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Results 1 - 18 of 18
1. In praise of Sir William Osler

By Arpan K. Banerjee


In May this year, the American Osler Society held a joint meeting with the London Osler Society and the Japanese Osler Society in Oxford at the Randolph Hotel. The Societies exist to perpetuate the memory of arguably one the most influential physicians of the early twentieth century, and to discuss topics related to Sir William Osler’s interests. It is fitting that this meeting was held in Oxford, where Osler spent his time as the Regius Professor of Medicine having transferred from another great seat of medical learning at Johns Hopkins Medical School in the United States.

William Osler. CC-BY-4.0 via Wikimedia Commons.

William Osler. CC-BY-4.0 via Wikimedia Commons.

Osler was interested in medical education (he produced his classic textbook, which ran to several editions) and set about trying to improve the education of future doctors. Osler’s other great legacy was his combination of superb clinical skills honed by experience not only on the wards but also in the laboratories, and his great interest in the humanities. Osler always tried to combine these two approaches in his work, and much of his writings and aphorisms are as relevant today as when they were first written. Medical students could read Aequanimitas today more than a century after it was written, and would profit from much of the advice to students within this volume of essays and addresses.

Osler had a great interest in the History of Medicine and helped found the history section of the Royal Society of Medicine in London. This scientific section has continued to flourish for over a century. He believed physicians should be well rounded and well read, and that medicine was a calling of both art and science. Although Osler was not against the idea of specialisation in medicine, he was a superb generalist and could manage both adult and child patients. He believed that doctors owed it to themselves to be well versed in the range of disease and illness afflicting mankind. His early interest in comparative pathology during his time at the Montreal Veterinary College prepared him well when dealing with infectious diseases which in the pre-antibiotic area were the scourge of the day, as compared with today in the West where degenerative diseases, cancers and diseases of longevity have overtaken infections as a major killer in the Western world.

The centenary of the Great War is 2014; it was Osler who started a campaign for the compulsory vaccination of soldiers for typhoid, publishing letters in the Times and The British Medical Journal on this topic. That year his literary output also included his Incunabula Medica, a study of 214 of the earliest printed medical books from 1467-1480. Although finished, it was not published until 1923, four years after his death.

Throughout the late twentieth century medicine has continued to super-specialize at an alarming pace throughout the world, driven by the rapid advances in medical diagnosis and treatment. X-rays were only invented in 1895, and the early part of the twentieth century began to see the introduction of chest x-rays into clinical practice. This was still a world away from CT scans, ultrasounds, and MRI scans, which are now de rigueur in the management of patients. Yet in spite of all this progress, disaffection with the medical profession seems rife. Could it be that the general physicians are going to make a comeback? Perhaps a more humanitarian approach to the patient is what is required again, maybe combined with the inexorable technical progress which will undoubtedly continue in the future. Osler would have been amused to see how the wheel of medical fashion has turned full circle.

Arpan K Banerjee qualified in medicine from St Thomas’s Hospital Medical School in London, UK and trained in Radiology at Westminster Hospital and Guys and St Thomas’s Hospital. In 2012 he was appointed Chairman of the British Society for the History of Radiology of which he is a founder member and council member. In 2011 he was appointed to the scientific programme committee of the Royal College Of Radiologists, London. He is the author/co-author of six books including the recent The History of Radiology.

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The post In praise of Sir William Osler appeared first on OUPblog.

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2. Swap! - Text Overlays for Foreign Editions


When it comes to the digital 'finishing' work on my books, it's the cutting out that's the real chore but, once that's done, I feel as though I have finished. Not so! There's the final, fussy job of doing the text overlays. Sigh...


All text has to be created separately from the main artwork, because of translations: you can't have English words embedded in the illustration and then hope to sell the book for foreign editions. This goes for all wording, but I am not talking about the regular text you can see above, but the little, incidental details: can you see the word 'DOG' on the bowl? 

