Syndicated Content

Rectovaginal Fistula Repair with Biologic Plug

By |August 27th, 2015|Syndicated Content|

This illustration demonstrates a rectovaginal fistula repair with a biological material plug. The procedure repairs a fistula or hole between the vagina and rectum. This illustration was created for a medical device manufacturer’s marketing and educational materials.

The post Rectovaginal Fistula Repair with Biologic Plug appeared first on Clark Medical Illustration.

Anatomy of Sports Day 2015

By |August 25th, 2015|Syndicated Content|

Group picture Anatomy of Sports Day 2015 Anatomy of Sports Day at the National Museum of Health and Medicine 2015. Group picture of all the participating athletes, illustrators and physical therapists. It's really not often that you get a request for volunteer medical illustrators. I mean it is rare. So when I got the call for this years Anatomy of Sports Day - I was absolutely on board. This is a great yearly event attended by local area kids and parents. And I get to spend a day in one [...]

The Blood and Guts of medical Illustration

By |August 20th, 2015|Syndicated Content|

DNA Illustrations is starting a newsletter/news blog in 2015 to keep clients we have done business with up to date with our projects, past and present. Alex and I have had a busy year so far and we hope your year is moving along as well. Thank you for letting us share some of our past projects and letting you know what we are working on now. We will share our updates two to three times a year as new and ex [...]

The Blood and Guts of medical Illustration

By |August 20th, 2015|Syndicated Content|

DNA Illustrations is starting a newsletter/news blog in 2015 to keep clients we have done business with up to date with our projects, past and present. Alex and I have had a busy year so far and we hope your year is moving along as well. Thank you for letting us share some of our past projects and letting you know what we are working on now. We will share our updates two to three times a year as new and exciting projects and events happen. Completed: The following highlights some of our complet [...]

Snip Vs. Shred, Part 2

By |August 16th, 2015|Syndicated Content|

By Alexander Gelfand, for the Johns Hopkins School of Public Health Magazine. © Johns Hopkins University The powerful genome-editing technology known as CRISPR-Cas made headlines this year—partly because many leading biologists called for a moratorium last March against using it to modify the genomes of human embryos, only to discover in April that Chinese scientists had […]

Snip Vs. Shred, Part 1

By |August 16th, 2015|Syndicated Content|

By Alexander Gelfand, for the Johns Hopkins School of Public Health Magazine. © Johns Hopkins University The powerful genome-editing technology known as CRISPR-Cas made headlines this year—partly because many leading biologists called for a moratorium last March against using it to modify the genomes of human embryos, only to discover in April that Chinese scientists […]

The blink of an eye

By |June 5th, 2015|Syndicated Content|

The blink of an eye

“One thing is clear; there is no progress in art.”
Willem DeKooning

Something washes over me when I pick up a piece of charcoal and draw. It’s primal; I feel the distant call of thousands and thousands of years of ancestry. Maybe it’s because charcoal comes from one of our first technologies: the harnessing of fire.

We make paintings and drawings to claim our existence in the world. This is most evident in cave paintings. They are a primeval psychological expression: of grappling with existence in a world vast, mysterious, and inexplicable. This work is not about taming the natural world, as is most later European art; these animals are not “tamed” for our use. This work is about survival; this is why they are so powerful.

For 35,000 years the aesthetics in these paintings were handed down from generation to generation; there is too much consistency in the work to prove otherwise. Think about that for a moment. These artists seemed not to care about “progress.” (Was progress even a notion they had?) I’ve heard people whine that nothing new has been done in the art world for decades. Decades? Compare that with 35,000 years!

We know about geological change taking place over eons. And yet, on the human scale, we think of 35,000 years as an eternity. We think of the paintings as ancient; yet the cave that has been painted upon is virtually unchanged. So when looking at cave paintings one is presented with the paradox of time: thousands of generations passing in the blink of an eye of Mother Earth.

