An Unexpected View


The city center of Cambridge is usually busy with tourists and shoppers during weekends, so if I have to shop, I usually scramble to get out of the center as soon as possible. But this time I decided to take my time and check out a cafe my friend recommended. The inside was full and steamy, so I had to take a seat outside, and funny enough, only then I noticed the view ofย The Round Church, the 800-year-old church that Iย have long wanted to visit.

The air was hazy and cool, and as I drew, someone knocked on the cafe window behind me. An elderly couple smiled and raised their thumbs. It was a sweet unexpected excursion in the middle of the busy city.

Reading: Thaw Out Your Lonely Heart


There’s something puzzling about this painting (by Claudia) with otherwise ordinary-looking composition. There’s a moon and a pond, in which there’s a reflection of… Wait. It can’t be the moon! The direction is wrong, and it’s too warm.

So the moon should have been a source of warmth, but it’s turned cold, rimmed with ailing green. That seems why the trees are wavering and in need of thawing. They are standing together but they are lonelyโ€”their common ground is painted cold. But warmth is coming from outside the view. It’s so overwhelming it drenches the whole meadow and the sky. Lots of stories in the rich palette.

(painting by Claudia McGill, reposted with permission)

Boxer at Rest / ์‰ฌ๊ณ  ์žˆ๋Š” ๋ณต์‹ฑ ์„ ์ˆ˜

The weary boxer in bronze was excavated in Rome. His photo when he was found looked as if he was taking a short rest after a bout of work.

Continue reading Boxer at Rest / ์‰ฌ๊ณ  ์žˆ๋Š” ๋ณต์‹ฑ ์„ ์ˆ˜

Sunday Morning at Pool Cafe / ์ผ์š”์ผ ์•„์นจ ์ˆ˜์˜์žฅ ๊นŒํŽ˜์—์„œ

A public space can be quietly inspiring when it has seats enough to be half empty. If I were an urban architect, I would add seats just so that they can be empty most of the times. Just like desks need more wood than fits a book and beds more than fits a body.

๊ณต๊ณต์žฅ์†Œ์— ์ž๋ฆฌ๊ฐ€ ๋ฐ˜์ฏค ๋น„์–ด ์žˆ์œผ๋ฉด ์กฐ์šฉํ•œ ์˜๊ฐ์„ ์–ป๋Š”๋‹ค. ๋‚ด๊ฐ€ ๋„์‹œ๋ฅผ ์„ค๊ณ„ํ•œ๋‹ค๋ฉด, ๋Œ€๊ฐœ๋Š” ๋น„์–ด์žˆ์„ ์ˆ˜ ์žˆ๋„๋ก ์ž๋ฆฌ๋ฅผ ๋” ๋†“๊ฒ ๋‹ค. ์ฑ…์ƒ์ด ์ฑ…๋ณด๋‹ค๋Š” ์ปค์•ผ ํ•˜๊ณ  ์นจ๋Œ€๊ฐ€ ๋ชธ๋ณด๋‹ค๋Š” ์ปค์•ผ ํ•˜๋“ฏ์ด.

Drawing โ€œTranquilโ€ / ‘๊ณ ์š”ํ•œ’ ๊ทธ๋ฆฌ๊ธฐ

Tranquil is drawn after a tree in Coe Fen. On fine afternoons, the tree stands with a glow of sunshine on its back. In the photo, you can see it is growing new twigs, that almost look like saplings, from its limb lying on the left. Surrounded with lush vegetation, it looks as though it symbolizes resilience.

In the drawing, I omitted all leaves and abstracted out the background, to focus on the form of the tree’s body. While I followed what was compelled by visual composition, I wonder how that changed the substance. To me, compared to the real-life model, the tree’s situation seems more desolateโ€”as some of you suggestedโ€”, as if the whole tree and its surroundings are burned down. Its ultimate victory, which in fact happened, is suggested only in spirit. I wonder how you feel.

I want to try another version of the tree. My challenge is to keep the spirit of hope (and perhaps the leaves) without ruining the composition. I may modify the form, but I’d like to keep the original tree’s intuitive appeal and subtlety. That’s a lot to wish for, so I would appreciate any recommendation for works to model after.