There are quite a few more on the spread below:



Most illustrators don't have to worry about the text overlays - the design team at the publishers sort out all that, when they place the other text. However, because I am daft enough to create my artwork in pastels, the bits of text which are intrinsic to the images don't work very well if they too are not in pastels: the wording sort of floats above the illustration.


It's not practical to do the text overlays in actual pastels, so I do it digitally, in 'pretend' pastels, using an old version on Corel Painter, which does a pretty good job of emulating the marks of my pastels, particularly after I have scanned in a sample of the actual paper I draw onto, so the texture matches. This is the text from the classroom door.

It's a boring and fiddly job, but looks much better. Of course, when it comes to the foreign translations, I have no control, so they just bung on ordinary text. Hey-ho - there are times when you just have to let go... 

For the children's dance studio below, I've done the whole sign as an overlay, including the little drawings of the kids, because foreign translations can take up more space than English text. This way, it allows for the little figures to be removed if necessary, to fit in a more wordy name - clever eh?!


Anyway, I am now done, done, done (hurrah!) and a DVD of all the finished artwork has been sent back to my Art Director, who will be busy this week, dropping all the text into its final position and sorting out the final bits of design work (spine, title page, dedications, blurb, bar codes...).

The next stage should be the colour proof. That's the truly exciting bit, when it all looks real!

8 Comments on Swap! - Text Overlays for Foreign Editions, last added: 5/8/2013
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3. 'Swap!' - Dingyness Stops Play!


This week I am glued to my computer, doing the Photoshop work on the 2nd DVD of scans of my Swap! artwork, cutting away the pink paper backgrounds, as you can see on the illustration below, and also creating text overlays where needed. I know, it's AGES since I worked on it last - I bet you thought it was all done and dusted.

Raw scan before any work

You might recall, there was a rush to get my book mocked up for the Frankfurt Book Fair in October so, in early September, I sent about 2/3rds of my pastel artwork away to be scanned, then carried on, rushing to finish the rest in time for my publisher to take that to the fair as well.

A DVD of scans from that first batch of artwork came back to me with just a few days to do all the Photoshop work by the deadline, ready for the publisher to create the mock-up. It was all very last minute, as is often the case around the big book fairs. 

Finished illustration: pink paper replaced by yellow ground

But - DISASTER - there was something wrong with the scans! They were very dingy and I wasn't happy, but I had no chance to even tell anyone, as it was the weekend and I had to work on them straight away or I would miss the deadline. 
So I did all the usual computer work then also used Photoshop to fiddle around with various settings, until I thought they looked better.

It all went to Frankfurt OK and I explained about the duff scans. My publisher said they would talk to the repro people, but were happy for batch 1 to use my tinkered-with versions. So, I was expecting to get a DVD with the 2nd batch of scans sometime in November, once the fuss of the show was over. But nothing arrived. It turned out the delay was to do with worries about the dingy problem. Christmas came and went. Then my publisher had a bit of trouble and went down to a skeleton staff, which delayed things further.

So, here we are in March. Actually, the new DVD arrived a few weeks ago, but I had to get all my school visits out of the way before I could do anything about it. Apart from whitening-up the children's shirts a bit, I haven't tinkered with the values in the image above and I think it looks OK, so they seem to have got the problem sorted.

If you want to read more detail about how I cut away the pink paper background, check out this post from when I was doing Baby Goes Baaaaa!

7 Comments on 'Swap!' - Dingyness Stops Play!, last added: 4/9/2013
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4. Photoshop Cut-Aways: Nearly Done, Despite Potential Disaster!


I'm still working away at my computer, using Photoshop to finish off the scans of my Swap! project. trying to get all the illustrations cut off their pink paper backgrounds and onto funky colours, before my imminent deadline. I have a small extension - I now have until 11am tomorrow morning!

It's been going well and slightly faster than I expected, which is of course FANTASTIC news. Especially given the major set-back I had on Monday. As I was beavering away, about 10.30am, my computer suddenly snapped itself off, mid illustration. NNNNNOOOOOOOOOO!!!!!!

