（All English part is automatic translation）

首先，就像前文《一件大理石雕是怎么完成的》中提到的，一件需要长时间完成的作品必须要缜密的构思，说白了就是先计划一下这张画的尺寸、内容、布局等等，为以后真画的时候减少点麻烦，我的习惯是心里先想好了就去定画框，画已经在脑子里了，弗洛伊德经常在构图不满意的时候加画一个画框两张画粘在一块，那属于淘气不能模仿，画框就是钢琴的88个琴键，你不能说不够用再加俩。

First of all, as mentioned in "how to complete a marble carving" above, a work that needs to be completed for a long time must be carefully conceived. To put it bluntly, I first plan the size, content and layout of the painting, so as to reduce some trouble when I really paint in the future. My habit is to set the frame when I think about it first. The painting is already in my mind, Freud often added a picture frame when he was not satisfied with the composition. Two pictures stuck together, which belongs to naughty and can not be imitated. The picture frame is the 88 keys of the piano. You can't say it's not enough to add two more.

39cmX55cm 牛皮纸 铅笔 水粉2009 39cmx55cm kraft paper pencil gouache 2009

39cmX55cm 牛皮纸 铅笔 粉笔 2009 39cmx55cm kraft paper pencil gouache 2009

首先得解决画面里主要角色的关系，纸是和铅笔最便宜的材料，所以纸是最好的开始。

那么画什么呢？2008年我搬来北京，工作室空空荡荡，于是决定画两张大的油画活跃一下气氛，因为刚做了两年的石雕基本没画画，所以不知道从哪入手，在2004年的时候，两个附中小姑娘捡了只小猫拿到我工作室，那是我第一次养猫，有一天小母猫发情了，我生平第一次看见母猫发情那么惊天动地，于是画了四张小画。

First of all, we have to solve the relationship between the main characters in the picture. Paper is the cheapest material for pencil and pencil, so paper is the best start.

So what do you draw? In 2008, when I moved to Beijing, the studio was empty, so I decided to draw two large oil paintings to liven up the atmosphere. Because I had just done stone carvings for two years, I basically didn't draw, so I didn't know where to start. In 2004, two girls from the affiliated middle school picked up a kitten and took it to my work room. That was my first time raising a cat. One day, the little mother cat was in heat, For the first time in my life, I saw the mother cat in estrus, so I drew four small paintings.

布面油画 50cmX60cm 2004 Oil on canvas 50cmx60cm 2004

当时我想人的身体里一样藏着这么个纯动物性的角色，用各种封印盖着，这几张小画画完就扔在那忘了，我决定把这几张小画发展成一个展览。

At that time, I thought there was such a pure animal character hidden in the human body, covered with various seals, and left these small paintings there after painting. I decided to develop these small paintings into an exhibition.

首先，我画了两张30x40厘米的小画把这形象再确定一下。

First of all, I drew two 30x40cm small paintings to confirm the image.

然后画了两张120x90厘米的标准像，你当然一下想起了阿凡达，是的很像，但阿凡达2010年才公映，其实在画这些画的第二年就是2009年另一部电影叫《人兽杂交》里面的角色跟这个才叫像，这个形象我是2004年画的，而且在画廊的网站一直挂着，有些还在美国展览过也出过画册，这个女一号没毛光溜溜跟我这个太像了，我画廊的犹太老板甚至想去美国起诉这个电影抄袭，我跟他说这种半人半兽的东西每个文化里都有，你告不了他，希腊神话里半人半羊就类似这个结构，于是就算了。

Then he drew two 120x90cm standard images. Of course, you think of avatar. Yes, it's very similar, but Avatar was released in 2010. In fact, the second year he painted these paintings was 2009. Another film called "hybridization between man and beast", in which the characters and this image were called images. I painted this image in 2004, and it has been hanging on the gallery website, Some of them have also exhibited in the United States and published picture albums. The female No. 1 is so hairless that it is very similar to me. The Jewish owner of my gallery even wants to sue the film for plagiarism in the United States. I told him that this half human and half animal thing exists in every culture. You can't sue him. Half human and half sheep in Greek mythology are similar to this structure, so forget it.

回到那两张大画，我的构思就是：貌似正常的人与貌似兽性的人之间的冲突，第一张画是四个手持长矛的人在杀死一个“兽人”，另一张是四个“兽人”在撕咬一个人，两张画意义上一毛一样，四个掐一个，区别是人的武器是长矛，“兽人”的武器是牙齿，都满怀仇恨，原因不明，效果上有可能A的仇恨源于B，B的仇恨源于A，扯球不清。

Back to the two big paintings, my idea is: the conflict between seemingly normal people and seemingly animal people. The first painting is that four people holding spears are killing an "Orc", and the other is that four "orcs" are biting a person. In the sense of the two paintings, one hair is the same, and four pinch one. The difference is that the human weapon is a spear, and the "Orc" weapon is a tooth, They are full of hatred for unknown reasons. In effect, it is possible that a's hatred originates from B, B's hatred originates from a, and the ball is unclear.