Caves have no right angles. Did Paleolithic man know what a rectangle was? How often would he see a straight line? Perhaps the only time he witnessed a straight line was when looking out onto the ocean’s horizon. Or maybe he noticed the path of a falling object described a straight line. I look up from the rectangular screen of my laptop. I see the rectangle of the doorway into my kitchen; the rectangular windows letting light in. I inhabit a world of rectangles. Yet they are so ubiquitous I am unaware of them. At times I’ve wondered what an alien would see if they were to visit one of our museums. I think they would wonder why there are so many rectangles on the walls.

I was going to write that we’re prisoners of the rectangle. But something is giving me pause. When I look at a Mondrian a calm comes over me. I’m witnessing the sacredness of the horizontal and vertical line. These straight lines hint at the perfection of physics, or at least how we experience physics: the up and down force of gravity; the horizontal line of stasis and rest. The right angle is a symbol of the sacred union of the activity of gravity and the stasis of rest.

In cave painting we’re witnessing the mystery and wonder of the physical world. In Mondrian we’re witnessing the mystery of the laws that govern the physical world. The subject is irrelevant. What is relevant is the mystery. The awe. The incomprehension and the inexplicable.

The finite mind tries to grasp the infinite and is left peering into the paradox of existence.

Visiting the Gabriele Munter House in Murnau, Germany

By |June 3rd, 2015|Syndicated Content|

In the summer of 1909, in the beautiful Bavarian town of Murnau, nestled in the Alps, the 20th century art movement, The Blue Rider (The Blaue Reiter) had its genesis. That was the summer that artists Gabriele Munter (1877-1962) and Wassily Kandinsky (1866-1944) found a charming house on the hill overlooking Murnau, with stunning views of the Alps. The colorful village houses, intense light, local folk art, along with images of St. George slaying the dragon, would inspire the ground breaking works of the artists of the Blue Rider movement. Kandinsky, Munter, Franz Marc, August Mackeand Alexi von Jawlensky, painted together in this picturesque town, and influenced each other’s work.

Visiting the Gabriele Munter House in Murnau, Germany
                         Munter House in Murnau. Photo by Marie Dauenheimer

Kandinsky, Munter and their friends gathered at the “Russian House”, as the locals called it, to paint en plein air.  Influenced by local folk art  (paintings on small glass panels, with a bright palette and heavy dark lines) their work became more expressive, with an abstract quality.  After disassociating themselves from the Neue Künstlervereinigung München  art movement,  Kandinsky and Marc decided to start their own group, and write an almanac of their artistic philosophy.  Kandinsky took inspiration in his favorite images of St. George slaying the dragon, while Marc drew from his love of painting animals, combined the Blue Rider was born.  The first almanac featured a cover image of an abstracted horse and rider.



Visiting the Gabriele Munter House in Murnau, Germany
                    The Blue Rider Almanac cover by Wassily Kandinsky, 1911

The Blue Rider movement lasted from 1911-1914, and its artists shared a similar approach and sensibility to painting.  Their use of expressive, symbolic color, dramatic brushwork, and spiritual themes dominated their paintings.



Visiting the Gabriele Munter House in Murnau, Germany
                                      Yellow Cow by Franz Marc, 1911

Kandinksy and Munter lived in the “Russian House” from 1909-1914, when the onset of WWI forced Kandinsky and von Jawlensky to return to their native land of Russia.  Tragically, both Franz Marc and Auguste Macke were killed in battle.



Visiting the Gabriele Munter House in Murnau, Germany
                           Village Street in Murnau by Wassily Kandinsky, 1908

Gabrielle Munter lived in this beautiful house in Murnau until her death in 1962.