It turned out, by my extraordinary bad luck, that there was a fire in our electrical sub-station, so the power in the whole of my area of Sheffield was cut off for several hours. I had to sit and read a book as the time ticked by. Thank goodness they sorted it out eventually.

5 Comments on Photoshop Cut-Aways: Nearly Done, Despite Potential Disaster!, last added: 9/27/2012
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5. A Mixed Weekend: Photoshop and Fun...



I try not to work weekends. Self employment is inclined to gobble up your private life if you're not careful. But things are really full-on at the moment. My latest deadline in Thursday first thing, so my Sunday had to be sacrificed to Swap!.

At least I got Saturday. It was a gloriously sunny day again and, since each one could be our last, we drove out to Chatsworth, to spend the day in the gardens, looking at the Barry Flanagan sculpture exhibition. I did some sketching towards the end of the afternoon. Thought I'd experiment with a crazy colour hare, after my Colour Games workshop.


I was about to attempt the drawing below, the same hare from the back, when a couple of children came over to ask what I was doing. I explained, showing them what I'd done so far. Their two friends came over and joined in. They were curious about my pencils, so I gave them a quick demo-scribble in the back of my sketchbook.


I asked if they wanted to try. Well, that was it. They got so excited, especially about the water brush, that they all set-to in a huddle while I chatted to their parents (who kindly offered to leave them with me for an hour or so...). They created this spread together: 



We rounded off the day watching some cricket, which I know nothing about, but it was a good excuse for sitting on the grass just a bit longer.

But Sunday it was down to work: the scans have come back from that first batch of artwork I sent off a couple of weeks ago. Now the rush is to get them all cut-out in Photoshop by Wednesday night. I need to get rid of the pink paper backgrounds and replace them with flat digital colour, like the illustration at the top and below. 


You can see the rough of this illustration and my pastel artwork before the cut-out job here.

My previous books with Gullane have had colour backgrounds on the 
covers, but been cut away to white on the inside, but I feel this one is calling out to be more funky. I'm having fun seeing how they look on the colours - it makes them really come together.

3 Comments on A Mixed Weekend: Photoshop and Fun..., last added: 9/25/2012
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6. Dashing for the Finishing Line...


The rescans for Baby Can Bounce! came back last week (remember the problems we had?). The colours are definitely truer now, with more 'ping'. All good news, except having to do them again put us well behind schedule, especially with Christmas looming... 



It meant I had to strap myself to my computer, get my head down and digitally cut out these last few illustrations at record speed, so they could get to the printers before everyone waved their offices bye bye and got stuck into the mince pies and whiskey.




The trampoline cover piece above was straightforward (apart from swapping a green reflection on the trampoline for a purple one, now he's not naked!), but none of the 3 pieces we re-scanned from the inside have been especially quick or easy. The Baby can tickle monkeys at the top were unusually fiddly, with lots of edges. Baby can sniff / splash has been a headache because of the puddle splash: 


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1 Comments on Dashing for the Finishing Line..., last added: 12/19/2011
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7. Going Bug-Eyed: Creating Vignette Illustrations in Photoshop


I have been chained to the computer lately, finishing the artwork for my latest book Baby Can Bounce!. I normally like to keep weekends work-free, but last weekend I had my nose to the screen all day, both days.

When the scans of my illustrations come back from the repro-house, the characters are of course still on my pink pastel paper: 





The idea is to drop them on the same range of colours as Baby Goes Baaaaa!. Sarah, my designer at Egmont, tried out various possibilities, most of which I think worked really well. I made suggestions for a couple of changes, which she agreed: it's very much a team effort at this stage.

Once the colours had been decided, I then had the job of 'cutting out' the characters in Photoshop, to get rid of the pink paper. This little character is illustrating Baby can shake:




And that's not quite all: because the illustrations were drawn on pink, they don't necessarily 'sit' properly on the new colour straight away. So another job is to make any tonal or colour adjustments needed, so it looks as though I always intended it to be on that colour. This is always most obvious with the shadows at their feet.