布面油画 40cmX30cm 2008 Oil on canvas 40cmx30cm 2008

在第一张牛皮纸素描里，角色关系主要动态基本解决了，你还需要画几张小的油画解决画面气氛，油画颜料造成的效果只能用油画颜料试验，油画本身的优点是颜色的饱和度和高明度差，就是可以做到很黑，所以油画的表现力非常强，它是最能还原实景的一种古老技术。

In the first kraft paper sketch, the main dynamics of the role relationship are basically solved. You also need to draw several small oil paintings to solve the picture atmosphere. The effect caused by oil painting can only be tested with oil painting. The advantage of oil painting itself is that the color saturation and brightness are poor, which can be very black, so the expressiveness of oil painting is very strong, It is an ancient technology that can restore the real scene most.

布面油画 50cmX60cm 2008 Oil on canvas 50cmx60cm 2008

但是，真正的草图都在画布上，画画的过程每个人不一样，我是很随性的，用木炭起稿很方便很来劲，一张两米宽两米五高的大白画布上用一只木炭在上挥舞本身就挺解恨。

However, the real sketches are all on the canvas. The process of painting is different from everyone. I am very casual. It is very convenient and energetic to draft with charcoal. Waving a charcoal on a big white canvas two meters wide and five meters high can relieve my hatred.

木炭是可以随时用干抹布掸掉的，很方便。

Charcoal can be wiped off with a dry rag at any time, which is very convenient.

木炭画出的东西只起个确定人物大小位置的作用，细节根本没用。

The things drawn by charcoal only serve to determine the size and position of the characters, and the details are useless at all.

我画油画的方法大概只有我能用，我不用模特，不用照片，一切都在脑子里找，所有动态造型肌肉细节都要变画边找，不对了马上用旧衣服擦掉重来，一旦某个部分造型满意了就保留，其他部分跟着满意的部分调整，开始的部分就当素描画，只考虑构图造型和明暗关系，鲁本斯伦勃朗都是这么画，画画最怕的是缩手缩脚，每次不要考虑太多就容易很多了。

I'm probably the only one who can use my oil painting method. I don't need models or photos. I look for everything in my mind. All dynamic modeling muscle details should be found while painting. If it's wrong, wipe off the old clothes immediately and start over. Once one part of the shape is satisfied, it will be retained, and the other parts will be adjusted with the satisfied part. The first part will be regarded as sketch, Only consider the composition, modeling and the relationship between light and shade. Rubens Rembrandt draws like this. What he fears most in painting is timidity. It's much easier not to think too much every time.

我一直认为一张画的头30%的时间才叫画画，后面70%叫化妆。

I always think that the first 30% of a painting is painting, and the last 70% is makeup.

到这里，画画的部分就完成了，后面就是慢慢扣饬化妆，不怎么用动脑子。

Here, the painting part is completed. Behind it is to slowly buckle up and make up without using your brain.

我最爱的部分就是整张油画已经定型，拿着一枝小笔微调动态和完善细节，我的大学老师刘琪敏说这是织毛衣，不动脑子机械的在那左弄弄右弄弄，非常愉快，这时候每天画面的改变只有一点点，我本身是急性子，但多年画油画慢慢改变了急于看到结果的习惯，年轻时候自己翻雕塑经常因为性急在石膏没有完全硬化的时候开模，搞得四分五裂前功尽弃。

My favorite part is that the whole oil painting has been finalized. I hold a small pen to fine tune the dynamics and improve the details. My university teacher Liu Qimin said that it is knitting sweaters. I don't use my brain to do it mechanically. I'm very happy. At this time, the picture changes only a little every day. I'm acute, but painting oil painting for many years has slowly changed my habit of eager to see the results, When I was young, I turned the sculpture by myself. I often opened the mold when the plaster was not completely hardened because of my impatience.

我画画是要用大量油罩染，就是第一遍画完干透后，用亚麻仁油、光油、松节油调和的混合油加棕色染一遍，让所有笔触和细节颗粒统一在一个色调里，再干透后亮部继续加画提亮，这是伦勃朗时候的方法，非常省事，即使画得很随意的部分都可以通过这种手段让画面即丰富又统一，而且渲染过的地方笔触和最细致的地方都变成立体的，油画的表面是三维的，这种三维味道的把握是很多大师的法宝，你看看伦勃朗的《夜巡》，再看看德拉克罗瓦的《自由引导人民》，都是大画，伦勃朗无可挑剔，德拉克罗瓦的画两米以内就坍塌了，区别就在这，什么地方用颜料填平，什么地方留着画布的纹理都是一个人风格的一部分，音乐光有主旋律是没用的，呈现的好坏是所有这些内容的总和，甚至抽象绘画这都是至关重要的。

I paint with a large amount of oil mask, that is, after the first painting is completely dry, I dye it with brown mixed oil mixed with linseed oil, varnish and turpentine, so that all strokes and detail particles are unified in one color, and then the bright part continues to be painted and brightened after it is completely dry. This is the method of Rembrandt, which is very easy, Even the parts painted casually can make the picture rich and unified by this means, and the rendered local strokes and the most detailed places become three-dimensional. The surface of the oil painting is three-dimensional. The grasp of this threedimensional taste is the magic weapon of many masters. Look at Rembrandt's night tour and Delacroix's free guide the people. They are all big paintings, Rembrandt is impeccable. Delacroix's painting collapses within two meters. The difference is here. Where to fill with paint and where to keep the texture of the canvas are all part of a person's style. It is useless for music to have the main melody. The quality of presentation is the sum of all these contents, even abstract painting, which is very important.