Visiting the Gabriele Munter House in Murnau, Germany
Staircase in Munter House painted  by Wassily Kandinsky, 1901. Photo  by Marie Dauenheimer


The Munter House is now a museum open to the public. I had the pleasure of visiting this historic home while recently traveling through Upper Bavaria. While none of Kandinsky’s paintings are on view, there are some of Munter’s works, along with hand painted furniture made by the couple, and local folk art, which inspired the Blue Rider artists. The presence of Kandinsky and Munter is felt in this house, their palettes are displayed side by side near a window overlooking one of the beautiful views that inspired them.



Visiting the Gabriele Munter House in Murnau, Germany
 Wassily Kandinsky and Gabrielle Munter's palettes, Munter House, photo by Marie Dauenheimer

An hour away in Munich the largest collection of Kandinsky’s work can be viewed at the Lenbachaus Museum.  In 1962 Gabriele Munter donated a vast collection of over

1,000 paintings, drawings and prints, all created by the Blue Rider artists.



Visiting the Gabriele Munter House in Murnau, Germany
                 View of Murnau from the Munter House. Photo by Marie Dauenheimer

For more information on the Munter House I recommend the book The Munter House in Murnau by Matthias Muhling and Isabelle Jansen.  There is also a wonderful chapter about the Munter House in the book Artists’ Houses by Gerard-Georges Lemaire.  


Visiting the Gabriele Munter House in Murnau, Germany

                                                 Dandelions by Gabrielle Munter

For more information on visiting the Munter House visit their website:

http://www.muenter-stiftung.de/en/the-munter-house/





Laughing at the word two

By |June 1st, 2015|Syndicated Content|

“Let the poet dream his dreams. Yet, the poet must look at the world; must enter into other men’s lives; must look at the earth and the sky; must examine the dust in the street; must walk through the world and his mirror.”
–William Baziotes

I have a tendency to get lost in the clouds and deny the reality of my corporeal existence. I have an inner committee that has been trying to convince me for years that if I just paint and meditate enough I will float away on a blissful spiritual ether. This committee informs me what I should and shouldn’t feel; that I shouldn’t be sad, angry, or jealous. Rather, I should always be happy, joyous, and free. By labeling one thing as “bad” and another as “good,” I’m codifying and separating. I don’t like to think of myself as a dualist. But this is clearly the case. I’m labeling the emotional world, physical world, and spiritual world as separate entities. I’m not thrilled with this unconscious tendency. 

As much as I would like to think I am, I’m not just a spirit-body composed of particles of love. Rather than ignore and separate myself from the more uncomfortable feeling states I have within, what would happen if I tried to acknowledge and witness them? I’m listening to the anger I have within. What does it have to tell me? What does this pervasive sadness I have been desperately running from have to tell me? What about fear? God forbid I look at envy or jealousy! And I’m not just limiting myself to “negative” emotions. What about joy and love?

Clearly, these feeling states are diverse and multifaceted. Yet I think of my psyche as one thing. There’s a unity here, and contained within it are my variegated feeling states. This isn’t just true of my psyche. Billions of cells arrange themselves to create my physical body (not bodies). And the physical body and emotional body are contained within the energetic makeup of the universe.

I don’t look at it as the many composing the whole. Rather, the one gives birth to the many. I came across this Rumi poem the other day:

When grapes turn 
to wine, they long for our ability to change.

When stars wheel
around the North Pole,
they are longing for our growing consciousness.

Wine got drunk with us,
not the other way.
The body developed out of us, not we from it.

We are bees,
and our body is a honeycomb.
We made
the body, cell by cell we made it.

My work has always been about transcendence and our energetic makeup. The symmetry in many of my pieces speaks to unity and oneness. But I am moving away from this with the new body of work I am currently making. I’m interested in putting the chaos, the hustle and bustle, the sights, sounds, and smells of the entire world in the panel. In other words, diversity has become my subject. And how the diverse in its entirety is a unity.

Laughing at the word two
Laughing At The Word Two (after Hafiz)
22"x28", silk and encaustic on panel, 2015

Bryan Christie Design: Illustrations Featured in “Understanding The World: The Atlas of Infographics”

By |May 28th, 2015|Featured Work, Syndicated Content|

Six pieces created by Bryan Christie Design can now be seen in the [...]

