

Department of Art as Applied to 

Medicine. Currently he paints the Great 

Ranice W. Crosby and John Cody MD 

Saturniid’s and is an outspoken 

environmentalist. Cody strives to show 

the beauty of all living creatures through 

his paintings of moths in their natural 

environments and to share the drama of 

life through his elegant prose. He is the 

author of seven books including four 

biographies. In addition to the biography 

of Ranice he has authored: After Great 

Pain: The Inner Life of Emily Dickinson, 

Max Brödel: The Man Who Put Art in 

Medicine, and a yet to be published 

biography of Wagner. 

I recently spoke with John, and he 

apologized for not being able to attend 

the meeting this year. He wanted to thank 

the AMI and the JBC for this honor and 

is proud to have shared his great fortune 

of having known Ranice with all of us. 

Help Choose an Eponym for the New Media Awards! 

by Jill Gregory, Co-chair of Awards Committee 

Because of the diverse nature of our salon 

entries, this year the Member’s Choice 

(professional) and Best of Show (student) 

Awards were subdivided into two 

categories each: Still Media and New 

Media. The Still Media categories will 

maintain the eponyms that we have been 

using: The Ralph Sweet Member’s Choice 

Award in Still Media and the Orville 

Parkes Best of Show Award in Still Media. 

We are asking the membership to help 

select eponyms for the New Media 

categories. You may remember that a call 

for nominations was put out last year. 

Several names were put forward. After 

further consideration, the Board decided 

that criteria should be set up to help 

people craft nominations, and to provide 

some consistency in the nominations. 

If you nominated a name last year, your 

nomination is still valid. If, after reading 

the criteria, you want to update your 

nomination, feel free to do so. 

Once the nominations have been 

collected and collated by the Board, a 

slate of names will be presented online 

for a vote by the membership. The 

eponyms of the New Media awards will 

be announced at our meeting in 

Richmond next summer. 

The deadline for all nominations, both 

new and revised, is Friday, November 21, 

2008. In your nomination, please include 

a brief statement of justification and the 

CV of the person you are nominating. 

Submit all nominations to Jill Gregory, 


10 


Salon Award Winners, Indianapolis 2008 

Professional Categories 

Instructional Color 

Will Shepard Award of Excellence 

Scott Weldon, Left Carotid to 

Subclavian Artery Bypass Before Open 

Descending Thoracic and 

Thoracoabdominal Aortic Aneurysm 

Repair Enable Safe Aortic Clamping in 

Patients with Left Internal Thoracic 

Artery Grafts. 

Andy Rekito, Treatment of Unstable 

Thoracolumbar Burst Fractures 

Michael King, Musculoskeletal 

Anatomy 

Instructional Tone 

Award of Merit 

David Cheney, Information About 

Acute Upper and Lower 

Gastrointestinal Bleeding 

Max Brödel Award of Excellence 

Andy Rekito, Vagus Nerve 

Stimulation: Surgical Exposure and 

Stimulator Implantation 


Michael King, Tunneled Tunica 

Vaginalis Flap for Post-TIP Patients 

Instructional Line 


Steven J. Harrison, Right 

Paraduodenal Hernia 

Tim Phelps, Carotid Endarterectomy 

and Re-anastomosis 

Kristen Larson, Treatment Maneuvers 

for Benign Paroxysmal Positional 

Vertigo (BPPV) 

Editorial 


Lydia Gregg, Cerebral Angiography in 

Children 

Marketing/Promotional 


Keith Pavlik and Nucleus Medical 

Art, Nucleus Medical Art Marketing 

Book 

AXS Biomedical Animation Studio 

Inc.: Eddy Xuan and Jason 

SharpeViventia: Biotech Drug 

Discovery Platform 

Medical-Legal 

Award of Excellence 

Knox Hubard, Jr., Head Trauma 

Michael Havranek, Jane Doe's 

Condition in October 2006 


Matthew Whitford, Anterior 

Compartment Muscle Loss Due to 

Necrosis 

Philip Mattes, Initial Right Ankle 

Injuries 

Michael Havranek, Surgery to Repair 

Mr. Smith's Grade III Shoulder 

Separation 

Hardy B. Fowler, Release of Septal 

Scarring and Lid Crease Reformation 

Paul Gross, Three Stage Maxillary 

Reconstruction 

Animation: Advertising, 

Marketing, Promotional 


Argosy Publishing: Bert Oppenheim, 

Avalon Labs Bi-Caval Dual Lumen 

Catheter 

Inside Productions; Keith Kasnot 

and Craig Foster, VIABAHN 

Endoprosthesis 


InVivo Communications, Inc.: Kevin 

Millar, Jason Raine, Iron Overload 

Animation 

Hurd Studios: Donna DeSmet, 

Meningiococcal Disease: Bacterial 

Biology Influencing Breakthrough 

Vaccines 

Animation: Instructional 


AXS Biomedical Animation Studio, 

Inc.: Eddy Xuan, Jason Sharpe, 

Amikacin Inhale: A Pulmonary Drug 

Delivery Device (PDDS) 

Animation: Broadcast, Film 


AXS Biomedical Animation Studio, 

Inc.: Eddy Xuan, Jason Sharpe, 

Biomedical Visualization for 

ReGenesis, the TV Series 

Interactive Media: Instructional 


InVivo Communications, Inc.: Katie 

McCormack, Sarah Kim, and 

Andrea Cormier, ETHICON Inc. 

Anatomy Review 


Perioperative Interactive Education 

Group: Michael Corrin, 

Transesophageal Echocardiography 

(TEE) 

Standard Views 

Perioperative Interactive Education 

Group: Willa Bradshaw, Perioperative 

Patient Simulation 

New England Journal of Medicine: 

Daniel Müller and Kim Knoper, 

Interactive Malaria Graphic 

Three Dimensional Model 


Erica Neadom, Niaspan 

Atherosclerosis Model 

Illustrated Medical Book- Atlas 

Illustrated Book Award 

Allison and Gene Wright, Pfizer Atlas 

of Infection in Dogs and Cats 

Illustrated Medical 

Book/Reference/Clinical Text 


Jason Sharpe and Nicholas 

Woolridge, In Silico: 3D Animation 

and Simulation of Cell Biology with 

Maya and MEL 

Members' Choice Award 

Ralph Sweet Award 

Andrew Swift, Fertility and the 

Fallopian Tube 

New Media Award 

InVivo Communications, Inc.: Kevin 

Millar, Jason Raine, Iron Overload 

Animation 

Fine Art Award 

Pam Little, Office View x3 


Awards Committee Chair: jill@ 

jillkgregory.com You can also contact Jill 

with any questions about the process. 

Criteria for Naming of the New Media 

Best of Show Awards 

Purpose: To choose eponyms for the New 

Media Member’s Choice (professional) and 

Best of Show (student) salon awards. 

12 

Student Categories 

Instructional Tone 


Jared Travnicek, Morphological 

Differences Between Anisoptera and 

Zygoptera 


Julia Molnar, Millipede Locomotion 


Inna-Marie Strazhnik, Megarhyssa 

atrata: Movements in Ovipositing 

Instructional Line 


Ikumi Kayama, Submuscular Ulnar 

Nerve Transposition 


Tristan Cummings, Anterolateral 

Approach and Exposure of 

Acetabulum and Femur for Placement 

of a Trilogy® AB Acetabular System 

Instructional Color 


Fabian de Kok-Mercado, 

Adaptations of the Owl's Cervical and 

Cephalic Arteries in Relation to 

Extreme Neck Rotation 

Patrick Francis Eckhold, Histology 

of the Thymus 


Peter Leynes, Primary Open Angle 

Glaucoma 

Kelvin Li, Mitochondria: The 

Powerhouse of the Cell 

Editorial 


Steven Bernstein, Technological 

Singularity: Is the future closer than 

we think? 

