Art,+science+and+technology+in+molecular+graphics

Both computer technology and graphic arts have contributed to molecular graphics. The development of structural biology in the 1950s led to a requirement to display molecules with thousands of atoms. The existing computer technology was limited in power, and in any case a naive depiction of all atoms left viewers overwhelmed. Most systems therefore used conventions where information was implicit or stylistic. Two vectors meeting at a point implied an atom or (in macromolecules) a complete residue (10-20 atoms). The macromolecular approach was popularized by Dickerson and Geis' presentation of proteins and the graphic work of Jane Richardson through high-quality hand-drawn diagrams such as the "ribbon" representation. In this they strove to capture the intrinsic 'meaning' of the molecule. This search for the "messages in the molecule" has always accompanied the increasing power of computer graphics processing. Typically the depiction would concentrate on specific areas of the molecule (such as the active site) and this might have different colors or more detail in the number of explicit atoms or the type of depiction (e.g., spheres for atoms). In some cases the limitations of technology have led to serendipitous methods for rendering. Most early graphics devices used vector graphics, which meant that rendering spheres and surfaces was impossible. Michael Connolly's program "MS" calculated points on the surface-accessible surface of a molecule, and the points were rendered as dots with good visibility using the new vector graphics technology, such as the Evans and Sutherland PS300 series. Thin sections ("slabs") through the structural display showed very clearly the complementarity of the surfaces for molecules binding to active sites, and the "Connolly surface" became a universal metaphor. The relationship between the art and science of molecular graphics is shown in the exhibitions sponsored by the Molecular Graphics Society. Some exhibits are created with molecular graphics programs alone, while others are collages, or involve physical materials. An example from Mike Hann (1994), inspired by Magritte's painting //Ceci n'est pas une pipe//, uses an image of a salmeterol molecule. "//Ceci n'est pas une molecule//," writes Mike Hann, "serves to remind us that all of the graphics images presented here are not molecules, not even pictures of molecules, but pictures of icons which we believe represent some aspects of the molecule's properties."