Dual Antiplatelet Therapy

By |May 7th, 2015|Syndicated Content|

Journal cover image about duration of dual antiplatelet therapy following angioplasty. Antiplatelet medicines work to keep platelets from sticking together and forming blood clots. There have been many recent studies debating whether shorter or longer courses of dual antiplatelet therapy are better for patients undergoing percutaneous coronary intervention. 

The post Dual Antiplatelet Therapy appeared first on Clark Medical Illustration.

Logo Redesign Part 3

By |April 23rd, 2015|Syndicated Content|

I've had some very good logo discussions already, and now I'd like to share some basic information about my business which could be represented in my logo, or elsewhere. Mission statement (written about 5 years ago) - We provide expert, high-...

Logo Redesign Part 2

By |April 22nd, 2015|Syndicated Content|

Here are some brainstorming doodles I've done. "No idea is a bad idea" at this stage. It could also be a name-only logo with no "mark" or picture associated with it. As you can see, I like brains, kidneys, cells, DNA (although I just spotted a left-han...

Logo Redesign

By |April 21st, 2015|Syndicated Content|

I'm in the process of updating my website. Along the way, I've questioned some branding elements, and of course, the logo has come up. Clint suggested a redesign and I'm not sure, but I think I am leaning towards a new one.I'd like to share t...

Hello, Readers!

By |April 21st, 2015|Syndicated Content|

Hi everyone. Ok, so it's been a while. I've been here, just not posting. And by here, I mean, all over the country again. If you follow me on facebook, you are probably in the know, but here are some updates:We have had a child. He just turned two and ...

Generalized Anxiety Disorder

By |March 31st, 2015|Syndicated Content|

This illustration was created for a May 2015 AFP article reviewing the diagnosis and management of GAD and PD in the primary care setting. While GAD and PD can develop among children and adolescents, diagnosis and care for these younger populations requires special considerations beyond the scope of this review. Generalized anxiety disorder (GAD) and […]

Wound Care

By |March 27th, 2015|Syndicated Content|

This illustration was created for the January 15, 2015 feature article for American Family Physisician about Wound Care. This article reviews common questions associated with wound healing and outpatient management of minor wounds: BROOKE WORSTER, MD; MICHELE Q. ZAWORA, MD; and CHRISTINE HSIEH, MD, Thomas Jefferson University, Philadelphia, Pennsylvania Am Fam Physician. 2015 Jan 15;91(2):86-92.   Patient information: […]

Innovation and medical illustration?

By |February 15th, 2015|Syndicated Content|

We provided medical illustration for a leading company in innovation and best practice in the fields of surgery, radiotherapy and digital integrated O.R.s Can innovation and traditional medical illustration work together for a better communication? Surely yes. We have been asked to participate in an informative design project. Brainlab is a software company with applications ranging from patient positioning in radio surgery treatments. They also provide software-guided surgical navigation that facilitates the secure exchange of medical images. The assigned

Understanding The World: The Atlas Of Infographics

By |January 5th, 2015|Syndicated Content|

I'm honored to announce that six of our pieces are in the just published book, Understanding The World: The Atlas Of Infographics. Sandra Rendgen did a wonderful job writing and editing the book. The artists on my team, Joe Lertola and Jeong Suh, did b...

Henri Matisse: The Cut Outs at the Museum of Modern Art in New York

By |November 4th, 2014|Syndicated Content|

 “Instead of drawing and then applying color, I draw directly with the color.”

These are words Matisse wrote to his friend and fellow artist Pierre Bonnard describing his paper cut- out works.


Henri Matisse (1869-1954) was a prolific French artist whose career spanned six decades.  His body of work includes beautiful paintings of figures, still lives and landscapes, best known for their strong palette and varied textures.  However Matisse considered his later work--paper cut-outs- his life's masterpieces. These stunning large-scale paper cut-outs were created, as Matisse called it by, “drawing with scissors.”