而我，对这些的态度是差不多就行了，不能跟伦勃朗拼体力。

My attitude towards these is almost enough. I can't fight with Rembrandt.

第二张

第一张画完后，第二张更加难画，因为你再不是凭空画了，要考虑跟第一张合拍，他们毕竟是一对画。

Second sheet

After the first one is finished, the second one is more difficult to draw, because you are no longer drawing out of thin air. You should consider taking photos with the first one. After all, they are a pair of paintings

布面油画 40cmX30cm Oil on canvas 40cmx30cm

同样开始于草图，但这是我一开始跟第一张的草图同时画的，这时候这张草图已经没什么用处了。

It also started from the sketch, but I drew it at the same time as the first sketch at the beginning. At this time, this sketch is no longer useful.

还是那句话：真正的草图在画面里。其实我很少用木炭起稿，大部分时候都是直接用这种深棕色油画颜色蘸松节油起稿。

The real sketch is in the picture. In fact, I seldom use charcoal to draft. Most of the time, I directly use this dark brown oil painting color dipped in turpentine to draft.

还是边画边找型，不对就擦了。

I'm still looking for the shape while drawing. If it's wrong, I'll wipe it.

凭空随意的造型这事教不了，没有几个人行，你得大量练习，我画过上千个人体，基本上都是想象着画，慢慢心里似乎形成了人体的三维模型，画人体也就是个输出动作而已，但中间这个人物的躯干是来自一个古希腊雕塑残片，不是因为我编不出来，是因为它太好看了。

I can't teach you how to shape randomly out of thin air. There are few people. You have to practice a lot. I have painted thousands of human bodies, basically imagining painting. Slowly,I seem to form a threedimensional model of the human body. Painting the human body is just an output action, but the trunk of the figure in the middle comes from a fragment of ancient Greek sculpture, not because I can't make it up, Because it's so beautiful.

有时候画的烦闷时候有个好的解决办法，就是盯住一个地方死磕，就是你街斗时候一对五，先盯准一个干趴下再说。

Sometimes when painting is boring, there is a good solution, that is, keep an eye on a place, that is, when you fight in the street, one on five, keep an eye on one and lie down first.

两米五是我当时画过的最高的画，其实画画真有点像民工搞装修。

画手脚是最考人的，好在每个人身上都有，对着慢慢琢磨吧。

Painting hands and feet is the most challenging. Fortunately, everyone has them. Think about them slowly.

画到这个阶段这张画就基本没问题了，剩下的就是渲染、用一只小笔磨时间。

At this stage, the painting is basically OK. The rest is rendering and grinding time with a small pen.

现在再把这两张画一起看看，“貌似正常的人与貌似兽性的人之间的冲突，第一张画是四个手持长矛的人在杀死一个“兽人”，另一张是四个“兽人”在撕咬一个人，两张画意义上一毛一样，四个掐一个，区别是人的武器是长矛，“兽人”的武器是牙齿，都满怀仇恨，原因不明，效果上有可能A的仇恨源于B，B的仇恨源于A，扯球不清。”

你觉得那个对，那个错呢？A源于B？还是B源于A？先有鸡还是先有蛋？

其实画的意义没那么重要，一切可叙述性的东西都不是一张画最有价值的部分，你只是对着他看，想想它影响了你什么，当然大部分人对这画的反应都只是两个字——恐怖。所以，我今天无聊码几段字启发一下。

Now let's take a look at these two pictures together, "the conflict between seemingly normal people and seemingly animal people. The first picture is that four people holding spears are killing an" Orc ", and the other picture is that four" orcs "are biting a person. In the sense of the two pictures, one hair is the same, and four pinch one. The difference is that human weapons are spears and" orcs " Their weapons are teeth. They are full of hatred for unknown reasons. In effect, it is possible that a's hatred originates from B, B's hatred originates from a, and it is unclear to pull the ball. "

Do you think that's right and that's wrong? A from B? Or does B come from a? Chicken or egg first?

In fact, the meaning of the painting is not so important. Everything that can be described is not the most valuable part of a painting. You just look at it and think about what it affects you. Of course, most people's reaction to the painting is only two words - horror. So, I'm bored to code a few words today.

无题 布面油画 250cmX200cm 2009

Untitled oil on canvas 250cmx200cm 2009

无题 布面油画 250cmX200cm 2009

Untitled oil on canvas 250cmx200cm 2009