Eponym…continued from p.10 

Interactive Media 


Yona Gellert, Brains, Bones & 

Behavior 


Diana Kryski, A Web-Based, Three- 

Dimensional Model of the 

Pterygopalatine Fossa for Medical 

Students 

Diana Kryski and Yona Gellert, 

Flash Based Non-Linear 

Demonstrative Evidence Presentation 

for Mock Personal Injury Trial 

(Defendant) 

Animation 


Julian Kirk-Elleker, Antibody 

Affinity Maturation 

Jordan Pietz, Anatomy and Surgical 

Repair of Fourth Degree Perineal 

Lacerations 


Inna-Marie Strazhnik, Minimally 

Invasive Transgastric Hernia Repair 

Orville Parkes Student 

Best of Show 

Fabian de Kok-Mercado, 

Adaptations of the Owl's Cervical and 

Cephalic Arteries in Relation to 

Extreme Neck Rotation 

New Media Best of Show 

Yona Gellert, Brains, Bones & 

Behavior 

Julian Kirk-Elleker, Antibody 

Affinity Maturation 

Criteria to consider when nominating a 

person’s name for this honor 

The person should be or have been: 

❖❖ an innovator and leader in the fields of 

animation and interactive media. 

❖❖ an inspiring artist who encourages 

others to push the boundaries of 

medical communication. 

In addition, they should: 

The Outstanding 

Service Award 

The Outstanding Service Award 

was presented to Jen Fairman and 

Tom Weinzerl for outstanding 

contributions to the growth of the 

Association of Medical 

Illustrators. The award was 

presented by R. Michael Belknap, 

AMI President, and Chris 

Gralapp, 2008 Chair, Board of 

Governors. 

2008 Sci-Viz Challenge Winners 

Congratulations to the following AMI 

members for winning the 2008 Science 

and Engineering Visualization Challenge 

sponsored by the National Science 

Foundation (NSF) and Science Magazine: 

Illustration 

❖❖ 

First Place - Linda Nye for "Zoom 

Into the Human Bloodstream". 

❖❖ 

Honorable Mention - Donny Bliss and 

Sriram Subramaniam for "3D Imaging 

of Mammalian Cells with Ion- 

Abrasion Scanning Electron 

Microscopy". 

Non-Interactive Media 

❖❖ 

Honorable Mention - Travis Vermilye 

and Kenneth Eward for "A Window 

Into Life" 

Non-Sequitor 

Hippocampus 

Etymology: L, sea horse < Gr hippokampos, 

hippocampus < hippos, horse + kampos, sea 

monster. 

Curved elevation of grey matter extending the 

entire length of the floor of the temporal horn of 

the lateral ventricle. Named by Giulio Cesare 

Aranzi (circa 1564) because of its visual 

resemblance to a seahorse. 

❖❖ have a record of service to field of 

medical illustration. 

❖❖ have a history of Professional AMI 

membership and service to the 

organization. 

In addition, for the student award, the 

person should be active in the education 

of the next generations of new media 

artists, either through a graduate program 

or by being a mentor. 


Book Review 

The Anatomist: A True Story of Gray’s Anatomy 

by Chris Gralapp 

The year 2008 marks the 150th 

anniversary of the science classic Gray’s 

Anatomy, which has its place on nearly 

every medical illustrator’s bookshelf. 

Having never gone out of print, it is now 

in its thirty-ninth edition, and has sold an 

estimated five million copies. Author Bill 

Hayes, an acclaimed San Francisco-based 

science writer, has undertaken twin 

journeys: a biographical journey to 

Victorian London to discover the 

scientists who produced this great 

anatomical landmark, and his own 

personal journey to understand the 

fascination the body holds for anatomists. 

The two main characters are of distinctly 

different temperaments, bound together 

by deep dedication to their science, 

during the golden age of anatomic 

investigation. Henry Gray, anatomist, is 

ambitious, confident and a masterful 

dissector; Henry VanDyke Carter, 

anatomist and artist, who is sensitive, 

melancholic, and conflicted, is constantly 

questioning his purpose in life. Hayes 

found that Carter was a bit easier to 

discover, due to his meticulous diarykeeping. 

More elusive is Gray, oddly 

enough, as not as much biographical 

material is available to give clues to his 

personal story. 

Interwoven with the anatomists’ stories is 

Hayes’ own experience delving into 

anatomy. (Hayes enrolled for several 

semesters of gross anatomy at my alma 

mater, University of California at San 

Francisco, and studied with my own 

anatomy professor while there.) His vivid 

descriptions of the emotional intensity and 

focus in the anatomy lab, and the 

discoveries and wonder of the human 

design, might mirror the experiences of 

the two Henrys a century and a half 

earlier. 

The two anatomists met in St. George’s 

Hospital, London, in 1849, when Gray, 

22, was employed as a demonstrator, and 

Carter at 18 was showing promise as a 

fine dissector. Gray became aware of 

Carter’s innate artistic talent, and asked 

him to make some drawings to 

accompany a paper on the spleen. This 

successful collaboration planted the seed 

of an inevitable partnership with an 

unadorned 

mission—to 

produce an 

“affordable, 

accurate teaching 

aid”, in the form of 

Gray’s Anatomy, 

commenced in 

1855. 

Gray wrote the 

manuscript for the single-volume first 

edition in eighteen months, during which 

time Carter produced an ambitious 361 

wood engravings—sound familiar? I 

would have very much liked to have more 

detail on the actual engraving technique. 

A tantalizing glimpse into process 

describes how Carter optimized his wood 

engravings, which normally required the 

time-intensive double transfer method. 

Carter eventually drew his dissection 

directly onto the wood blocks, thereby 

eliminating a step. It was not made clear 

to me whether Carter actually engraved 

the blocks himself, another thing I would 

have liked to know. 

Historically, Gray’s Anatomy took 

anatomical art and writing forever out of 

the realm of the fanciful and speculative 

and solidly into the world of true science. 

Prior to this time, anatomies were either 

nearly entirely verbal or illustrated less 

than accurately, and were either tiny 

pocket-sized books, or monumental 

folios. Together, the two Henrys produced 

a harbinger of the modern systemic 

anatomy reference. Carter drew from his 

own dissections, as well as from Gray’s— 

but he was not at all averse to copying 

images from other sources. (Carter was 

paid £150 for the project—no royalties, 

while Gray received royalties from 

subsequent editions.) 

At one point, Carter felt that his most 

marketable skill, above being a qualified 

surgeon and demonstrator, was that of 

Medical Artist—and in 1853 he 

advertises in the Lancet, the prestigious 

English medical journal: 

“Medical Artist.--A young gentleman, 

M.R.C.S., and acquainted with Pathology, 

the Microscope, etc., is desirous of 

assisting gentlemen engaged in scientific 

Perhaps the first advertisement of a medical illustrator. Placed by Henry Carter 

in the Lancet in 1853! From Bill Haye's The Anatomist. 

research by making Drawings. Specimens 

will be furnished on address to H.V.C., 

No. 85, Upper Ebury-street, Pimlico” 

The trajectories of both men’s lives take 

unexpected and tragic turns—as Gray 

meets an untimely death at 34, having 

produced his one and only book. Carter 

experienced more adventure than he 

could have imagined in his humble early 

schooldays, as he journeys to India, 

becomes involved in a taboo romantic 

entanglement, and ultimately pursues 

pioneering research on leprosy, 

nevermore to publicly employ his 

illustration talents. The backdrop of 

Victorian milieu is lightly touched upon, 

and historically-minded readers might 

wish for more vivid description to round 

out the lives of the anatomists, but the 

scientific world of the two Henrys is 

engagingly portrayed. 