๊ณ ์š”ํ•œ‘์€ ์ฝ”ํŽœ์— ์žˆ๋Š” ๋‚˜๋ฌด๋ฅผ ๊ทธ๋ฆฐ ๊ฒƒ์ด๋‹ค. ๋ง‘์€ ์˜คํ›„๋ฉด ๋‚˜๋ฌด๋Š” ํ–‡๋ณ•์„ ํ›„๊ด‘์œผ๋กœ ์ด๊ณ  ๋น›๋‚œ๋‹ค. ์‚ฌ์ง„์„ ๋ณด๋ฉด, ์™ผ์ชฝ์— ์žˆ๋Š” ์ค„๊ธฐ์—์„œ ์ž”๊ฐ€์ง€๊ฐ€ ๋งˆ์น˜ ์–ด๋ฆฐ ๋‚˜๋ฌด์ฒ˜๋Ÿผ ์ž๋ผ๊ณ  ์žˆ๋Š” ๊ฒƒ์„ ๋ณผ ์ˆ˜ ์žˆ๋‹ค. ๋ฌด์„ฑํ•œ ์ˆ˜ํ’€์— ๋‘˜๋Ÿฌ์‹ธ์—ฌ, ๋‚˜๋ฌด๋Š” ๋ˆ๊ธฐ์™€ ์ƒ๋ช…๋ ฅ์˜ ์ƒ์ง•๊ฐ™์•„ ๋ณด์ธ๋‹ค.

๊ทธ๋ฆผ์—์„œ๋Š” ์ค„๊ธฐ์˜ ํ˜•ํƒœ์— ์ดˆ์ ์„ ๋งž์ถ”๊ธฐ ์œ„ํ•ด ์žŽ๊ณผ ์ฃผ๋ณ€์„ ๋ชจ๋‘ ์ƒ๋žตํ•˜๊ณ  ๊ฐ„์†Œํ™”ํ–ˆ๋‹ค. ๊ตฌ๋„๋ฅผ ์œ„ํ•œ ์„ ํƒ์ด์—ˆ์ง€๋งŒ, ๋‚ด์šฉ์—๋„ ์˜ํ–ฅ์„ ๋ผ์นœ ๊ฒƒ ๊ฐ™๋‹ค. ์›๋ž˜ ๋‚˜๋ฌด์— ๋น„ํ•ด ๊ทธ๋ฆผ์˜ ๋‚˜๋ฌด๋Š” – ๋…์ž๋“ค ์ค‘์—์„œ๋„ ์ง€์ ํ–ˆ๋“ฏ์ด – ๋” ์“ธ์“ธํ•ด ๋ณด์ธ๋‹ค. ๋‚˜๋ฌด์™€ ์ฃผ๋ณ€์ด ๋ชจ๋‘ ํƒ€๋ฒ„๋ฆฐ ๊ฒƒ ๊ฐ™์•„ ๋ณด์ธ๋‹ค. ๋‚˜๋ฌด๊ฐ€ ๊ฒฐ๊ตญ ์Šน๋ฆฌํ–ˆ๋‹ค๋Š” ์‚ฌ์‹ค์€ ํฌ๋ฏธํ•˜๊ฒŒ ์‹œ์‚ฌ๋  ๋ฟ์ด๋‹ค. ๋…์ž๋“ค์€ ์–ด๋–ป๊ฒŒ ๋Š๋ผ์‹œ๋Š”์ง€ ๊ถ๊ธˆํ•˜๋‹ค.

