"Our hypotheses in molecular biology are becoming increasingly complex, but the ways in which biologists are visualizing these hypotheses remain relatively crude. Having better models will allow researchers to see their work in a different light and to formulate different and better questions."
"I'm always thinking about aesthetics. While scientific accuracy is of utmost importance in my models and animations of molecules, I'm also looking for a pleasing balance of color, shape, and lighting.í«í_The better I can make a molecule look, the more a researcher or student is likely to look at it, and the more they can gain scientifically."
"Making out-of-the-box software--designed for animating people and animals--work for animating molecules and cells isn't easy. I've dealt with this in two ways: just tinkering around on the computer in my animation software until I come to a reasonable solution; or getting away from my computer, going for a walk, sleeping on it, or chatting with fellow animators."
Enters the University of California, San Francisco as a graduate student; joins Dyche Mullins lab to study molecular underpinnings of how cells crawl
Takes animation course at San Francisco State University; starts animating molecular hypotheses at Dyche Mullins lab
Graduates from UCSF with PhD in cell biology; graduates from Gnomon School of Visual Effects
Joins laboratory of Nobel laureate Jack W. Szostak at Massachusetts General Hospital; starts "Exploring Origins" project to describe theories on life formation on early Earth
Joins faculty at Harvard Medical School
Receives grant from the National Science Foundation to develop software that allows researchers to readily and intuitively create their own molecular animations
Illustration by Alison Cowles