写生的

In another word, the status does not exist that a painter should learn from nature "purely" without any "prejudice" and paint realistically by facing an object to paint out what he or she has perceived. To obtain such capability, painting learners or students shall use their eyes (teachers ask students in the painting class "where are your eyes and your perceptions") to observe objects and things at the beginning of study and then paint the models faithfully by means of "facade-subdivision"(or "preferring to square not round" as described by Xu Beihong, or decomposing the object into many petty facades as described in the line drawing textbook by P.P. Chistjakov so as to turn around the object bit by bit).

也就是说，不存在这样一种状态，画家为了画出自己的感觉，他们应该"纯洁"地不带"偏见"地去向自然学习，去面对物体直截了当地写生，而为了获得这种能力，在学习绘画的初始阶段，就必须训练学生们用自己的眼睛(在绘画课室里，老师总是质问学生，你的眼睛在哪里，你的感觉在哪里)去观察对象，然后用一种"分面"的方法(也就是徐悲鸿所说的"宁方勿圆"，或者按照据说是契斯恰科夫的素描教程的要求把对象分解成许多小面，以便使物体能够一点一点地转过去的方法)把眼前的模特如实地画下来。

I have been there for many times to do sketches. The cracked old roots and fissures of the truck touched the bottom of my heart again and again. In the painting "Cypresses in the Forbidden City", I used a so-called method of scattered dots to depict the fissures which is extremely rare in similar paintings, while for the walls I used the crimpling skills to reveal its weathering nature. It is because I believe that all techniques and effects should be centered on the main themes, to make paintings more profound in humanism.

我曾无数次地到那一带去写生，那苍茫的老树根，那干裂的树纹肌理，曾一次次地触动我的心扉，《皇城古柏》这幅画我用散笔法来表现柏树的纹理效果，由上至下，气韵贯通，这种方法在画柏树里并不多见，用打点的方法来点树叶，层层打点积厚，但又注意疏密的关系对比，形成密不透风，疏可走马的效果，而皇城的城墙我则采取皱纸法来做出墙面的沧桑肌理效果，以此来传达出皇城这一历经风雨的历史厚重感，我的创作理念是：一切技法和效果为主题服务，让画面丰富起来，让画面融入人文内涵。

In those days, Liu Yong always was one of the first ones who played rock music, rode motorcycle, operated company, learned computer, drove automobile and went abroad…I still remember that Liu Yong taught me to ride bicycle. We went to the outskirt along Xi Ba River to sketch. Going through weeping willow, there were very tall eucalyptus leaves, moving back and forth in the wind. They looked green sometimes, and reflected sunshine sometimes, resembling those dreamy and innocent days: mountains and lake, girls washing clothes by the river, boatmen living in lake, fisherman casting net, youth fishing, buffalos dazing, and water birds observing everything by reeds…We caught everything in our paintings, obsessed with painting. The world outside, and the peace of monastic life all moved far away. Those shared days were the pure, clear and beautiful time in both Liu Yong's and my life.

多年来，昆明这个小城最早玩摇滚、骑摩托、干公司、弄电脑、开汽车、办出国，刘涌可都是走在前面的人……记得是刘涌教会了我骑自行车，每天我们骑车沿着西坝河到郊外去写生，穿过佛面垂柳，后面是一排排高高的杨草果，在风中摇动树影，时而满目幽绿，时而反射银白的阳光，象是那晃惚懵懂的岁月：湖光山色、河边洗衣的少女、水上船家、撒网的渔翁、钓鱼的少年、发呆的牛儿、苇草边东张西望的水鸟……我们一一画下这一切，只知道痴迷的画着，身外的世界，暮鼓晨钟，离的好远，那是我们共同经历的生命中最单纯美好的时光。

Drawing inspiration from the gnarled shrubbery of England's windswept moorlands,Brian Froud is best known for being the mad genius behind Jim Henson's film The Dark Crystal and illustrating such bestsellers as Lady Cottington's Pressed Fairy Book.In this volume,a long-awaited sequel to his international bestsellers Faeries and Good Faeries/Bad Faeries,Foud returns to the world of faerie with a wealth of new,never before-seen paintings,watercolors and drawings.

中文简介：绘画的灵感来自英国沼地中迎风而长扭曲的树枝，Brian Froud是在Jim Henson这样的导演和像Lady Cottington这样的畅销书作家之后最有名的疯狂的天才，在这一卷，大家看到了期待已久的续集， Foud带着新的财富回到了我们的世界，从未见过的画，水彩和写生。

As she looked at Warrington's manly face, and dark, melancholy eyes, she had settled in her mind that he must have been the victim of an unhappy attachment.

每逢看到沃林顿那刚毅的脸，那乌黑、忧郁的眼睛，她便会相信，他一定作过不幸的爱情的受害者。

Maybe they'll disappear into a pothole.

也许他们将在壶穴里消失