๋‚˜๋ฌด๋ฅผ ๋‹ค์‹œ ํ•œ ๋ฒˆ ๊ทธ๋ ค๋ณด๊ณ  ์‹ถ๋‹ค. ํฌ๋ง์˜ ๊ธฐ์šด(๊ณผ ์ดํŒŒ๋ฆฌ๋“ค)์„ ์‚ด๋ฆฌ๋ฉด์„œ ๊ตฌ๋„๋ฅผ ์–ด์ง€๋Ÿฝํžˆ์ง€ ์•Š๋Š” ๊ฒƒ์ด ๊ณผ์ œ๋‹ค. ํ˜•ํƒœ๋ฅผ ๋ณ€ํ˜•ํ•  ์ˆ˜๋„ ์žˆ์ง€๋งŒ, ์›๋ž˜ ๋‚˜๋ฌด์˜ ์ง๊ด€์ ์ด๊ณ  ๋ฏธ๋ฌ˜ํ•œ ๋Š๋‚Œ๋„ ๋‚จ๊ธฐ๊ณ  ์‹ถ๋‹ค. ์–ด๋ ค์šด ๊ณผ์ œ์ด๋‹ˆ๋งŒํผ ์ฐธ๊ณ ํ•  ๋งŒํ•œ ์ž‘ํ’ˆ์ด ์žˆ์œผ๋ฉด ์ถ”์ฒœ ๋ถ€ํƒ๋“œ๋ฆฐ๋‹ค.

Painting & photo by YK, 2018

A Forgetful Neuron & Ariadne’s Thread / ๊นœ๋ฐ•ํ•˜๋Š” ์‹ ๊ฒฝ ์„ธํฌ์™€ ์•„๋ฆฌ์•„๋“œ๋„ค์˜ ์‹คํƒ€๋ž˜

I need an aid to catch little lessons from drawing before they slip into oblivion. I feel like one of those tiny neurons, the cells that comprise the brain. Any one of them would get excited with an electrical pulse, but then would dissipate the charge and lose clue of what just happened, in just about a tenth of a second. A neuron is too short-sighted for the giant world its host lives in, where food or a mate is often not obtained with a subsecond deliberation.

I, its host, am no better though. I would be drawing one day and would be exuberant about finding a gem of an idea, but when I come back in a week or so, I would have lost the stone or its shine. Progress is often not found in my foggy horizon.

To have any hope, I will have to employ some tactics, perhaps borrowing from the neurons. A neuron fights its forgetfulness in at least two ways. It tells others what it just heard, like in a telephone game but with a more serious ambition, so that someone down the line would remember the message and remind it back when it has long forgotten what it said. It also gradually revises its phone book of synapses, the connection to other neurons, depending on who answers the call and what happens afterwards. So after enough revisions the neuron calls those neurons that answered its call or got its host goodies. The neuron thus patches its amnesia with the aid of its group and its phone book.

I may use such aids, social and material. I would discuss ideas with friends, so over time they may remind me where I was and re-excite me. They would even add their ideas on top. Attending a meet-up was a critical source of help for me to resume drawing after years of pause.

On the material side, I might look back on the trace I left to remember where I meant to go from there. I started posting works to leave the trace, but the far end of the trace gets out of sight soon. Hence a little retrospect, sorted by themes below – Ariadne’s thread I left in the labyrinth of growth.

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Expressing emotions without facial expressions
ํ‘œ์ • ์—†์ด ๊ฐ์ • ํ‘œํ˜„ํ•˜๊ธฐ

Bamboo and Morning Glory  /  ๋Œ€๋‚˜๋ฌด์™€ ๋‚˜ํŒ”๊ฝƒ
A Whole New World  /  ์ƒˆ๋กœ ์—ด๋ฆฐ ์„ธ์ƒ
Living Room Festival  / ๊ฑฐ์‹ค ์ถ•์ œ
Unlikely Allies: Squid and Whale  /  ๋œป๋ฐ–์˜ ๋™๋งน:  ๋Œ€์™•์˜ค์ง•์–ด์™€ ๊ณ ๋ž˜

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Holidays for Creatures
๋™๋ฌผ๋“ค์˜ ํœด์ผ

Halloween for Beans / ์ฝฉ์˜ ํ• ๋กœ์œˆ
Sharks Booed! / ์ƒ์–ด์˜ ํ• ๋กœ์œˆ
Cookies for Rudolph / ๋ฃจ๋Œํ”„์—๊ฒŒ ์ฟ ํ‚ค๋ฅผ

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Crosswalk Series
ํšก๋‹จ๋ณด๋„ ์‹œ๋ฆฌ์ฆˆ