Hayes’ style is appealing and informed— 

the reader accompanies him as he 

deciphers Carter’s concentrated diaries, 

to the UCSF rare book room, to the 

Wellcome Medical Library in London, 

and to interactions with historians and 

biographers on two continents as he 

pursues his quarry. His own anatomical 

journey reveals perceptive insights into 

the motivations and drive of young 

scientists, in their encounters with the 

anatomical research world. He includes a 

full bibliography for further reference. 

I relished knowing more about the 

creation of Gray’s Anatomy, especially 

learning about the unsung hero of the 

work, the illustrator Henry Carter, who 

nearly single-handedly has brought 

anatomy into focus for generations of 

physicians and scholars. 


Photoshop’s Luminosity Mask 

Carl Clingman, Mayo Clinic 

This summer I presented a technique as a 

Concurrent Session at the Indianapolis 

AMI meeting. I wish to share it here with 

those who were unable to attend the 

meeting in hopes it might improve your 

overall efficiency with Adobe® 

Photoshop®. 

My technique drops out the background 

white of drawings that are scanned and 

allows illustrators to work on the sketch 

in Normal mode. The advantage to this 

process is to do away with converting the 

scanned sketch into Multiply mode in 

order to color it. In Multiply mode the 

sketch loses integrity when paint fills 

“multiply” through the sketch from below 

and becomes mingled as a tint of the 

sketch color above. Furthermore, you 

have to convert the sketch back to normal 

mode to color it and all the white comes 

back obscuring the effect the color 

change has with the colors layered 

underneath. 

First scan your sketch and perform all the 

rituals of cleaning it so that the cleanest 

possible sketch is attained with desired 

contrast. Personally, I sketch in dark, bold 

thick and thin outlines with a Faber- 

Castell® 4B graphite pencil. These scan 

almost as black as ink lines and therefore 

I no-longer use pen & ink as an 

illustration medium. 

Here is the trick: go to the bottom of your 

channels palette and click on that dotted 

circle icon on the left. This creates a 

luminosity mask. What that means is that 

all the white has been selected in your 

scan. Invert this selection. Now you have 

selected every shade of grey in your 

sketch. Only the sketch is captured this 

way and this isolates it in its entirety 

from the white of the background. Now, 

create another layer and your selection 

will apply to it instead of the source 

layer. Fill the selection with black and 

discard the background layer. Your sketch 

should remain in a transparent layer. It 

may look too light, but create another 

layer under it and fill it with white and 

you get the same image with which you 

started. 

From this point you can convert the file 

to color and as long as you lock the 

sketch layer you can color the sketch and 

nothing else any way you choose. The 

color stays completely loyal because it is 

an opaque color to the extent that its 

shade obscures layers underneath. Color 

fills can now show through from behind 

where the white once was in exactly the 

same way cell vinyl acrylics were once 

layered on acetate in Disney cell 

animations. I put modeling, highlights, 

and added scanned instruments on a layer 

on top of the sketch layer. Any effect can 

be applied to these layers and that should 

give illustrators a more intuitive way of 

visualizing and working with their 

Photoshop files. 

Scanned sketch, mask applied, layered file 

Illustrations by Carl Clingman 

14 


Recent Graduate Perspectives: Hit the Ground Running 

By Lydia Gregg and contributors 

As medical illustrators, our graduate 

programs create essential lineages of 

mentors and friends that last a lifetime 

while greatly affecting our careers. 

During graduate school, my classmates 

and I were always curious about how 

other medical illustration programs 

compared and contrasted to ours. We’d 

read the brochures, but were curious to 

hear what others were experiencing from 

a student perspective. This new column 

will begin by addressing these past 

inquiries of ours from the perspective of 

recent graduates. The graduating classes 

of 2007, and 2008 from accredited 

programs were asked these two questions: 

1. How are you applying the 

techniques and skills you learned in 

your program during the beginning 

of your professional career? 

2. What do you feel your particular 

graduate school best prepared you 

for and how? 

We would like to begin providing a 

continuing outlet for our recent graduates 

and students to voice their thoughts 

regarding entry in the working world, 

educational experiences and the changing 

face of our field. Please contact us if you 

have suggestions for future articles in this 

category. 

Responses: 

Meredith Boyter 


Georgia, 

Class of 2008 

Employer: 

Nucleus Medical 

Art Inc., for 5 

months 

The Medical 

Illustration 

Graduate Program at MCG has prepared 

me to approach each challenge at work 

with the audience’s understanding 

foremost in mind. Among my varied job 

responsibilities, I write animation 

proposals for clients, and detail each 

animation’s content. Practicum at MCG 

in storyboarding and 2D and 3D 

animation informs my proposal-writing 

style. With an understanding of the 

pathology, cellular characteristics, and 

physiological processes I learned in 

lecture and dissection, I’m able to orient 

the audience to the topography of the 

body systems involved. 

Like all visual problems, my medicallegal 

exhibits rely on degrees of drama to 

tell a convincing story. The real surgical 

experiences and emphasis at MCG on 

compelling tissue dynamics and focused 

contrast help me to direct the viewer’s 

attention to the action. Knowing that I 

must meet a deadline determined not by a 

semester schedule, but by a trial or 

deposition date, is even more motivation 

to use rendering techniques and keycommands 

I thought might never become 

second nature. I am indebted to the MCG 

graduate program for the opportunities. 

Katherine Brown 

UTSouthwestern 

Medical Center, 

Class of 2007 

Employer: 

Carolina 

Healthcare System, 

for 10 months 

UTSouthwestern 

prepared me well 

for the type of work I am currently 

doing in my office. There was a Business 

class that had us meet with professional 

medical illustrators who were 

freelancing or had opened their own 

business. However, I do wish the 

program had covered how to work in a 

larger office setting. Working for a large 

health care system, I’m finding a 

necessity for knowledge concerning 

Human Resources, how to prepare for a 

one year review, how to negotiate an 

annual salary, how to time manage 

meetings, and much more. 

David Cheney 

The Johns 

Hopkins School of 

Medicine, 

Class of 2007 

Employer: 

Medical 

Illustration, Mayo 

Clinic; for 1 yr, 4 

months 

It goes without saying that I constantly 

employ the artistic skills and rendering 

abilities I developed throughout my 

graduate education, but there are so many 

other skills that my graduate studies 

armed me with in preparation for 

entering the professional world. Having at 

my fingertips many of the world’s top 

medical professionals AND many top 

medical illustrators was an awesome and 

humbling opportunity. 

In addition to the excellent artistic 

instruction I received from the faculty, I 

was also exposed to several “real-world” 

scenarios that taught me how to handle a 

variety of difficult situations, and how to 

creatively solve problems through 

effective communication and didactic 

illustration. I developed ease and comfort 

in communicating directly with surgeons 

and physicians, speaking their “language” 

and understanding what they were 

seeking to disseminate to their audiences. 

This is a skill that I am so grateful for, as 

I now communicate daily with several 

surgeons and physicians in varying fields 

of medical practice. 

The medical knowledge and unique skill 

set that I gained at Hopkins has earned 

me the respect of my clients both at Mayo 

Clinic and in my freelance work. It is not 

uncommon to receive a phone call from 

one of the very talented medical writers 

at Mayo Clinic, asking me to help them 

understand a medical concept, translate 

medical language into a more patientfriendly 

format, or simply tell them what 

something is. My training in grad school 

prepared me for that type of interaction, 

allowing me to effectively bridge the gap 

between non-medically-trained patients 

and the health care providers that treat 

them. I am grateful for the quality 

instruction and education that prepared 

me to be able to do what I LOVE doing! 