Henri Matisse: The  Cut Outs at the Museum of Modern Art in New York
                             The Red Room by Matisse, 1908 (oil on canvas).

Currently on view at the Museum of Modern Art (MoMA) in NewYork is the most comprehensive Matisse cut-out exhibition ever mounted.  The show, which was on view at the Tate Modern in London, will be at MoMA until February 8, 2015, and is a must see for anyone interested Matisse's later works.


Henri Matisse: The  Cut Outs at the Museum of Modern Art in New York
                       The Horse, Rider and Clown by Matisse, 1943 (cut paper)

Matisse first use cut paper in his work creating the Barnes mural for Dr. Albert Barnes’ famed Barnes Foundation in Merion, Pennsylvania (now located in downtown Philadelphia). 


Henri Matisse: The  Cut Outs at the Museum of Modern Art in New York
     The Dance Mural by Matisse, 1932-1933 (oil on Canvas), Barnes Foundation, Philadelphia, PA

Henri Matisse used cut paper in the 1930s and early 1940s as a compositional aid while working on paintings.  In Still Life with Shells(1940) Matisse cut out the shape of the various objects in his composition and used string to simulate the tabletop.  This allowed Matisse to move the elements around until he arrived at the desired composition.


Henri Matisse: The  Cut Outs at the Museum of Modern Art in New York
                         Still Life with Shells by Matisse, 1940 (oil on canvas)

In 1941, after recovering from abdominal surgery, Matisse found easel painting too strenuous so he started experimenting with cutting gouache painted paper into abstracted organic shapes.  With the aid of several assistants Matisse was able to “cut directly into color”. The paper cut outs were attached to the studio walls using thumbtacks.  Matisse directed the lively compositions from his bed or wheelchair.


Henri Matisse: The  Cut Outs at the Museum of Modern Art in New York
                                  Matisse creating cut-outs in his studio, 1940s

The wall size “The Parakeet and the Mermaid” features animated plants, pomegranates and other organic shapes including a blue parakeet and mermaid.  “I have made a little garden all around me where I can walk. There are leaves, fruits and a bird. I have become a parakeet and found myself in the work.”


Henri Matisse: The  Cut Outs at the Museum of Modern Art in New York
        The Parakeet and the Mermaid by Matisse, 1952, wall size paper cut-out mural

In  1948 Matisse began work on a four year cut out project for the Chapel of the Rosary located near his studio in Vence on the French Riveria.  Matisse’s extensive work for the chapel included radiant stained glass windows, and expressive line drawings painted on tiles that dominate the chapel.  Matisse also designed vestments and a tabernacle for the chapel. “It is the result of all my active life.  Despite all its imperfections, I consider it my masterpiece.”

Henri Matisse: The  Cut Outs at the Museum of Modern Art in New York
                The Chapel of the Rosary in Vence, France, by Matisse, 1948-1952



I highly recommend a visit to see this wonderful exhibition of at MoMA!  I also recommend the catalog, Henri Matisse: The Cut-Outs published by the Museum of Modern Art .  Another book of interest on Matisse and his later works is Henri Matisse, Drawing with Scissors, Masterpieces from the Late Yearsby Olivier Berggruen and Max Hollein, published by Prestel.  For a book on Matisse’s masterpiece The Chapel of the Rosary I recommend Matisse The Chapel at Vence published in 2013 by the Royal Academy of Arts

Not That Kind of Dissection

By |September 2nd, 2014|Syndicated Content|

This is a medical-legal piece showing a dissection of the internal carotid artery. In this instance the word dissection does not refer to cutting something up to study.  Here it is a tearing away of the interior wall of the carotid artery due to a spontaneous or traumatic injury. While once considered uncommon, spontaneous dissection is now known […]Not That Kind of Dissection

Did You “Photoshop” That?