Crosswalk (for Benches and Containers) / ๋ฒค์น˜์™€ ์ปจํ…Œ์ด๋„ˆ์˜ ํšก๋‹จ๋ณด๋„
Crosswalk on a Foggy Day / ์•ˆ๊ฐœ ๋‚€ ๋‚ ์˜ ํšก๋‹จ๋ณด๋„
Stroller on a Rainy Crosswalk / ๋น„ ์˜ค๋Š” ํšก๋‹จ๋ณด๋„๋ฅผ ๊ฑด๋„ˆ๋Š” ์œ ๋ชจ์ฐจ

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Studies for “Return”
“๊ท€ํ™˜”์„ ์œ„ํ•œ ์Šต์ž‘

Study 1 / ์Šต์ž‘ 1
Study 2 / ์Šต์ž‘ 2
Study 3 / ์Šต์ž‘ 3

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Taking photos as I would paint
๊ทธ๋ฆผ ๊ทธ๋ฆฌ๋“ฏ ์‚ฌ์ง„ ์ฐ๊ธฐ

Wind Chime / ํ’๊ฒฝ
Snow in Harlem / ํ• ๋ ˜์— ๋‚ด๋ฆฌ๋Š” ๋ˆˆ
Snow on Hudson River / ํ—ˆ๋“œ์Šจ ๊ฐ•์— ๋‚ด๋ฆฌ๋Š” ๋ˆˆ
Out of the Night / ๋ฐค์œผ๋กœ๋ถ€ํ„ฐ
Low Lights can Elevate / ๋†’์—ฌ์ฃผ๋Š” ๋‚ฎ์€ ๋น›
Out of the Old Window / ๋‚ก์€ ์ฐฝ ๋ฐ–์œผ๋กœ

๊ทธ๋ฆผ์„ ๊ทธ๋ฆฌ๋ฉด์„œ ์–ป์€ ์ž‘์€ ๊นจ๋‹ฌ์Œ๋“ค์ด ๋ง๊ฐ์˜ ์ €ํŽธ์œผ๋กœ ์‚ฌ๋ผ์ง€๊ธฐ ์ „์— ์žก์•„๋‘๋ ค๋ฉด ๋„์›€์ด ํ•„์š”ํ•˜๋‹ค. ๋‡Œ ์•ˆ์˜ ์กฐ๊ทธ๋งŒ ์‹ ๊ฒฝ ์„ธํฌ๊ฐ€ ๋œ ๊ธฐ๋ถ„์ด๋‹ค. ์‹ ๊ฒฝ ์„ธํฌ๋Š” ์ „๊ธฐ ์ž๊ทน์„ ๋ฐ›์œผ๋ฉด ๋“ค๋œจ์ง€๋งŒ, ์‹ญ๋ถ„์˜ ์ผ ์ดˆ๋„ ์•ˆ ๋˜์–ด ์ „๊ธฐ๊ฐ€ ์ƒˆ์–ด๋‚˜๊ฐ€๋ฉด ๋ฌด์Šจ ์ผ์ด ์žˆ์—ˆ๋Š”์ง€ ๊นŒ๋งฃ๊ฒŒ ์žŠ๊ณ  ๋งŒ๋‹ค. ์‹ ๊ฒฝ ์„ธํฌ ํ•˜๋‚˜๋Š” ๊ทธ ์ฃผ์ธ์ด ์‚ฌ๋Š” ๊ฑฐ๋Œ€ํ•œ ์„ธ์ƒ์— ๋น„ํ•˜๋ฉด ๋„ˆ๋ฌด ๊ทผ์‹œ์•ˆ์ด๋‹ค. ์ผ ์ดˆ๋„ ์•ˆ ๋˜๋Š” ๊ถ๋ฆฌ๋กœ๋Š” ์Œ์‹์ด๋‚˜ ์ง์„ ์ฐพ๊ธฐ ์–ด๋ ต๋‹ค.