Hardy Fowler 


Georgia, 

Class of 2007 

Employer: 

Med-legal 

graphics company, 

for 14 months 

I can not imagine a 

more gifted, 

professional or patient group of artists 

than the faculty at MCG. Of course, I 

draw on the artistic principals that I 



Perspectives…continued from p.15 

learned from them, but I think where 

MCG distinguishes itself is in its 

preparation for real world, professional 

readiness. Our "comp" exams, held at the 

end of the second year, assign three 

diverse projects to be carried out in two 

weeks from sketches to finals. Students 

are cutoff from faculty assistance and risk 

harsh consequences for failure. This 

single exercise is the one that I drew upon 

most during my first months as a 

professional. The need to be self-reliant 

and work within a scary, sink-or-swim 

scenario is something that I never learned 

in undergrad. 

The Photoshop techniques taught by 

Andrew Swift are also something that I 

use every single day. I would be a much 

slower and less productive illustrator 

without that bag of tricks. When time 

becomes money, those lessons become 

extremely valuable. 

Jennifer von 

Glahn 

University of 

Illinois at Chicago 

Medical Center, 

Class of 2008 

Employer: 

VasSol Inc., for 

4 months 

As a designer for a 

medical company, my education was my 

foot in the door. As with any program, of 

course, the anatomical knowledge has 

helped for clarifying the images I create 

for our sales team. The design experience 

I have been given is used every day for 

all of my projects. 

I think that UIC gave me an 

understanding of all the possible 

audiences. With professors and visiting 

lecturers from all fields, as well as the 

opportunity to work with students and the 

general public, I have the understanding 

to design while keeping all of their views 

in mind. Paired with the extensive 

storyboarding in our animation and 

surgical illustration classes, I can break 

down information to target each 

specialized view. 

UIC has especially helped me understand 

where medicine is going and how 

medical illustrators can bring their clients 

to the future. I know what technologies 

are being used for marketing and 

16 

education campaigns. Now as I work to 

create my company’s identity, with 

projects ranging from marketing 

materials to a patient education website, I 

feel prepared for whatever I tackle next. 

Matthew 

Whitford 


Georgia, 

Class of 2007 

Employer: 

Med-legal 

graphics company, 

for 12 months. 

Graduate school 

went a long way in teaching me a 

disciplined approach to creating art. The 

studio setting at work is much like that 

of school, which is a group of diverse 

personalities in a big room with semiprivate 

offices. In school, I learned the 

level of diplomacy and respectfulness 

that makes for pleasant relationships 

with coworkers. 

Most of my time at work is spent using 

Photoshop. Andrew Swift taught us a 

great diversity of its capabilities, as 

well as dozens of techniques for 

working quickly and efficiently. That 

foundation has helped me keep up with 

the fast production pace of medicallegal 

work. I also use OsiriX daily to 

view medical images and create 3D 

reconstructions of injuries. Having 

learned some of the more advanced 

capabilities of the program in school, I 

can more easily, quickly and accurately 

create illustrations of those injuries. I'm 

also being called upon to create 

animations more and more often. 

Through the curriculum, I became 

comfortable working in vector, raster 

and 3D animation programs 

(AfterEffects, Flash, and Cinema 4D). 

From Mike Jenson, I learned the art 

and finesse of animating. My only 

education in graphic design and layout 

came in grad school. When I'm not 

creating art in Photoshop, I'm laying 

out art and text into exhibits, so that 

was a very useful part of my education. 

Non-Sequitor 

De gustibus non est disputandum. 

In matters of taste there can be no argument. 

View from the Crow's Nest 

by Edith Tagrin 

Lydia Gregg and Zina Derestsky have 

a goal for their new reign as 

co-editors of the AMI 

Newsletter. Beginning with 

the Fall 2008 issue 

their aim is to 

embrace the 

varied 

categories 

of membership 

via a written 

forum covering all 

manner of thought and 

action…past, present and 

everything in between. 

With the column called “View 

From the Crow’s Nest” I hope to 

showcase that aspect of our unique 

profession that will focus on the musings 

of those long term and once involved 

members who have somewhat moved away 

from the AMI action as they turn to other 

interests fed by the freedom of retirement. 

This could be an engaging column with 

the help of Emeritus Members like myself, 

or retired members who still attend 

meetings, as well as retired members who 

have not come in years, and indeed any 

venerable individual who would be willing 

to wax nostalgic, to recount tales of past 

woes or victories, or to merely express 

opinions pro and con. 

In the fall of 1946 I was a first year 

student in the School of Medical 

Illustration at the Massachusetts General 

Hospital in Boston directed by Muriel 

McLatchie. After her studies with Max 

Brödel, she moved to Boston in 1930 to 

work for one of the MGH surgeons and 

was appointed staff artist at the hospital 

in 1933 establishing the school in 1941. 

Medical artists at that time were quite 

isolated, a feeling she keenly experienced 

and in the early forties she began her 

drive toward organizing a professional 

society of medical illustrators. She 

eventually asked for the help of the 

Chicago group headed by the great Tom 

Jones who gave her an enthusiastic 

response and support and by 1945 the 

AMI was born. 

Muriel McLatchie was affectionately 

known as “Miss Mac” by her students. 

During my early days at the school I 

observed Miss Mac as a woman driven by 

the need to establish goals and rules for 


the new society. She was tireless in her 

letter writing and I have seen the 

remarkable letters, many of them hand 

written to and from colleagues around the 

country as the early plans for the 

organization were developed. How much 

easier it would have been for her today 

when communication is instant. She was 

amazing. Though reserved, soft-spoken, 

humble and sympathetic her tenacious 

pursuit of her goals were boundless. As a 

student, I barely had time to collect my 

carbon dust shavings before I was 

inundated with the importance of the 

fledgling AMI. In the beginning, there 

were no students at the meetings and there 

was no category of student membership. 

After completing a program in medical 

illustration, there was a waiting period of a 

few years before one could apply for 

membership. I attended my first meeting 

as a member of the AMI in October 1955 

which took place at the Barbizon Plaza in 

New York. At the formal banquet I sat at a 

table along with two of my closest friends 

and graduates of the MGH school, 

Margaret Croup Bruden and Robert 

Demarest, who also became members at 

that meeting. I remember that night as 

being very sedate and quiet and everyone 

dressed in conservative Sunday best. The 

evening could not be compared in any way 

to our awards banquets of today in style or 

content. Total registration for the meeting 

was 77 and among the attendees were 

many of the most talented and revered 

stars of the AMI. What a great experience! 

The AMI of 2008 is the end product of 

the steady stream of dynamic, talented 

and devoted medical artists who came 

before and who wrestled with the unique 

perplexities of each decade. I know first 

hand the frenzy that goes with the 

immense personal effort in trying to 

balance many hours of AMI agenda 

expected of the officers, governors, 

committee chairs and committee 

members with one’s own personal 

commitments in the studio. Although 

those of us in the Crow’s Nest Corner 

have grown less active over time within 

the AMI, as younger members step up to 

the plate to do battle with the issues 

facing the medical artist today, we can 

still relish watching the ongoing activity 

and advancements of our association. 

Those who have stopped coming to 

meetings don’t know what they are 

missing. The salon is astonishing and 

vastly unlike anything I could have 

imagined when I first became a member. 

And our members of all ages are still 

among the most enjoyable and 

stimulating people to be found anywhere. 

In summary, a column with dialogue via 

the movers and shakers of AMI Past by 

which we communicate with AMI 

Present in an easygoing, light-hearted 

manner is the goal. We need long time 

members to contribute. We do not have to 

be invisible. Hopefully you will contact 

me with ideas. I will reach out for to you 

as the forum evolves so please get ready 

to help. We need any and all manner of 

anecdotes, vignettes, blurbs, memories, 

criticism, advice, and queries in a serious 

or jocular style. 

