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  <body>&lt;p&gt;&lt;span class="cap"&gt;M&lt;/span&gt;ake a difficult concept accessible and compelling&amp;mdash;that was the challenge presented to &lt;a href="http://www.jon-han.com/" target="_blank"&gt;Jon Han&lt;/a&gt;, illustrator of our Fall 2009 &lt;a href="/assets/metastasis-the-killing-fields" target="_self"&gt;cover story on metastasis&lt;/a&gt;, which was sent to half of &lt;i&gt;Proto&lt;/i&gt; readers, and &lt;a href="http://www.theispot.com/artist/sbradford" target="_blank"&gt;Stuart Bradford&lt;/a&gt;, creator of the &lt;a href="/assets/tangier-disease-one-islands-treasure" target="_self"&gt;cover on Tangier disease&lt;/a&gt;, which reached the other half. Here, each describes his creative process.&lt;p&gt;
&lt;div class="articleImg" style="width: 267px"&gt;&lt;img src="/statics/f_09_2_MGH_F09_CVRS_F1_a_v_sm.jpg" alt="proto cover fall 09" /&gt;&lt;/div&gt;
&lt;p&gt;&lt;b&gt;&amp;ldquo;DANGEROUS MIGRATION&amp;rdquo;&lt;/b&gt;&lt;br&gt;&lt;/br&gt;
Jon Han starts each freelance assignment by making multiple sketches, preliminary paintings and digital drafts. &amp;ldquo;I&amp;rsquo;m learning about subjects I would never be exposed to otherwise,&amp;rdquo; says Han, whose drawings, paintings and digital collages have appeared in a variety of print publications, including the &lt;i&gt;New Yorker&lt;/i&gt; and &lt;i&gt;New Scientist&lt;/i&gt;, as well as in numerous gallery exhibitions in California, since he graduated from Pasadena&amp;rsquo;s Art Center College of Design in 2007.&lt;/p&gt;
 
&lt;p&gt;For the cover, Han devised a simple human silhouette with circular shapes representing tumors set against a neutral green background in contrast to the more complex colors and images on the story&amp;rsquo;s pages inside the magazine. Those images evoke the theme of sinister spread, he explains, with connected geometric shapes and rich tones of charcoal and crimson. &amp;ldquo;The way cancer spreads is creepy,&amp;rdquo; he says. &amp;ldquo;I wanted to show the aggressiveness and violence of cancer.&amp;rdquo; Han used a combination of blotting linoleum print ink and acrylic gouache on paper, then merged the images digitally, adding lines and accents as well.&lt;p&gt;
&lt;div class="articleImg" style="width: 266px"&gt;&lt;img src="/statics/f_09_1_MGH_F09_CVRS_F1_a_v_sm.jpg" alt="proto cover fall 09" /&gt;&lt;/div&gt;
&lt;p&gt;&lt;b&gt;&amp;ldquo;MISSING LINK&amp;rdquo;&lt;/b&gt;&lt;br&gt;&lt;/br&gt;
Just as Tangier disease was a puzzle for the physician who discovered it in 1959, Stuart Bradford wanted to suggest a sort of brain teaser for the cover and the progression of images that accompanied the article. His work&#8212;a combination of his own photography, found materials and digital collage&#8212;has appeared in the &lt;i&gt;Wall Street Journal&lt;/i&gt; and regularly features in the &lt;i&gt;New York Times&lt;/i&gt;&amp;rsquo; Health and Science sections.&lt;/p&gt; 

&lt;p&gt;&amp;ldquo;The cover uses the X with a DNA strand, which is like a chromosome&#8212;and the &amp;lsquo;broken&amp;rsquo; part is the genetic benefit of discovering the gene that causes Tangier disease,&amp;rdquo; he says. &amp;ldquo;The squiggles in the background are topographic line art of an island&#8212;which refers to Tangier disease&amp;rsquo;s being discovered on a tiny Virginia island. &lt;i&gt;Proto&lt;/i&gt;&amp;rsquo;s design director, Roman Luba, noticed that they also resemble a cell.&amp;rdquo;&lt;/p&gt;

&lt;p&gt;Inside the magazine, the illustrations become more complex, using symbols as a unifying thread. &amp;ldquo;I enjoyed creating a rebus,&amp;rdquo; Bradford says. &amp;ldquo;The opening art is more straightforward and has a clear narrative, but the illustrations get more abstract as you go.&amp;rdquo; The main themes he highlighted are those of isolation, the feeling of a secret being revealed and the medical benefits gleaned from that discovery. From those ideas emerged the metaphor of buried treasure. Bradford also alluded to the disease&amp;rsquo;s historical and modern significance by incorporating archival photographs with graphic, delineated shapes in bright, flat colors. He used letters to represent molecules, paired with vintage-looking illustrations and vague shapes that suggest organs.&lt;p&gt;

&lt;p&gt;&amp;ldquo;The images of the brain and the heart represent one theme&amp;mdash;Alzheimer&amp;rsquo;s and heart disease,&amp;rdquo; he says. &amp;ldquo;And there is an abstract, yellow circular shape that could be a tonsil, which refers to the boy&amp;rsquo;s large, cholesterol-laden tonsils that led to the discovery of Tangier disease.&amp;rdquo;&lt;p&gt;</body>
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  <created-at type="datetime">2009-10-21T11:12:48-05:00</created-at>
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  <deck>&lt;i&gt;Proto&lt;/i&gt; cover artists Jon Han and Stuart Bradford discuss the process of translating words into images.</deck>
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  <headline>Illness Illustrated</headline>
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  <issue>Fall 2009</issue>
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  <lead-headline>Illness Illustrated</lead-headline>
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  <live-at type="datetime">2009-10-26T00:00:00-05:00</live-at>
  <meta-description>Proto cover artists Jon Han and Stuart Bradford  discuss the process of translating words into images.</meta-description>
  <meta-keywords>illustrations, magazine art, Jon Han, Stuart Bradford, artists, metastasis, tangier disease</meta-keywords>
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  <permalink>medical-magazine-artists</permalink>
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  <publish-date type="date">2009-10-21</publish-date>
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  <summary>Proto cover artists Jon Han and Stuart Bradford discuss the process of translating words into images.</summary>
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  <title>Illness Illustrated</title>
  <updated-at type="datetime">2009-10-26T10:13:10-05:00</updated-at>
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