์‹ ๊ฒฝ ์„ธํฌ์˜ ์ฃผ์ธ์ธ ๋‚˜๋„ ๊ทธ๋ฆฌ ๋‚ซ์ง€๋Š” ๋ชปํ•˜๋‹ค. ์–ด๋–ค ๋‚ ์—๋Š” ๊ทธ๋ฆผ์„ ๊ทธ๋ฆฌ๋‹ค ๋ณด์„๊ฐ™์€ ์•„์ด๋””์–ด๋ฅผ ์–ป์—ˆ๋‹ค๋ฉฐ ๊ธฐ๋ปํ•˜๋‹ค๊ฐ€, ์ผ ์ฃผ์ผ์ฏค ๋’ค์— ๋Œ์•„์™€ ๋ณด๋ฉด ๊ทธ ๋Œ์˜ ์–ด๋””์„œ ๊ด‘์ฑ„๊ฐ€ ๋‚ฌ๋Š”์ง€ ์žŠ์–ด๋ฒ„๋ฆฌ๊ธฐ ์ผ์‘ค๋‹ค. ๋ฟŒ์—ฐ ์‹œ์•ผ ์•ˆ์— ์•ž๊ธธ์€ ์ข€์ฒ˜๋Ÿผ ๋ณด์ด์ง€ ์•Š๋Š”๋‹ค.

์กฐ๊ธˆ์ด๋ผ๋„ ํฌ๋ง์„ ๊ฐ€์ง€๋ ค๋ฉด ๋ฌด์Šจ ์ˆ˜๊ฐ€ ํ•„์š”ํ•˜๋‹ค. ์‹ ๊ฒฝ ์„ธํฌ์—๊ฒŒ์„œ ๊ท€๋œธํ•  ์ˆ˜๋„ ์žˆ์ง€ ์•Š์„๊นŒ? ์‹ ๊ฒฝ ์„ธํฌ๋Š” ๋ง๊ฐ๊ณผ ์‹ธ์šฐ๋Š” ๋ฐฉ๋ฒ•์„ ์ ์–ด๋„ ๋‘ ๊ฐ€์ง€ ๊ฐ–๊ณ  ์žˆ๋‹ค. ํ•˜๋‚˜๋Š” ๋ฌด์–ธ๊ฐ€๋ฅผ ๋ฐฐ์šฐ์ž๋งˆ์ž ์ž์‹ ๊ณผ ์—ฐ๊ฒฐ๋œ ๋‹ค๋ฅธ ์‹ ๊ฒฝ ์„ธํฌ์—๊ฒŒ ์–˜๊ธฐํ•˜๋Š” ๊ฒƒ์ด๋‹ค. ์ „ํ™”๊ธฐ ๊ฒŒ์ž„์—์„œ์ฒ˜๋Ÿผ – ํ•˜์ง€๋งŒ ๋” ์ง„์ง€ํ•œ ์ด์œ ๋กœ – ์—ฌ๋Ÿฌ ์„ธํฌ๋“ค์ด ๋‹ค๋ฅธ ์„ธํฌ์—๊ฒŒ ์–˜๊ธฐํ•˜๊ธฐ๋ฅผ ๋ฐ˜๋ณตํ•˜๋‹ค๋ณด๋ฉด, ์ž๊ธฐ๊ฐ€ ๋งํ•œ ๋‚ด์šฉ์„ ์žŠ์–ด๋ฒ„๋ฆฐ ๋’ค์—๋„ ๋‹ค๋ฅธ ์„ธํฌ๋“ค์ด ๋˜์•Œ๋ ค ์ฃผ๊ธฐ๋ฅผ ๊ธฐ๋Œ€ํ•˜๋Š” ๊ฒƒ์ด๋‹ค. ๋‹ค๋ฅธ ํ•˜๋‚˜๋Š” ๋ฉ”์‹œ์ง€๋ฅผ ๋ฐ›์„ ๋•Œ๋งˆ๋‹ค ์‹œ๋ƒ…์Šค๊ฐ€ – ๋‹ค๋ฅธ ์‹ ๊ฒฝ ์„ธํฌ๋กœ์˜ ์—ฐ๊ฒฐ์ ์ด – ๋‚˜์—ด๋œ ์ „ํ™”๋ฒˆํ˜ธ๋ถ€๋ฅผ, ๋ˆ„๊ฐ€ ์ „ํ™”๋ฅผ ๋ฐ›์•˜๊ณ  ๊ทธ ๋’ค์— ๋ฌด์Šจ ์ผ์ด ์ผ์–ด๋‚ฌ๋Š”๊ฐ€์— ๋”ฐ๋ผ ์กฐ๊ธˆ์”ฉ ๊ณ ์น˜๋Š” ๊ฒƒ์ด๋‹ค. ๊ทธ๋Ÿฌ๋ฉด ๋‹ค์Œ์— ์ž๊ทน์ด ์™”์„ ๋•Œ ์‘๋‹ต์„ ํ–ˆ๊ฑฐ๋‚˜ ์ฃผ์ธ์—๊ฒŒ ์ข‹์€ ๊ฒฐ๊ณผ๋ฅผ ๊ฐ€์ ธ๋‹ค ์คฌ๋˜ ์‹ ๊ฒฝ ์„ธํฌ์—๊ฒŒ ์—ฐ๋ฝ์„ ํ•  ์ˆ˜ ์žˆ๊ธฐ ๋•Œ๋ฌธ์ด๋‹ค. ์‹ ๊ฒฝ ์„ธํฌ๋Š” ์ด๋ ‡๊ฒŒ ๋™๋ฃŒ๋“ค๊ณผ ์ „ํ™”๋ฒˆํ˜ธ๋ถ€์˜ ๋„์›€์œผ๋กœ ๊ฑด๋ง์ฆ์„ ๊ทน๋ณตํ•œ๋‹ค.