Edith Tagrin 

Two Hawthorne Place #15N 

Boston, MA 02114 

Tel: 617-227-0114 Fax: 617-973-5852 

e-mail: etagrin@comcast.net 

Purse and Gavel 

Visual Artists, Reprographic Royalties & The American Society of Illustrators Partnership (ASIP) 

By Cynthia Turner 

Most artists haven’t known it, but many 

of them are entitled to reprographic 

royalties any time their published work is 

photocopied by libraries, institutions, 

corporations and other users. This income 

is earned when copyright collecting 

societies license secondary rights users to 

photocopy or digitally republish 

previously published material anywhere 

in the world. Reprographic royalties may 

derive from articles, cartoons, 

illustrations, photographs, maps, charts, 

etc. in various published media. 

Reprographic rights are held individually 

by each artist but are licensed collectively 

by a collecting society that artists have 

mandated to administer these rights. 

Regrettably, there has not been a U.S. 

collecting society to represent American 

illustrators, and illustrators do not receive 

any compensation for the 

exploitation of their reprographic 

rights. 

Worldwide, the visual artists' 

share of reprographic 

collections averages 15% of 

total collections. This is expected 

to increase dramatically with the growing 

digital republication of published 

material. Germany is reporting 40% of 

collections attributable to visual art when 

digital licensing is available. 

Status of Domestic Royalties due 

Visual Artists 

In the U.S., total collections of 

reprographic licensing by the Copyright 

Clearance Center (CCC) exceed 130 

million dollars annually. CCC distributes 

some of this money to writers, but they 

don’t return any to 

visual artists because they do not 

acknowledge illustrators, fine artists or 

photographers to be “authors.” 

Status of Overseas Royalties due 

Visual Artists 

Foreign countries do collect royalties for 

American illustrators, but they can't pay it 

to American illustrators because there's no 



Rights…continued from p.17 

properly chartered Reprographic Rights 

Organization in the U.S. to track usage 

and distribute the money properly. Some 

money has been returned to the US since 

at least 1995, but it is going unaccounted 

for. American fine artists’ overseas 

reprographic rights have been protected; 

fine artists are paid their foreign-earned 

reprographic royalties through an 

appropriately chartered organization: The 

Artists' Rights Society (ARS). 

An American Illustrators' 

Collecting Society 

Illustrators were advised to claim their 

own reprographic royalties at the first 

Illustrators Conference in 1999. The 

advice came from intellectual property 

expert Bruce Lehman, former Director of 

U.S. Patents & Trademarks and principal 

author of both the 1976 Copyright Act and 

the Digital Millennium Copyright Act. 

Lehman endorsed the conference 

founders’ proposal for a visual arts 

collecting society and he compared the 

digital revolution in visual arts licensing to 

that of songwriters at the dawn of radio 

age. Just as songwriters had united to form 

the American Society of Composers, 

Authors and Publishers (ASCAP) to 

protect their rights collectively, Lehman 

advised illustrators to do the same. At the 

invitation of conference founders Lehman 

then agreed to become a Founding Board 

member of the Illustrators' Partnership of 

America (IPA). 

In 2001 the AMI joined with IPA to form 

the Illustrators' Partnership 

Reprographics Coalition. From 2001 to 

2007 the Coalition grew to twelve 

illustration associations, uniting the 

relevant rightsholder class of the collective 

rights of the American illustration 

repertoire of published works. The 

combined members include the most 

prolific and widely published illustrators 

and cartoonists in the world. Their 

pictures illustrate a wide spectrum of 

general and special interest publications. 

The majority are independent contractors 

and have reserved reproduction rights on a 

substantial body of their published work. 

All of the associations admit members that 

are working illustrators who pass portfolio 

reviews to professional standards. 

In October 2007 the Coalition formalized 

as a new non-profit corporation, the 

18 

American Society of Illustrators 

Partnership (ASIP). The ASIP now 

numbers 14 Associations with over 5,500 

members. [see sidebar] Each association 

appoints a member to serve on the ASIP 

Board. There is also one board seat for 

“At-Large” illustrators who are not 

members of any of the member 

organizations. The ASIP Board, Legal 

Advisors, Charter and Bylaws are 

available at http://asip-repro.org 

Establishing the Claim 

ASIP is now establishing the proper 

claim on illustrators’ reprographic 

royalties. To proceed, we need to obtain 

a sufficient mandate from a critical 

number of working illustrators. This 

establishes a chain of rights 

demonstrating that each artist owns the 

rights to his or her work and that these 

members authorize ASIP to collect 

reprographic royalties on their behalf. 

By giving ASIP this mandate you are not 

transferring copyrights or any other 

rights. The mandate authorizes ASIP to 

act as your representative for the purpose 

of attempting to collect reprographic 

❖❖ 

❖❖ 

❖❖ 

❖❖ 

❖❖ 

❖❖ 

❖❖ 

❖❖ 

❖❖ 

❖❖ 

❖❖ 

❖❖ 

❖❖ 

American Society of 

Illustrators Partnership 

The Illustrators’ Partnership 

of America 

The Association of Medical 

Illustrators 

The Society of Illustrators 

The National Cartoonists Society 

The American Society of 

Architectural Illustrators 

The Guild of Natural Science 

Illustrators 

The San Francisco Society of 

Illustrators 

American Society of Aviation 

Artists 

The San Francisco Society of 

Illustrators 

Pittsburgh Society of Illustrators 

Society of Illustrators of San Diego 

Society of Illustrators Los Angeles 

Illustrators Club of Washington 

D.C., Maryland and Virginia 

American Association of Editorial 

Cartoonists 

royalties on your behalf. This will not 

affect the way that you currently license 

your work. There is no fee. You can 

retrieve your reprographic rights at any 

time, for any reason, with a 120 day 

written notice to ASIP. Detailed FAQs 

can be accessed at http://www.asip-repro. 

org/faq.html and the ASIP Reprographic 

Rights Authorization Agreement can be 

downloaded at http://www.asip-repro.org/ 

join.html 

Summary 

Approximately 300 AMI members have 

joined ASIP and given their mandate by 

signing Reprographic Rights 

Authorization Agreement. The AMI 

Artists Rights committee is conducting a 

person-to-person outreach to all members 

who have not yet heard about this 

initiative. We want to be sure that all 

members with published work in print 

will have the opportunity to participate in 

the royalty revenue stream if ASIP is 

successful in making the claim. 

A collecting society for American 

illustrators is new territory for 

illustrators. This unity among disparate 

niches of illustrators is unprecedented, 

and the assembly of the Board has been 

delightful and inspiring. If you haven’t 

yet been aware of this effort it is a lot of 

information to digest. To put it in 

perspective it is helpful to remember 

these things: 

❖❖ Reprographic royalties are not going 

to artists now. 

❖❖ They will not go to artists unless 

someone creates an administrative 

system to collect and distribute 

the money. 

❖❖ Reprographic royalties are currently 

small, but could be increased by 

instituting a collective rights 

administration to track usage. 

❖❖ This in turn would serve to license 

and collect work more efficiently. 

❖❖ Publishers have had 20 years to invite 

artists to participate in the distribution 

of these fees. They haven’t done so. 

❖❖ In the absence of a collecting society, 

others have been taking the money 

and using it without accountability. 

❖❖ Unless artists take the initiative to act 

on their own, it’s clear that no one 

else will. 


❖❖ If you join and ASIP succeeds, you 

may see an additional source of 

income, as well as a more effective 

way of protecting your rights 

collectively, 

❖❖ If you join and ASIP fails, you 

haven’t lost anything you already 

have. 

In these challenging times when 

copyright and authors rights are under 

constant pressure and assault, and so 

much can seem unsurmountable, we 

should reflect on our successes. 

