I made an illustration for an article on COVID. Following is a summary of the article:
Before COVID-19, there was a Nipah virus outbreak in 1998, where almost 1 million pigs were shoved into pits and killed because they transmitted the virus, which they likely contracted from fruit bats. Why humans and bats (the two mammals capable of #flight), and farmed animals are well-positioned to share viruses, and why it may be getting worse. Illustration for an article written by my wife, D. Susie Lee, to appear on Catholic Review, September-October 2020 issue.
코로나바이러스에 관한 기사에 곁들일 삽화를 그렸다. 다음은 기사의 개요:
코비드19 이전, 1998년 니파 바이러스 사태 때에는 백만 마리에 달하는 돼지들이 살처분되었다. 과일박쥐에게서 온 것으로 추정되는 바이러스를 사람에게 옮겼기 때문이었다. 사람, 박쥐 (비행하는 포유류들), 가축들이 왜 바이러스를 공유하기 적합하며 왜 그 추세가 더 악화되고 있는지에 관하여. 아내 이수지가 쓴 가톨릭 평론 9-10월호에 실릴 글에 곁들일 삽화.
The area had a lively but relaxing atmosphere. I kept doodling on the same page as I visited different places, while trying to fit them together into one scene. Then I colored in digitally, trying to keep the feel of the pen strokes.
생기 있으면서도 편안한 느낌을 주는 곳이었다. 장소를 옮겨가면서도 같은 페이지에 낙서를 추가해 나가면서 한 장면으로 만들어 보았다. 나중에 디지털 채색을 하면서 낙서의 볼펜 자국 느낌을 살리려고 해보았다.
Life drawing at ARCSOC. It was hard for me to render my own perspective as I was busy trying to capture the individuality of the model and the pose. I often feel similar trade-off between the artist’s style and the uniqueness of the object. (Compare, for example, Picasso’s early, realistic paintings vs. his late cubist paintings.) I wish I could find a way to capture both. Do you feel such tension when you draw? If so, how do you deal with it?