1 Comments on Going Bug-Eyed: Creating Vignette Illustrations in Photoshop, last added: 12/3/2011
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8. Hippy Dude Chases Taxi Through the Streets


This week has been another busy one...

I started it by spending all weekend locked up in the studio with my nose to the computer, working on my Baby Can Bounce scans in Photoshop, cutting out vignettes and then tinkering with the digital images, to help them 'bed in' with the coloured backgrounds we have dropped behind:


So, as you can imagine, I was already feeling a little jaded on Monday morning, when I had to drag myself out of my warm, cosy bed at 5.15am (!!!) to make a 6.30 train to Durham. 



Now, this wouldn't have been so bad if I wasn't still recovering from particularly late night on Saturday. It was my good friend (and fellow illustrator) Lydia Monks's birthday, so a group of us donned fancy dress and went to a 1970's themed party. Arriving home in the wee small hours, we staggered from the taxi, went to let ourselves in, then realised... I had left my handbag in the back of the cab, whose tail lights were just rounding the corner.

John made chase (in full 70's gear, including a wig), but to no avail. So: no door key, no mobile, no way in. Once we'd finished swearing, John scaled the fence and broke a wi

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9. Oops - Nearly Missed It!


John has nipped to the post office for me, so the DVD of scans is winging its way to Egmont at last (phew), but I nearly overlooked something important...

While I was doing a last-minute check through my illustrations, looking for bits of text I might have missed for my overlays, I spotted the crocodiles. When I did the actual artwork, we hadn't finished designing the Baby Goes Baaaaa! cover, so I illustrated it as my best guess, based on discussions at that stage:


Once we had done the cover re-design, using the spotty, coloured text, the lighter yellow etc, I was able to alter the illustration on the digital scan, to match the new look:


I spent ages tinkering in Photoshop, creating a miniature version of the book. One challenge was not making it too neat: trying to make it look like it would if I'd been restricted by the pastels.

BUT... I suddenly realised this was not very co-edition friendl

2 Comments on Oops - Nearly Missed It!, last added: 5/27/2011
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10. Masterclass (!) on Digital Background Shenanegans in Photoshop


By popular request (well, one or two comments...) this is a more detailed description of how I cut my pastel illustrations from the pastel paper in Photoshop (version 7.0), to substitute a digital background colour that 'knits' with the pastel artwork.

One quick Health and Safety warning: what follows is aimed at Photoshop users. Do not read on if you are not digitally-inclined, or there is a serious risk of brain injury!!

OK - eyes closed all you non-Photoshop types? Then here goes...

First create a new layer beneath the main image and fill it with the intended background colour:


Then use the lasso to select the entire inside area, keeping just within the pastel edges:


Select inverse, so you now have all the pink paper, plus just the edges of the illustration selected.

Use a 'colour range' selection to grab just the pink paper and not the pastel edge (I usually set the scale at 50 - 60%).

Select inverse again and click the icon that creates a mask, which visually kills the paper background, doing most of the work, revealing the colour behind:


On the actual image (not the mask layer) lasso all the background area again, leaving a margin around the illustration, and delete: this will instantly kill any small specs or smudges you might miss.

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11. Choosing the Background Colours


While my trusty new side-kick gets my admin up to date, I am still working away at the computer, cutting out the illustrations for my new book Baby Goes Baaaaa!, lifting the pastel drawings from the digital scans, ready for the coloured backgrounds to be dropped behind. 

But I quickly realised that making final decisions on the exact colours of the backgrounds needed to take priority, as changing them later would mean revisiting the cutouts. 


Sarah at Egmont suggested a colour scheme of around 7 colours, repeated throughout, to hold things together - a good idea. I tweaked her colour suggestions a bit and then narrowed them down to 6 I felt worked well across all the images.


