Overview
- Authors:
-
-
Bradley J. Harlan
-
Division of Cardiopulmonary Surgery, University of Oregon Health Sciences Center, Portland, USA
-
Albert Starr
-
Division of Cardiopulmonary Surgery, University of Oregon Health Sciences Center, Portland, USA
-
Fredric M. Harwin
-
Medical Illustrator, Portland, USA
Access this book
Other ways to access
Table of contents (13 chapters)
-
-
- Bradley J. Harlan, Albert Starr, Fredric M. Harwin
Pages 1-5
-
-
- Bradley J. Harlan, Albert Starr, Fredric M. Harwin
Pages 12-22
-
- Bradley J. Harlan, Albert Starr, Fredric M. Harwin
Pages 23-32
-
- Jeri Dobbs, Ingrid Hansen
Pages 33-41
-
- Bradley J. Harlan, Albert Starr, Fredric M. Harwin
Pages 42-67
-
- Bradley J. Harlan, Albert Starr, Fredric M. Harwin
Pages 68-83
-
- Bradley J. Harlan, Albert Starr, Fredric M. Harwin
Pages 84-89
-
- Bradley J. Harlan, Albert Starr, Fredric M. Harwin
Pages 90-137
-
- Bradley J. Harlan, Albert Starr, Fredric M. Harwin
Pages 138-160
-
- Bradley J. Harlan, Albert Starr, Fredric M. Harwin
Pages 161-169
-
- Bradley J. Harlan, Albert Starr, Fredric M. Harwin
Pages 170-185
-
- Bradley J. Harlan, Albert Starr, Fredric M. Harwin
Pages 186-195
-
Back Matter
Pages 197-204
About this book
difficult, to represent it as the surgeon sees it, and to understand the anat omy, which is not always visible. In part, this was accomplished by paint ing on both surfaces of transparent paper to create the illusion of looking through superficial layers to the deeper structures. A combination of color media, including colored pencil, graphite, carbon, pastels, and transparent and opaque watercolors, enabled me to convey the field with minimal loss of reality or dimension. Of equal importance was the availability, for every illustration, of direct surgical observation, surgical photographs, fresh specimens, and the surgical instruments. The sequence of creation was first the discus sion of desired illustrations, then a rough sketch, consultation with the surgeons, finished pencil drawing, another consultation, and finally the color rendering. These color renderings were then checked against actual surgery for accuracy in representation of tissues, instrumentation, tissue responses to manipulation, and consistency of representation. From these processes evolved a technique that facilitated the flow of information, in logical sequence, from one step to the next and from one procedure to another, always focusing the attention of the audience toward what is pertinent and away from the extraneous.