๋‚˜๋„ ๊ทธ๋ ‡๊ฒŒ ์‚ฌํšŒ์ , ๋ฌผ์งˆ์ ์ธ ๋ฐฉ๋ฒ•๋“ค์„ ๋™์›ํ•ด ๋ณผ ์ˆ˜ ์žˆ๊ฒ ๋‹ค. ์นœ๊ตฌ๋“ค์—๊ฒŒ ์•„์ด๋””์–ด๋ฅผ ์–˜๊ธฐํ•ด์„œ, ๋‚˜์ค‘์— ๋‚ด๊ฐ€ ์–ด๋–ค ์ƒ๊ฐ์„ ํ•˜๊ณ  ์žˆ์—ˆ๋Š”์ง€, ์™œ ๋“ค๋–  ์žˆ์—ˆ๋Š”์ง€ ๊นจ์šฐ์ณ ์ค„ ์ˆ˜ ์žˆ๊ฒŒ ํ•˜๋Š” ๊ฒƒ์ด ํ•œ ๋ฐฉ๋ฒ•์ด๋‹ค. ์นœ๊ตฌ๋“ค์ด ์ž๊ธฐ ์•„์ด๋””์–ด๊นŒ์ง€ ๋”ํ•ด ์ค„ ์ˆ˜๋„ ์žˆ๋‹ค. ๋ช‡ ๋…„ ๋™์•ˆ ์ค‘๋‹จํ–ˆ๋˜ ๊ทธ๋ฆผ์„ ๋‹ค์‹œ ๊ทธ๋ฆฌ๊ฒŒ ๋œ ๋ฐ๋Š” ๊ทธ๋ฆผ ๋ชจ์ž„์— ๋‚˜๊ฐ€๊ธฐ ์‹œ์ž‘ํ•œ ๊ฒƒ์ด ํฐ ์—ญํ• ์„ ํ–ˆ๋‹ค.

๋ฌผ์งˆ์ ์œผ๋กœ๋Š” ๋‚ด๊ฐ€ ๋‚จ๊ธด ๊ทธ๋ฆผ๋“ค์„ ๋˜๋Œ์•„๋ณด๋Š” ๋ฐฉ๋ฒ•์ด ์žˆ๊ฒ ๋‹ค. ์›๋ž˜ ๊ทธ ์ด์œ ์—์„œ ๊ทธ๋ฆผ๋“ค์„ ๋ธ”๋กœ๊ทธ์— ์˜ฌ๋ฆฌ๊ธฐ ์‹œ์ž‘ํ–ˆ์ง€๋งŒ, ์‹œ๊ฐ„์ด ์ง€๋‚˜๋ฉด ์˜› ๊ทธ๋ฆผ์€ ๊ณง ์žŠํ˜€์ง€๊ฒŒ ๋งˆ๋ จ์ด๋‹ค. ๊ทธ๋ž˜์„œ ์„œ๋กœ ๊ด€๋ จ๋œ ๊ทธ๋ฆผ๋“ค์„ ์œ„์— ๋ชจ์•„ ๋ณด์•˜๋‹ค. ๋ฐฐ์›€์˜ ๋ฏธ๋กœ์— ๋‚จ๊ธด ์•„๋ฆฌ์•„๋“œ๋„ค์˜ ์‹ค๊ฐ€๋‹ฅ์ด๋‹ค.

