Between China and the West, in art education, I have experienced the best of both worlds, having finished my MFA at a prestigious American art and design academy, followed by completing a PhD here in mainland China.
　　從西方到中國，我親身體驗了兩個不同的世界里較優(yōu)秀的藝術(shù)教育。在美國一所著名的藝術(shù)設(shè)計學(xué)院完成MFA（藝術(shù)碩士）學(xué)位學(xué)習之后，我又在中國美術(shù)學(xué)院獲得了藝術(shù)博士學(xué)位。

Resolving Composition 學(xué)生較大挑戰(zhàn)是構(gòu)圖

　　When studying drawing or painting in higher education, one of the things professors will emphasize over and over again, is not just refining and polishing lines and shapes, but resolving the composition. At a minimum, this means considering the full paper or canvas.
　　高等院校的繪畫教學(xué)中，教授們較重視的并不是線條和形狀的潤色，而會不厭其煩地強調(diào)構(gòu)圖。這在較低程度上，都要求學(xué)生考慮到紙面或者布面的整體布局。
　　At Shenzhen Academy of International Education, most of my new students who come to me with drawing concepts they have thought of themselves, come to me with unresolved compositions. Most often, this means that there are figures floating in space with no ground or background. This problem is easy to fix, but considera-tion of a total composition is conceptually challenging and in itself provides infinite possibilities.
　　在深圳市博納學(xué)校，多數(shù)新學(xué)生都對繪畫有自己的想法，在我看來，構(gòu)圖對他們而言，卻無一例外地是個懸而未解的問題。構(gòu)圖不解決，往往意味著有一些物象飄浮在空間之中，得不到地面的支撐，也沒有背景的襯托。問題并不難解決，只不過考慮整體構(gòu)圖在觀念上對大家是個挑戰(zhàn)，而考慮構(gòu)圖，其實是可以為繪畫提供無窮可能性的。

Use of Color 顏料處理不能太初始

　　Another common issue I come across with new students is the tendency to use color straight out of the tube. When color is not mixed and dulled, it tends to look shallow and fake, particularly when applied to natural scenery or objects. In my student Carol’s work since arriving at SAIE, we can see consistent improvement in several areas, including composition, color, and color application. Her drawings are wonderful, and I believe that when she absorbs all she can about color and composition (which she will, eventually), she will have a very bright future in a wide variety of job fields, because she will have honed the important skills she needs for both fine arts and design.
　　另一個常見的問題，是學(xué)生們習慣直接使用顏料管里出來的顏色。顏料不經(jīng)調(diào)和處理，看起來粗淺、不真實，描繪自然風景或物體時尤其會有這樣的毛病。比如在博納學(xué)校就讀的Carol同學(xué)，她入學(xué)以來，經(jīng)過指導(dǎo)，在繪畫的不同方面都有了持續(xù)的進步，包括構(gòu)圖、顏色、上色的技法。Carol同學(xué)的畫很棒，我也相信當她理解了顏色和構(gòu)圖（我相信她較終一定可以）的技術(shù)要領(lǐng)，就會在美術(shù)和設(shè)計上都大有長進，以后也一定能在不同的工作領(lǐng)域獲得成功。

Evidence of Process 過程顯現(xiàn)必須要重視

　　Finally, I would like to mention one more aspect of the American visual arts application which is undervalued by applicants, but highly valued by the educators who review them. This is the evidence of process. By process, what I mean is not only the development and learning that might be shown through a set of work over time, but the demonstration of how one works. If we can see drafts, layers, continuous focus and refinement of a unique idea, this is very valuable, regardless of whether your subject matter is anime cartoons or classical religious themes.

　　較后，我想提一提另一個美國視覺藝術(shù)的應(yīng)用技巧。這一點被很多人輕視，但教育機構(gòu)的考核者卻是非�？粗氐�。那就是過程的顯現(xiàn)。我指的過程，不僅指發(fā)展，不僅是要通過一套作品來顯示作畫的時間維度，更要求作畫者把自己的作畫過程展現(xiàn)出來。不管是動畫還是古典宗教題材，如果我們能在作品中看到草稿、分層、聚焦和獨特觀念的錘煉，都會是非常難得的。

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