By |July 14th, 2014|Syndicated Content|

I’m often asked whether I draw by hand or use Photoshop. The answer is simply that I draw – sometimes on the computer and sometimes on paper. Photoshop is just another tool to put marks on paper, or in this case, pixels on the screen. I use a […]

The post Did You “Photoshop” That? appeared first on Clark Medical Illustration.

The Fairmanators Team Mission Brief

By |July 3rd, 2014|Syndicated Content|

2014 Vesalius Trust Foundation Live Auction The Fairmanators Mission Brief http://www.crowdrise.com/thefairmanators What: Competitive Treasure Hunt (Live! At the 2014 AMI Meeting) When: Saturday, July 26th@ 6:30pm – 8:15pm Where: Downtown Rochester, MN – The Plaza Dear Fellow Fairmanator: This year, the VT Live Auction will consist of a competitive treasure hunt! Teams will unlock clues […]

Archival, limited-edition prints

By |June 19th, 2014|Syndicated Content|

I'm offering signed, limited-edition giclée prints of the following pieces. I print on archival Canson Photographique rag 310/m2 paper. The sheets measure 22"x17". Editions of 20 with one artist proof. Please email me at bryan@bryanchristie.com for inquiries.



Archival, limited-edition prints
"Portraits"  2012


Archival, limited-edition prints
"In the center of the world"  2013


Archival, limited-edition prints
"Reclining man"  2013


Archival, limited-edition prints
"For Rumi"  2014


Archival, limited-edition prints
"The pushing away pulls you in"  2013


Archival, limited-edition prints
"Willem"  2013


Archival, limited-edition prints
"Every angel is terror"  2014


Archival, limited-edition prints
"Divine separation"  2013


Archival, limited-edition prints
"Permanence lost"  2014





A little less

By |June 18th, 2014|Syndicated Content|

I believe we've been seduced by the digital medium. It is easy in digital 3D to make things glow, be reflective and shiny. We use every color imaginable in our work. I would like to see more restraint in what we do. Here's an anatomical illustration of...

The usefulness of uselessness

By |June 18th, 2014|Syndicated Content|


The usefulness of uselessness

"All art is quite useless." 
Oscar Wilde 

In the late eighties and early nineties I was a student at La Guardia High School of the Arts. My life was devoted to music. Thelonious Monk, Sonny Rollins and Lester Young were my idols. At eighteen I began gigging with my quintet in small venues in New York City. I wrote music and played tenor saxophone with a passion; I would end a gig or practice session in physical pain and emotional exhaustion. 

Jazz clubs were dropping like flies. Swing and bebop had been a vital aspect of American culture. Yet the glory years of the thirties, forties and fifties, with places like NYC's 52nd street, didn't exist anymore. The music I was playing was disconnected from the times I was living in; I was rehashing a music that had died decades before. I was tired of pouring my heart into something that felt useless. I stopped playing. 

At twenty I began working at my father's illustration and animation studio, Slim Films. There I learned that illustration and information graphics serve a specific purpose and have a defined goal. It was a revelation to be doing something concretely useful. After a couple of years working as a freelance illustrator I took a job as an assistant art director at Scientific American magazine. The editors worked with a passion that was eye-opening—even as they were writing about the most obscure subjects, like a particle physics theory that had no perceived relevance in our daily lives. It was as if I were surrounded by artists and musicians. 

This reignited my desire to make music. I decided to leave Scientific American and go back to Manhattan School of Music, the conservatory I had dropped out of a few years earlier. I quickly learned that I didn't have what it would take to make it as a professional musician. It seemed as if the pinnacle of success was getting into the pit band of a Broadway show. The prospect of playing the same music day in and day out was a nightmare. At the time I was earning, and enjoying, a decent living as a freelance illustrator. Once again I stopped playing. 