Above are the 1st 4 spreads of the book, with all 6 colours in play.

I substituted the brighter blue above for the more lilac-blue Sarah originally suggested, and I wasn't keen on the peachy yellow below.

Sarah had kicked things off by created a low-res, digital mock-up of the whole book, a tri

4 Comments on Choosing the Background Colours, last added: 5/17/2011
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12. Digitally Created Backgrounds


On Monday morning, despite the sunshine in the garden, I knuckled down and started the digital stage of Baby Goes Baaaaa!. Come Tuesday, I had to break off for my assessing work at the University, but today I have been hard at it again.


Each of my pastel illustrations for the book was created on my usual, pink paper but, as you can see from the mock-up above, created by Sarah, my designer at Egmont, the images are designed to sit on bright background colours, so the pink area around each drawing needs removing. 


I won't go into the boring details (yawn...) of how this is actually done in Photoshop (I can already hear your sighs of relief), but since I always have to do this bit, I thought I'd quickly explain the principle again, using the koalas as an example.

I get back a scan of each illustration that looks like the one above. In good old Photoshop, I then quickly knock out the pink, to get this instead:


This might look done, but the final image is going to sit on the pale yellow, so I create a temporary yellow layer beneath my koalas, so I can guage exactly what it's going to look like.

The first, obvious thing to adjust is the shadow.


The lilac shadow above looked right on the pink background I began with, but is way too strong on yellow, so this lo

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13. Digital Dinosaurs

Remember my book Rumble, Roar, Dinosaur! that's just come out? Well, preparing my post to tell you about it, I suddenly realised I had very few of the illustrations to show you.


I always get my original pastel drawings back from the publishers (they only buy the rights to use it, not the artwork itself), but I like to have a copy of the professionally scanned, digital versions too: very handy for self promotion and, of course, blogging.

Usually I'm sent digital files automatically, towards the end of a project, to do my various bits of finishing work. But, for some reason which I've now forgotten, I couldn't do the finishing for Rumble, Roar, Dinosaur! so the designer did it instead. As a result, I never got my scans. Oh no!


Anyway, my editor at Macmillan kindly posted me out a DVD, and I've been loading dinos onto my computer. Trouble is, because of the flaps involved in this artwork (piled up in Photoshop layers, with die-cut guides and all sorts) the files are SO MASSIVE that each one has been taking roughly the lifespan of a your average dinosaur to open up on my poor, frazzled computer.


There can be few things more frustrating than staring at that nasty little egg-timer for about 10 minutes, then realising the computer has locked up and you've got to begin all over again. Grrrrrr: I feel a T. Rex moment coming on...

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14. Putting Back the Story


I finished my article and I'm rather pleased with it - let's hope they are!


Since I'm referring to specific aspects of my illustrations, there need to be images alongside the text, and I'm told I can have 4 or 5, which is great. I have all my illustrations saved digitally (I always make sure I get a copy of the publisher's scans - very handy), so providing these is no problem.


Except... as the article is aimed at writers, I want to show how I've interpreted the text, so I need the story to appear on the illustrations, as in the actual books. Even more so with the image above from Class Two at the Zoo: an example to demonstrate how a more adventurous designer might incorporate text (great job Claire!).

But the words are obviously not on the original scans, and scanning the printed page gives poor quality illustrations. So to get the images you see here, I've had to fiddle about, scanning the books, then lifting off the text in Photoshop and pasting it on top of my original illustration scans: a bit of a pain.


I suppose I shouldn't grumble: it is fantastic to have the means to do this so easily. I still remember when the dizzy heights of repro technology were letraset and a photocopier!

2 Comments on Putting Back the Story, last added: 1/14/2010
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15. Photoshop Frenzy 3: Virtual Pastel Wording


Good news: at last, my voice has returned!! After 4 days of complete silence and a further 2 of sounding like an alien with a voice box, things are finally back to normal (or as normal as it gets).