Reliefs for Olympus / ์˜ฌ๋ฆผํ‘ธ์Šค๋ฅผ ์œ„ํ•œ ๋ถ€์กฐ

(photo by YK / NYC 2017)

“Save the rust,” I imagined, “wouldn’t it look almost too luxurious for a kitchen to have lids like those on the lowly streets for its containers, made of metal thick beneath the name of the contents engraved in relief, unless the kitchen belongs to, say, Olympus?”

‘๋…น๋งŒ ๋นผ๋ฉด’, ํ•˜๊ณ  ์ƒ์ƒํ•ด ๋ณด์•˜๋‹ค: ‘๊ธธ๋ฐ”๋‹ฅ์— ์žˆ๋Š” ์ €๋Ÿฐ ๋šœ๊ป‘์„ ๋ถ€์—Œ์—์„œ ์“ฐ๋ฉด ๋„ˆ๋ฌด ํ˜ธ์‚ฌ์Šค๋Ÿฌ์›Œ ๋ณด์ด์ง€ ์•Š์„๊นŒ, ๊ทธ๋ ‡๊ฒŒ ๋‘ํ„ฐ์šด ๊ธˆ์†์— ๋‚ด์šฉ๋ฌผ ์ด๋ฆ„์„ ์ƒˆ๊ธด๋‹ค๋ฉด? ์˜ฌ๋ฆผํ‘ธ์Šค ์‹ ์ „ ๋ถ€์—Œ์ด๋ฉด ๋ชจ๋ฅผ๊นŒ.’

(in response to Weekly Photo Challenge – Experimental)

Halloween for Beans / ์ฝฉ์˜ ํ• ๋กœ์œˆ

Every Halloween, people wear as scary creatures, presumably laughing away the fear that way. So I made several drawings where different creatures wear as what scares them.

This one is for beans. The mask is inspired by a Cameroon mask of a cow.

Drawn at “Let’s Draw Together – Halloween for Creatures” meetup ofย Imaginative Illustrators of NYC.

ํ• ๋กœ์œˆ์ด๋ฉด ์‚ฌ๋žŒ๋“ค์ด ๋ฌด์„œ์šด ๊ฒƒ๋“ค๋กœ ๋ถ„์žฅํ•˜๊ณค ํ•˜๋Š”๋ฐ, ๋‘๋ ค์›€์„ ๊ทธ๋ ‡๊ฒŒ ์›ƒ์–ด๋„˜๊ธฐ๋Š” ๊ฒŒ ์•„๋‹Œ๊ฐ€ ์‹ถ์—ˆ๋‹ค. ๊ทธ๋ž˜์„œ ์—ฌ๋Ÿฌ ์ƒ๋ฌผ๋“ค์ด ์ž๊ธฐ์—๊ฒŒ ๋ฌด์„œ์šด ๊ฒƒ์œผ๋กœ ๋ถ„์žฅํ•˜๋Š” ๊ทธ๋ฆผ๋“ค์„ ๊ทธ๋ ค ๋ณด์•˜๋‹ค.

์—ฌ๊ธฐ์„œ๋Š” ์ฝฉ์„ ๊ทธ๋ ธ๋‹ค. ๋งˆ์Šคํฌ๋Š” ์นด๋ฉ”๋ฃฌ ์†Œ ๋งˆ์Šคํฌ์—์„œ ๋”ฐ์™”๋‹ค.

Imaginative Illustrators of NYC์˜ “์˜จ๊ฐ– ๊ฒƒ๋“ค์˜ ํ• ๋กœ์œˆ” ๋ชจ์ž„์—์„œ ๊ทธ๋ ธ๋‹ค.