Illustrators have demonstrated a will and 

an aptitude to effectively advocate for our 

rights at the highest levels. We are 

visiting Capitol Hill, testifying before the 

House and Senate intellectual property 

committees, writing, calling and visiting 

our Senators and Representatives. We 

have distinguished ourselves by acting 

individually with collective strategies, 

organization and execution. 

If we continue to pull together, I 

believe professional illustrators can 

create and administer their collecting 

society. The future possibilities of 

that society are boundless. Like 

Victor Hugo* before us, seeds planted 

with passion can flower in ways not 

fully imagined. 

Cynthia Turner (with contributions and 

thanks to Brad Holland) 

Co-Chair, American Society of 

Illustrators Partnership 

Founding Member & Board Member, 

Illustrators Partnership of America 

Fellow, Association of Medical 

Illustrators 

* The Berne Convention for the 

Protection of Artistic and Literary Works 

was developed at the instigation of Victor 

Hugo as the Association Littéraire et 

Artistique Internationale. 

Learn more 

Please visit the ASIP website: 

http://asip-repro.org 

The ASIP Resources and Library has 

useful downloads for further reading, and 

a webcast presentation. The FAQs are a 

fast way to absorb the history and 

purpose of ASIP. 

For detailed reprographic rights 

information please see the article, “First 

Things About Secondary Rights,” by 

Brad Holland, Columbia Journal of Law 

& The Arts, Volume 29, No. 3, Spring 

2006, http://illustratorspartnership.org/ 

downloads/Holland_ 

ColumbiaLawJournal.pdf 

Memories of Indy ‘08 

by Zina Deretsky 

As the days get shorter, it is nice to look 

back with fondness at our sun-filled time 

in Indianapolis this summer. Gary 

Schnitz, Tom Weinzerl and the Indy 

Meeting Committee put together an 

amazing conference and drew a very 

large crowd - over 300! 

Every meeting starts off with a theme. 

For this one it was “Accelerate Your 

Career!” Plenty of high-tech offerings 

and high-velocity references were woven 

into the agenda. The theme was evident 

from the keynote speech on volume 

rendering technology by Fovia and Apple 

to the surprise appearance of the “Ace of 

Hearts” motorcycle designed by Keith 

Kasnot and Craig Foster that delighted so 

many with photo-opportunities. Even the 

Vesalius Trust live auction featured 

medically-themed pinewood derby cars, 

and costumes created by each school. Dr. 

Trammell’s talk was a true Indianapolis 

special, taking a look at musculoskeletal 

injuries in motor sports from head to toe, 

and even introducing his wife – a 

professional racer. The “accelerated” 

offerings were rounded out by a very-well 

put-together Techniques Showcase. 

The IUPUI Campus and Conference 

Center offered wonderful spaces to fill 

with our voices, our work, our presence. 

The Herron School of Art, a few blocks 

away was a great space for a workshop – 

filled with even light coming through 

windows emulating rice-paper lanterns. 

The IUPUI Campus Student Center 

offered a grand hall for the Awards 

Banquet, and had a beautiful terrace from 

which to enjoy a view of the campus in 

the setting sun. Here many pictures were 

taken, including a group shot of all AMI 

Past Presidents. 

The courtyard patio of the conference 

center and the downstairs bar were great 

spots to wind down and hang out with 

fellow AMI members. For those who 

ventured farther afield, the Indianapolis 

Museum of Art delighted with its 

holdings and grounds. The Eiteljorg 

Museum and river downtown were a 

quick walk away. And much revelry was 

had at the historical Rathskeller and 

Slippery Noodle. 

But getting back to the heart of the 

conference – the National Sports Art 

Museum and the spiral staircase in the 

middle of it served as a nexus and sight 

of the daily feeding trough (cookies, 

fruit, refreshments) in front of the 

auditorium, around which we gathered. 

Just beyond that were the two long 

hallways taken up by the Salon. 

The Salon had three notable additions 

this year. First – the Vesalius Trust held a 

poster session that afforded graduating 

students the opportunity to share their 

research. Second – two camera obscuras 

were available, as well as an exhibit of 

the portraits made with and without its 

help during the day of workshops. And 

finally, Mary Jordan put together a series 

of In Memoriam posters celebrating 

several members who had passed 

recently. 

This last exhibit brings me to the second 

theme of the meeting, the theme that 

nobody named or chose, but that 

developed and emerged out of our week 

together: the theme of nurturing. 

We are a group that holds our senior 

members in high regard, and tries to keep 

learning from them. The Indianapolis 

meeting was lucky to count in its 

attendance quite a number of emeritus 

members, septagenarians and 

octagenarians. They held a retrospective 

panel discussion at the end of the meeting 

to talk about the profession, where it has 

been and where it is going. Remarkably, 

all the members of the panel had an 

optimistic outlook for medical art. It is 

almost a cliché to hear of older people 

who are disillusioned and unhappy with 

where the world is going. This certainly 

does not apply to our own ilk – these are 

positive people, who look at the new 



On Stage 

Current topics in science and medicine 

generations of medical illustrators and the 

new tools of the trade with respect, 

optimism, encouragement and wonder. 

As our nation’s economy enters a time of 

unsteady footing, and the outcome of the 

presidential campaign is still veiled in the 

fogs of the future, we in the profession 

can be certain of one thing – respecting 

and involving our senior members, and 

continuing to nurture the younger 

generations will pay off with a strong 

sense of community and a stronger 

preparedness to confront the vagaries of 

volatile times. 

20 

Several members of our association 

are in close and constant touch with 

cutting edge journals in science and 

medicine, We would like to feature 

some highlights that these members 

choose. Submissions in this issue 

are from Cassio Lynm and Daniel 

Müller. If you are directly involved 

with a similar periodical, or follow 

one closely, please consider 

submitting one or two highlights 

for the next issue to zina.lydia. 

newsletter@gmail.com. 

New England Journal of Medicine 

Date: May 17, 2007 to present 

Availability: Open to all 

URL: http://www.nejm.org/ 

clinical%2Ddecisions/20080117/ 

http://content.nejm.org/cgi/content/ 

short/357/17/1762 

http://www.nejm.org/ 

clinical%2Ddecisions/20080410/ 

Title: Clinical Decisions Series 

Synopsis: To frame a therapeutic 

question for each article of this series, a 

fictitious case vignette and three 

management options, any of which could 

be considered correct, were developed. 

Three experts were recruited and each 

assigned to make a case in support of one 

of the management options. On NEJM’s 

website, there was a forum in which 

readers could vote for one of the 

Indianapolis…continued from p.20 

management options and, if they wish, 

explain that choice. 

Images: In order to display the final 

polling results, Daniel Müller created a 

dynamic interactive Flash world map 

application. This Flash application loads 

an XML file that was generated from the 

data stored inside the database that 

collected the readers’ votes (for each 

particular article) and then assigns all the 

information for each country (color and 

graph displaying distribution of votes), 

continent and world total votes. In order 

to view small countries, a zoom tool and 

location feedback indicator were also 

included. 

Highlighted here because: This series 

of articles are an experiment in 

understanding the therapeutic decisions 

that physicians make every day at the 

bedside and in the office. For the first 

time readers can participate in forming 

community opinion by choosing one of 

the options and, if they like, providing 

their reasons. The final interactive Flash 

world map displays data collected from 

the readers and helps visualize 

differences and similarities in the 

management options among countries, 

continents and physicians’ specialty. 

The Journal of the American 

Medical Association 

Date: December 12, 2007. Citation: 

JAMA. 2007;298(22):2618-2620. 

Availability: Open to all (Full text) 

URL: http://jama.ama-assn.org/cgi/ 

content/extract/298/22/2618-a 

Title: Clinical Magnetic 

Resonance Imaging of Ancient 

Dry Human Mummies Without 

Rehydration 

Author: Rühli, F. J. 