To celebrate I'd like to offer you a sip of Champers, but instead, you'll have to make do with the final installment on the digital work for Bears on the Stairs...

You can never include any words on picture book artwork, because the book might need translating for foreign editions, so it's always done afterwards on a separate layer. Spot the blank red sign on the boy's bedroom door above.

On this detail from the rough, you can see what it will read when finished:

Usually this wording is dropped in by the designer, when they do the regular text, but I like to mock up the pastel effect, to give the impression that the words have been done on the actual drawing, otherwise they can appear to 'float' above the illustration.

I scanned a sample of my textured pastel paper into the computer to create an identical 'virtual' paper. I can then draw onto this, in 'virtual pastels', using Corel Painter, and get the exact same texture as the original drawing:

As a guide, I paste the wording from my rough (above) onto a section from the artwork scan, then I write over it in my virtual pastel (on a seperate layer so it can be lifted off). This is what the overlay wording looks like on its own:

This can then be printed over the artwork on the English language version only, allowing for any number of translations to be inserted with impunity. Sneaky stuff eh?

4 Comments on Photoshop Frenzy 3: Virtual Pastel Wording, last added: 10/20/2009
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16. Photoshop Frenzy 2: Smudge Surgery!


One of the draw-backs to pastels is their infinite smudgability. Mostly the artwork survives the scanning pretty well, but there are occasional smudges. Luckily these are easily remedied in Photoshop.

When I get my DVD of artwork scans, The first job is open each illustration in Photoshop, one at a time, and carefully look them over, checking for smudging or flaws.

This detail, from the scan of the Bears on the Stairs spread, where he tries to bribe Little Bear with a chocolate biscuit, shows how the boy's face has been contaminated with the blue of the hall carpet.

Nothing a little digital plastic-surgery couldn't put right - I gave him a skin graft from another illustration using the 'clone' tool.

Another job down!

6 Comments on Photoshop Frenzy 2: Smudge Surgery!, last added: 10/17/2009
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17. The Photoshop Frenzy: Cut-Outs


I was working so flat out last weekend, I didn't get time to explain properly what it was all about. Having blogged Bears on the Stairs through the entire project, from the very first rough sketches, it seems a shame to miss the end, so here goes:

There is a certain amount of 'finishing' work to be done in Photoshop, before the book can be proofed. Some illustrations are fine and ready to print, but not all. Like the cover I showed you previously, the title page image above needed to be cut from the pink paper I draw on.

Both the koala spreads also needed cutting out, and then popping onto bright colours. I'm thinking yellow and bright pink...

The pastels make this job quite tricky though. Here's a detail from the original scan and the first stage of putting in the new background:

Once the new bright pink is in, it shows up all sorts of problems that need touching up, like the nasty pencil lines around the white bannisters and the boy's pyjamas, the 'noise' under his arm and the furry edges around his fingers:

It takes quite a while, working my way around every edge, checking for touch-ups.

There are a couple of other jobs to do at this stage too, but I'll tell you about them next time.

8 Comments on The Photoshop Frenzy: Cut-Outs, last added: 10/16/2009
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18. Touching up the Bears (!)


I've spent the whole weekend glued to the computer, turning the scans of my Bears on the Stairs illustrations into print-ready images. They came back from Switzerland as a DVD last week.

Here's a taster, to give you an idea of the sort of thing I've been up to...

This is how the front cover is going to look:


But this is the digital scan off the DVD, of my original illustration:


My job was to knock out the pink paper background and replace it with the green (chosen by the Designer at Anderson Press) being careful to keep the soft pastel edge to the drawings. You might also have noticed, I've touched up a bit of smudging in the stairs too.

I didn't add the text by the way: that was sent to me by the Designer, to help me judge how it would look printed.

No time for further detail, as I'm off to schools again first thing in the morning (6.45am cab!) and have to pack my stuff, but will tell more later.

6 Comments on Touching up the Bears (!), last added: 10/14/2009
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