Over the years I became relatively successful as an illustrator. Five years ago I began to hire people and transition from a freelance illustrator to the creative director of my own studio. Two and a half years ago we moved the studio from Maplewood, N.J., to New York City. 

I reentered the world of the useless; I decided to devote a significant part of my time and energy to creating fine art. Creating something that is of no use is an exercise in frustration. The other day I was complaining to an artist friend about this. Shaking his head he said, "People have no idea how hard this is. It's awful. Just awful." 

And then, a couple of weeks ago I downloaded an album from iTunes of Barry Harris and Charles Davis, two of the teachers I studied with years ago. At the first notes my knees buckled. Time stopped and joy welled in my heart. It didn't matter what year it was. It didn't matter that what I defined as jazz had died years ago. What mattered was that for this brief time it was alive and well in my studio as I listened and danced.

Sculpture, photography, and information graphics

By |June 18th, 2014|Syndicated Content|

As I was taking pictures over the weekend it occurred to me that the act of taking a photograph is reductive. The same is true for sculpting with marble.Look at these two images:Michelangelo used chisels and hammers to chip into the block of marble in ...

A visual definition of information graphics

By |June 18th, 2014|Syndicated Content|

Eighty-one professionals were asked to create a visual definition of information graphics for a book that was published by the Society of News Designers Español.

When I was asked to do this, I froze. Talk about a blank canvas staring you in the face. An information graphic about an information graphic. How meta! My initial ideas involved illustrating the process of going from complexity to simplicity. I considered taking a photo of downtown NYC and then creating a 3-D rendering of the same area with one building highlighted in blue. Lame. One thing my father taught me is to throw out the first idea you come up with; it's usually too simple or surface oriented.

I continued to agonize over the assignment. I felt more and more that the only way to define an information graphic was through words. What are words anyway but organized collections of letters? And what are letters but symbols composed of abstract lines and geometric shapes?

Here's what I came up with:


A visual definition of information graphics






















After the judging at Malofiej20 I'm not sure I would say that an information graphic must have annotations or words though. There was an entry by National Geographic that was a reconstruction of a primitive man's face. The general consensus was that it wasn't an information graphic. I argued that it was— it was a visual that informed the reader of a possible facial structure of our ancestors. I said that there was a science to these reconstructions. Someone then said that they would feel it was an information graphic if it was annotated. At the time I agreed. I've since changed my mind. In hindsight I wish I had stuck to my guns on this one.

To prove my point, this is my favorite information graphic:

A visual definition of information graphics






















It's a color wheel developed by Johannes Itten. I use it all the time. Complementary colors are opposite one another. It shows how the primary colors mix to make the secondary and tertiary colors. It's informative and extremely useful.

Constipation in Children

By |June 18th, 2014|Syndicated Content|

This editorial illustration was created for a July 2014 cover of American Family Physician. The image summarizes Constipation in Children. Childhood constipation is common and almost always functional without an organic etiology. Stool retention can lead to fecal incontinence in some patients. Often, a medical history and physical examination are sufficient to diagnose functional constipation. […]

Severe Osteoarthritis of the Knee

By |June 11th, 2014|Syndicated Content|

Arthritis is an inflammation of joints. Osteoarthritis (OA) is divided into stages. The highest stage, 4, is assigned to severe OA. OA that has become this advanced is likely causing significant pain and disruption to joint movement.

The post Severe Osteoarthritis of the Knee appeared first on Clark Medical Illustration.

Hiatal Hernia Graft

By |May 3rd, 2014|Syndicated Content|

The hiatus is an opening in the diaphragm (the muscular wall separating the chest cavity from the abdomen). Typically, the esophagus goes through the hiatus and attaches to the stomach. In a hiatal hernia the stomach bulges up into the chest through that opening. This illustration depicts a hernia […]

The post Hiatal Hernia Graft appeared first on Clark Medical Illustration.