Synopsis: Reports on the use 

of clinical magnetic 

resonance imaging (MRI) 

using newly available pulse 

sequence to visualize dry 

tissues (without 

rehydration). Technique is 

applied to several specimens: 

ancient artificially 

embalmed Egyptian 

mummies (1 head, 2 hands, and 1 foot; 

circa 1500-1100 BCE) and a naturally 

mummified Peruvian corpse (circa 1100 

CE). 

Images: Magnetic resonance images and 

3D reconstructions of ancient Peruvians! 

Highlighted here because: 

Demonstrates the application of 

advancing medical imaging techniques to 

other parallel fields. This unique ability 

allows scanning of relics/artifacts/ 

archeological/forensic finds without 

disturbing the original structure, and has 

the potential to provide new insight into 

disease and disease processes of the past. 

The Journal of the American Medical 

Association 

Date: June 25, 2008 

Citation: JAMA. 2008;299(24):2884- 

2890. 

Availability: Subscription/Purchase 

Access; Open to all (Full text) in 

December 

URL: http://jama.ama-assn.org/cgi/ 

content/abstract/299/24/2884 

Title: Electromagnetic Interference From 

Radio Frequency Identification Inducing 

Potentially Hazardous Incidents in 

Critical Care Medical Equipment 

Authors: van der Togt R, et al. 

Synopsis: Reports on the potentially 

hazardous side to electromagnetic 

interference emitted by autoidentification 

technologies, such as radio frequency 

identification (RFID) tags, that have been 

proposed to improve patient safety, and 

are being increasingly used to track and 

trace medical equipment. 

Images: Depiction of test method and 

algorithm, data tables listing 

incidents of interference on types of 

critical care equipment 

Highlighted here because: This 

is a sober examination of the 

potentially adverse effects of 

certain types of technology that 

are pervasive in the medical 

setting. Identifies a need to 

evaluate the entirety of the medical 

setting when it comes to 

maintaining patient safety. 


Vesalius Trust 

2008 Vesalius Trust scholarship recipients 

Fabian de Kok-Mercado, Lindsay Oksenberg, Brenda Harrison, Natalie Intven, Ikumi Kayama, Ophelia Lee, 

Leslie Predy, Jennifer Stowe, Diana Kryski, Anneliese Lilienthal, Satyen Tripathi, James Cormier. Photos: 

Lydia Gregg. 

Inez Demonet 

Award 

James Cormier, 


Georgia 

Alan Cole 

Scholarship 

Fabian de Kok- 

Mercado, The 

Johns Hopkins 

School of 

Medicine 

How Does the 

Arterial 

Morphology in an 

Owl’s Neck Allow 

for Extreme 

Mobility Without 

Cerebral 

Infarction? A Study of the Cervical 

Arterial Anatomy of Owls in Relation to 

Neck Kinematics. 

Vesalian 

Scholars 

Diana Kryski, 

University of 

Toronto 

Enhancing 

Medical Students’ 

Clinical Reasoning 

Ability Through 

Visualization of Spatially Complex Gross 

Anatomy with a Computer-based, Threedimensional 

Model of the 

Pterygopalatine Fossa 

Anneliese 

Lilienthal, 


Georgia 

Understanding 

LEEP (Loop 

Electrode Excision 

Procedure): 

Familiarizing 

Indigenous Women 

in Peru With a Medical Procedure They 

Will Undergo for Prevention of Cervical 

Cancer 

Ammon Posey, 

The Johns Hopkins 

School of 

Medicine 

Visualization of a 

Novel Protein 

Megacomplex and 

Its Roles in 

Aberrant Energy 

Production and 

Prevention of Apoptosis in Cancer Cells 

Satyen Tripathi, 

The Johns 

Hopkins School of 

Medicine 

Facing the Future 

of Partial 

Transplantation: A 

Novel Analysis of 

the Physical 

Relationships 

Between Facial Angiosomes 

Vesalius Trust Research Grants 

Yona Gellert, University of Toronto 

Brains, Bones and Behavior: An 

Interactive Puzzle for Teaching 

Grade-Six Students to Use Endocast 

Research to Interpret a Diorama 

Depicting Hadrosaurid Behavior 

Brenda Harrison, University of Texas 

Enzyme Instigator: A Science Suitcase 

for 9th Graders 

Natalie Intven, University of Toronto 

Drawing Connections Between 

Fibromyalgia and Central Pain 

Modulation: Using Flash Animations to 

Communicate New Research Through a 

Web-based Educational Tool to Enhance 

Physician Awareness and Understanding 

Ikumi Kayama, The Johns Hopkins 

School of Medicine 

Visualizing the Dynamic Cellular 

Response to Injury in the Regenerating 

Liver 

Ophelia Lee, The Johns Hopkins School 

of Medicine 

Defining New Soft-tissue Characteristics 

to Determine Evolutionary 

Relationships: Comparative Forelimb 

Anatomy of Hoofed Mammals 

Monika Musial, University of Toronto 

Visualizing Risk: An Interactive 

Multimedia Program to Help Patients 

With Kidney Cancer Understand Risk 

Information as it Relates to Cancer 

Staging 

Lindsay Oksenberg, University of Texas 

Neuroanatomy, Physiology and 

Pathology of the Lower Urinary Tract: 

An Educational Animation for Medical 

Students, Residents and Fellows 

Leslie Predy, University of Toronto 

An interactive Three-Dimensional (3D) 

Bronchoscopy Simulation for Pulmonary 

Medicine Residents: A Tool for 

Enhancing Knowledge of Anatomical 

Spatial Relationships 

Jennifer Stowe, Medical College of 

Georgia 

Pharmacist Recognition of Common 

Dermatological Adverse Drug Reactions 

or Referral to Appropriate Medical Care 


Dr. Frank H. Netter Award 

The Virtual Temporal Bone Project, 

recipient of the 2008 Dr. Frank H. Netter 

Award for special contributions to 

medical education, is a collaborative 

project among physicians and researchers 

that uses a real-time, interactive system to 

train surgeons on difficult and delicate 

surgical techniques involving the 

Virtual Temporal Bone Project 

temporal bone in the skull. 

The Virtual Temporal Bone Project can 

do everything from mimic the complex 

interaction between the surgeon and the 

drill, to provide insight into the location 

of critical structures within the temporal 

bone. A joystick is used to convey 

the same resistance that a drill 

encounters in real bone. Unlike 

typical training methods on 

cadavers, virtual patients can 

bleed, which requires students to 

think on their feet in life-like 

demonstrations. 

The Virtual Temporal Bone 

Project was selected for the 

Netter Award because of its 

outstanding level of sophistication 

and nuance in the visuals as well 

as its unparalleled interaction between 

the visual effects and the haptics. In 

addition, the product is readily accessible 

because it uses off-the shelf hardware that 

can run on an ordinary PC. 

Vesalius Trust Annual Poster 

Symposium 

The Vesalius Trust would like to 

congratulate the following 2008 VT 

Poster Session Award Recipients: James 

Cormier, Brenda Harrison-McArthur, 

Ikumi Kayama, Fabian de Kok-Mercado, 

Anneliese Lilienthal, and Satyen Tripathi. 

The Vesalius Trust, in association with 

Association of Medical Illustrators, will be 

holding its 2nd Annual Poster Session at 

Vesalius Trust Poster Symposium 

the upcoming Annual Conference in 

Richmond. All prospective 2008 

applicants to the VT Scholarship program 

are invited to present at the Poster Session. 

Participation is voluntary. You MUST be 

present at the AMI Annual Conference in 

Richmond VA to participate. 

