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visualization + design
Creating the PNAS Cover
One of my goals in life, which I can now say has been accomplished, is to make biology look like astrophysics. Call it my love for the Torino Impact Hazard Scale.
Recently, I was given an opportunity to attend to this (admittedly vague) goal when Linda Chang from Aly Karsan's group approached me with some microscopy photos of mouse veins. I was asked to do "something" with these images for a cover submission to accompany the manuscript.
When people see my covers, sometimes they ask "How did you do that?" Ok, actually they never ask this. But being a scientist, I'm trained me to produce answers in anticipation of such questions. So, below, I show you how the image was constructed.
The image was published on the cover of PNAS (PNAS 1 May 2012; 109 (18))
Tools
Photoshop CS5, Nik Color Efex Pro 4, Alien Skin Bokeh 2 and a cup of coffee from a Rancilio Silvia.source images
Below are a few of the images I had the option to work with. These are mouse embryonic blood vessels, with a carotid artery shown in the foreground with endothelial cells in green, vascular smooth muscle cells in red and the nuclei in blue.
Of course, as soon as I saw the images, I realized that there was very little that I needed to do to trigger the viewer's imagination. These photos were great!
memories of star trek
Immediately I thought of two episodes of Star Trek (original series): Doomsday Machine and the Immunity Syndrome, as well as of images from the Hubble Telescope.
I though it would be pretty easy to make the artery images look all-outer-spacey. They already looked it.
centerpiece image
And then I saw the image below.
constructing the cover
background
The background was created from the two images shown here. The second image was sampled three times, at different rotations.
The channel mixer was used to remove the green channel and leave only red and blue.
middle ground
The next layer was composed of what looked like ribbons of blue gas. This was created by sampling the oval shapes from the source images. Here the red channel was a great source for cloud shapes, and this was the only channel that was kept. The hue was shifted to blue and a curve adjustment was applied to increase the contrast.
When the foreground and middle ground elements were combined, the result was already 40 parsecs away.
foreground
The foreground was created from the spectacular comet-like image of a mouse artery. Very little had to be done to make this element look good. It already looked good.
I applied a little blur using Alien Skin's Bokeh 2 to narrow the apparent depth of field, masked out elements at the bottom of the image and removed some of the green channel. The entire blue channel was removed altogether (this gave the tail of the comet a mottled, flame-like appearance).
post processing
And here we have the final image.
news + thoughts
Figure Design and Writing — Two Goals, One Process
This month I look at how creating effective figures is similar to the process of writing well in the Points of View column Elements of Visual Style.
Using Strunk's Elements of Style as an example of writing guidelines, I look how these can be translated to creating figures.
VIZBI 2013 Keynote—Visual Design Principles
When we create figures, we must communicate and design. In my talk I discuss some of the rules that turn graphical improvisation into a structured and reproducible process.
The fractal tree was created with OneZoom, which received the best poster award at the conference.
Happy Pi Day— 3.14
Celebrate Pi Day (March 14th) with a funky modern posters. Transcend, don't repeat, yourself and watch the dots shimmer.
The posters were inspired by the beautiful AIDS posters by Elena Miska.
For the Love of Type
I am always drawn to type and periodically I must do something about it.
If you were a type, what type would you be? Me, Gill Sans on weekdays and Perpetua on the weekend.