Opening reception for Transmutation

By |April 29th, 2014|Syndicated Content|


Opening reception for Transmutation

I'm hosting a three-person show at my studio. I'm showing with two other wonderful artists: Linda Serrone Rolon and Alkan Nallbani. The opening is on Thursday, May 8th, from 6 to 10pm. If you're in the NYC area, please come by!

The show will be up through Saturday, May 10th. 11am-6pm.

Press release:

TRANSMUTATION

Please Join Us Thursday, May 8, 6-10pm

Christie Studio, 67 Greene Street, 3rd floor

New York City


Please accept this invitation to view the works by Linda Serrone Rolon, Bryan Christie, and Alkan Nallbani and their connection to Transmutation.  
Linda Serrone Rolon's elements of Transmutation are a conversion of life, material, and imagination.  Rolon has been painting Mother and Child as subject long before she even thought about being a mom.  Each interpretation is a reflection of her own personal experience and a deep connection to others’ stories of being a mother and/or a child.  “It is the surface that I need to keep clean and smooth. That feeling to make a terrible situation perfect, like in cinema—its nostalgic effort to turn an image into a life lesson.” From the boroughs of NYC, Rolon continues to work in Brooklyn with family in tow and has retired parts of her life to reconnect with the community in the only way she knows how (through her art).
Bryan Christie’s work explores the spectrum of human experience. "Our lives start with trauma as we are brought into the world from the safety of our mother's womb. We eventually die, experiencing the loss of all that is dear to us. Yet transcendence and the experience of the sublime are rooted in this fleeting material existence. The divine is made evident through tangible and sensual experience; without our physical selves, we would not experience moments of wonder and the mysterious." 
His work is an attempt to transform the lasting effects of his post-traumatic stress disorder from childhood abuse into a message of acceptance, love, and compassion. He ultimately believes that "the human body can express spiritual truths, and my work seeks to inspire a visceral experience of the ultimate love, truth, and beauty that lies in the heart of our world."
Christie’s paintings are created from multiple layers of silk bound together with encaustic, mounted on wooden panels. Many of the figures’ poses are derived from ancient classical sculpture and Renaissance paintings. Christie is inspired by these historical works because of the interplay between our flesh-and-blood existence and something less tangible—our soul.
Alkan Nallbani’s work presents simple images intended to suggest universal themes – humanity, sexuality, environment – raising questions about our existence along the continuum of time.  “My journey from repression to freedom is essential to, and provides the context for, my work but does not constrain it.  Although I cannot remain indifferent to the indelible mark imprinted upon me by such experiences, it is not specifically my identity as an Albanian or immigrant that interests me, but rather the transformative nature of the immigrant experience, inextricably linked with its timeless themes of dislocation, and the continuous challenge of humanity.” 





Apophyseal Avulsion Fractures of the Hip and Pelvis

By |April 24th, 2014|Syndicated Content|

Apophyseal avulsion fractures of the hip and pelvis are injuries that usually occur in the adolescent athlete. This illustration was used for a medical journal cover.

The post Apophyseal Avulsion Fractures of the Hip and Pelvis appeared first on Clark Medical Illustration.

The TMJ eBook is out

By |April 22nd, 2014|Syndicated Content|

We had the pleasure to work with FOR and bring to life an exceptional resource for those desiring in-depth knowledge of temporomandibular joint anatomy. An incredible collection of images further enhances the experience of understanding the more intricate anatomic characteristics of the TMJ. The Temporomandibular Joint  joins the existing digital textbook Single Implants and Their Restoration.

How medical infographics assist on health explanations

By |April 21st, 2014|Syndicated Content|

Wow can medical infographics help with health explanations? From prehistoric times to the digital age infographics have helped in comprehending various subjects. Medical infographics contribute greatly to today’s medicine and science. The first maps were created thousands of years before writing. Maps have been found drawn on the walls of Turkish city Çatal Hüyük in 6200BC. Christopher Scheiner used graphics to illustrate his astronomy research about the Sun and in 1786 William Playfair published his first book with statistical