This year’s submission deadline is 

Monday July 20, 2009, and the cost is 

FREE! All posters will be printed by the 

Vesalius Trust. NOTE: An award will be 

given for the best poster submission; 

information will follow on how to enter. 

Non-Sequitor 

Illegitimi non carburundum. 

Don’t let the bastards grind you down! 

AMI Regional Event Review– American Association of Anatomists 

by Jim Perkins 

Back in April, a small group of medical 

illustrators attended the American 

Association of Anatomists annual 

meeting, part of the huge Experimental 

Biology 2008 conference in San Diego. 

Not only was it a great opportunity to 

rack up biomedical CEU’s, it also gave us 

a chance to mingle with the scientists and 

teachers who may one day be our clients. 

On more than one occasion, we found 

ourselves educating the audience about 

the role of the medical illustrator and 

important copyright issues in the authorillustrator-publisher 

relationship. 

This year’s meeting was particularly 

interesting because of its focus on the 

role of medical illustration in teaching 

anatomy. Dr. Carlos Machado gave the 

keynote address, Following the Trail of 

Frank Netter, Master Anatomical 

Illustrator, in which he traced his own 

evolution from graphic artist, to hyperrealist 

painter, to cardiologist, to medical 

22 

illustrator. Several of us joined Carlos for 

lunch where we learned more about his 

training, his influences, and the 

techniques he uses to create artwork for 

the Netter Collection. 

A plenary symposium later in the day, 

entitled The Art of Anatomy, included 

presentations by the authors, editors, and 

illustrators of today’s leading anatomy 

atlases. As an added bonus, a few of us 

got to chat with Carmine Clemente about 

the importance of medical illustration 

and his decision to remove the Pernkopf 

plates from later editions of his atlas. 

Other highlights included: 

❖❖ Copyright Issues in Using Digital 

Resources for Teaching in Anatomic 

Sciences 

❖❖ Revealing Anatomy Through Medical 

Imaging, an Osirix workshop 

featuring our own Andrew Swift. 

❖❖ Imaging the Cell Motions, Lineages 

& Interactions that Build Embryos 

❖❖ Angiogenesis: The Importance of 

Anatomy 

❖❖ Neural Crest Cells: Evolution, 

Development, & Disease 

❖❖ “Master Class” on the Histology, 

Organization, and Biomechanics of 

Fascia 

❖❖ Biology of the Lymph Node 

❖❖ Teaching Innovations in Anatomy 

I think I can speak for all of us that we 

learned a great deal and are looking 

forward to next year’s AAA meeting in 

New Orleans, April 18-22. For more 

information, visit: 

http://anatomy.org/Meetings/meeting_ 

highlights_09.htm 


Events and Notices 

2008 Frank Armitage Lecture 

The University of Illinois at Chicago 

Medical Center, October 23 & 24. This 

year, the honored lecturer is Dr. W. Paul 

Brown of Stanford University and 

President of eHuman. Also presenting 

are: 

Steve Sandy, VP, Fovia 

3D Imaging and Animation from 

DICOM Images Using Fovia 

Afshad Mistri, Manager, Medical 

Applications, Apple 

3D Imaging Using Osirix 

Frank Armitage, Cassio Lymn, 

Scott Barrows 

Creating Murals: A Practical 

Approach 

We will also have stereoscopic imaging 

demonstrations in the UIC Virtual 

Reality in Medicine Lab using Fovia, 

artwork from the Bassett Collection, and 

the Virtual Eye (2007 Netter Award). 

Contact for more information: Scott 

Barrows sbarrows@uic.edu 

The Northern California 

Regional Meeting 

November 1 at the home of Betsy Palay 

in Stanford, CA. Contact Wen Chao at 

wen@watermark-inc.com. 

International Conference on 

Anatomical Models 

The Boerhaave Museum in Leiden, The 

Netherlands from November 6-7, 2008. 

Visit: http://www.museumboerhaave.nl/ 

anatomy/overview.html 

AMI Member in Passing 

by Sam Collins 

A. Harry Germagian passed away 

peacefully at home on July 18, 2008, at 

age 75. He is survived by his wife, Ruth, 

four sisters and a brother. 

Harry was born in 1933 in Biddeford, 

ME and grew up in Milford, MA. He 

attended the University of Connecticut, 

receiving a BS in 1954. Harry studied 

medical illustration under Orville Parks 

at the Medical College of Georgia. In 

1957, he became the 7th student to 

graduate from MCG. In 1958, Harry went 

to Birmingham, AL where he directed 

Vesalius Trust Scholarships & 

Research Grants 

Upcoming submission deadline: 

Student Scholarships: Nov. 14, 2008 

The Dr. Frank H. Netter Award: 

Dec. 5, 2008. For information visit: 

http://www.vesaliustrust.org 

Call for Papers: AMI, Richmond, 

2009 

The program committee welcomes 

submissions for participation in the 2009 

annual meeting of the Association of 

Medical Illustrators to be held in 

Richmond, Virginia July 29-August 2, 

2009. The theme encompasses the rich 

history and leading edge practices in the 

region, medical communications and 

medicine as a whole, and presentations 

may take the form of lectures, panel 

discussions, workshops or any other 

valuable learning experience. 

Send completed application to: 

Sue Seif, MA, CMI or Kate Burnett, MA 

4424 Springfield Rd., Suite 103 

Glen Allen, VA 23060 

sueseif@seifmedicalgraphics.com 

kburnett@seifmedicalgraphics.com 

Fax 804-965-0619 

Further information: 800-747-9782 or 

e-mail 

Deadline of Receipt: November 15, 2008 

the Medical Media Production Service 

unit at the VA Medical Center for the 

next 35 years. 

Harry’s preferred medium was carbon 

dust on Ross Board. Over time his style 

became less detailed and more to-thepoint. 

He believed the message should not 

be lost in the rendering. 

Harry joined the AMI in 1961. He was 

elected to the Board of Governors in 

1978. He was recognized with the 

Outstanding Service Award in 1984. 

Greenlight Collectibles: Up in Flames 

at Work and Play 

Tim Phelps is having more fun creating 

flamed cars. He has a limited edition 

series of flamed cars coming to Target 

Stores near you in November—called Up 

in Flames—it is in the company's Muscle 

Car Garage line. Tim created the flame 

designs for the 6 cars and also created the 

accompanying full color collector card 

art. Go hunting for the little cars mid 

November or contact Tim for the names 

of Hobby sites offering the entire series 

for sale. Congratulations, Tim! 

Contact: tphelps1@jhmi.edu 

Medical Illustration Source Book 

Artwork 

Due: Friday 6, February 2009. Contact 

for more information: Christine Young, 

cyoung@medicalart.com 

Metadata– Protecting Copyright in 

Digital Imagery 

An information sheet on Metadata by 

Tonya Hines is available at https:// 

timssnet.allenpress.com/ECOMAMI/ 

timssnet/web/MemberServices/resources/ 

ami_metadata_whitepaper.pdf 

And he was one of the first to become 

a fellow. 

In 1988 Harry became one of the original 

15 Trustees of the Vesalius Trust. He 

recognized that the support of our 

students was vital to the future of our 

profession. He offered internships in his 

department to several fledgling 

illustrators. Mike Belknap, Craig Luce, 

Bob Margulies, and I were fortunate to 

have had this opportunity. We mourn the 

loss of a great artist, mentor, and friend. 


Orville Parkes Student Best of Show: Fabian de Kok-Mercado, Adaptations of the Owl's Cervical and Cephalic Arteries in Relation to Extreme Neck Rotation 

The Association of 

Medical Illustrators 

Allen Press, Inc. 

Association Management 

810 East 10th 

Lawrence, KS 66044 

T: (866) 393-4264 

hq@ami.org 

Return services requested

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