《卖卫生纸的小贩》这件作品是由两张画拼放在一起之后拍照而成的。两张画都来自下面这张摄影作品。左边的画取了相对较大的景别，基本是原图的一半，而右边的画着重刻画拉着卫生纸的小贩。拼放在一起的两张画中，类似的部分形成了互相呼应的关系。但由于右边是左边的一个区域的扩大，于是在重复的呼应中又有不同的变化。
The work of A Toilet-paper Vendor is composed of two drawings being put together and then photographed. Both drawings are from the photo below. The drawing on the left adopted a relatively larger scene, which is basically half of the original picture, while the drawing on the right focuses more on the vendor and adopted a smaller scene. The two drawings which are abreast with each other echoes each other in these areas repeating each other but also show differences to each other.
右边画面下方的边缘在于左边画面拼合起来之后，变成了作品中间一个形状的边界线。这个泾渭分明的界限使得这个形状有别于画面其他部分所依赖的三维透视关系，具有醒目的二维元素，从而增强了画面的趣味性。在这种处理方式中，起到引导作用的是这样的一个概念：在一幅画作中，需要去解决的问题不仅仅在于“画的是否像所画的对象”，而同时在于它是否形成了一种艺术性的表达。这种艺术性的表达可以是一种情感的表达，也可以是一种审美上创意的追求等。这些在一张画里可以是以一系列的色块、形状、明度等基本要素来实现的。怎样去组织这些基本要素来进行艺术表达，是我们在绘画创作的时候，一个很重要的考量。
The edge of the drawing on the right side becomes a clear boundary of a shape in the middle of the work. This clear boundary adds into this shape a strong two-dimensional aspect among other areas of this work, which are based on a three-dimensional perspective. The work thus is more interesting. This proceeding enhances such a concept, that, in the process of painting, what we need to concern is not just to "looks like its object", but also to achieve an artistic expression. It can be an expression of certain emotions, or a creative way to reach an aesthetic pleasure, etc. All of these are realized in a painting using a series of basic elements such as colours, shapes, and tones, etc. To achieve artistic expressions through certain arrangement of these basic elements is one important consideration in our proceeding of a drawing/painting.
原照片非常吸引我的是它具有的一种戏剧性的张力。这来自两点：一个是那些长长的投影；另外是摄影采取的俯拍的角度。阴影在画面中占据了很大的面积，并且每个人都好像嵌在两个（或三个）阴影之间似的。俯拍的角度将人物压缩成非常不符合我们在平视的视角下（也就是日常的视角）所看到的人的形状，但是每个人物的阴影却比较符合这种日常视角看到的人的形状。这种阴影似乎和它们的主人地位错位了的感觉，产生了一种戏剧性的张力。
What attracted me so much about the original image was the dramatic tension produced from two aspects: one is the long shadows; the other is the overhead angle of the photography. The shadows occupy quite a large area in the frame, and everyone seems to be embedded between two (or three) shadows. The angle of the overhead shot compresses the characters into a shape that is very inconsistent with our daily life experience, while the shadow of each character is more in line with the shape of the people we see.
在我的练习中，我并没有选择去体现人物和其投影之间这种错位的戏剧性。截距画面的一部分之后，阴影的“人形”的元素被减弱了，而其抽象的形状这一特性被突出了。这也使得它们能够让观众进行更为丰富地想象。
In my drawing, I have chosen to reduce the shadows into some abstract shapes instead of making them look like some human beings.
绘画创作中，在掌握了一定的写实绘画的技巧后，还需要掌握的能力就是放弃或者减弱一个画面中的某些元素，而去采用或者放大其他的一些元素来服务于我们某个创作意图。在处理这个小贩身后的那片阴影时，在临近边缘的地方，我用点来表达那种由阴影过渡到亮处的效果。不过，和原图不同的是，我加强了过渡边缘的对比。这一方面是因为我想加强一些比较写实的成分，但另一方面又把这种写实的程度控制在一定的范围内，让它在分明地对比中具有一种图案的抽象性。这就是我说的具有主动性和创造性地采用原图的某些元素。
In the process of drawing, after mastering certain painting skills, another skill is to be able to adopt or enhance certain elements, and discard or weaken other elements to serve our creative intention. When dealing with the shadow behind this vendor, I use dots at its edge to express the transition from shadow to light. However, unlike the original image, I strengthened the contrast of the transition edges. On the one hand, this is because I want to strengthen some more realistic elements, but on the other hand, I control the degree of realism within a certain range, so that it is still an abstract pattern to some degree. This is what I mean by creatively adopting certain elements of the object of your drawing.
