What Is Good Drawing？　　I really don’t know what good drawing is, I cannot define it absolutely. Traditionally, it is an academic idea, and the guys at art renewal would say that naturalism is good drawing. But there are people who have expanded the definition of what is good drawing. Take for instance Elliot’s girl at the top of this page. It is excellent! Everyone seems to like it. All those French dudes draw like a fish swims. But the proportions are funny and the arm is too short and the head is strange and the hip is missing, etc. So in the eyes of an academic purist this is bad drawing. So I would say that drawing is as subjective as any aspect of art, and has more to do with the emotional expression of form. If it looks wrong to you, it is wrong… to you. There is an old painting I did of a gladiator crouching. I was very happy with the gesture of it. But so many people says it looks messed up to them. So who is right? If you go with the expanded idea of what drawing can be, to include more expressive ideas, it becomes very subjective. 　　我不知道什么是真正的好图画, 我无法绝对定义它。传统上, 这是一个学术想法。并且艺术创新者会说自然主义是好图画。但有人扩展了好图画是什么的定义。例如在这页上面Elliots 画的女孩。他看起来画得太好了! 大家似乎都喜欢它。所有那些法国公子们画画都象鱼游泳。比例滑稽并且不是胳膊太短就是头画的很奇怪的，并且缺掉了臀部等。如此的绘画艺术在一名纯艺术主义者眼里这是糟糕的图画。所以我会说, 图画像任何一种艺术一样都是主观的, 更多的是以情感表示形式。如果对你来说，它看起来错误, 它就是错了，我曾经画过一幅格斗者俯行的画。我个人十分喜欢他的姿势。但许多人说它看起来很乱。谁是对的呢? 如果你把图画的定义扩从出去, 包括更加表现派的想法, 它将变得非常主观。 　　But the art renewal people and dim witted people in general, think they know what good drawing/art is. Even by their own definitions, some of the “living masters” in their “approved” gallery don’t know much, and it is pretty embarrassing in my eyes. I have watched them work first hand and listened to their narrations. I cannot prove that it is “bad,” because I do believe in my own conviction about how subjective things are. I can only say that I get cross-eyed looking at some of them. And if academic skill is the only thing you are selling, it is grim. 　　但艺术更新派和一些“愚蠢”的人, 认为他们知道什么是好的绘画艺术。根据他们自己的定义, 就连一些公众认可的画廊的当代的大师也是无知的。有时我感到十分尴尬，我观看了他们绘画过程和倾听他们的叙述。我无法证明, 这是好艺术还是坏艺术， 因为我相信我自己的信念是多么主观。我能只说, 有些让我看得目瞪口呆。并且如果技巧是您唯一卖弄的, 那就太残酷了。 So as far as worrying about anatomy in these speed things, that is an involved question. But to make it simpler, if there is something that bothers the viewer, it is wrong to them. Others could like it. But usually these images are thoughts that have one or two goals in mind, like lighting or composition or even anatomy (maybe pay more attention then). I guess the shortest answer I could give is spending enough thought so that it does not stick out painfully. 　　至于象担心解剖学这些事, 那是一个棘手的的问题，简而言之, 如果有的东西让看画的人不舒服, 那它就是错误的。但有可能其他人喜欢。这些图象通常是有一两个目标的想法, 像光或构成甚至解剖学的想法(可能给予更多注意) 。我猜测我能给的最短的答复是给画以足够的想法，多想就不会以后错误百出。 　　Flushy, I am going to say something pretty harsh, so the rest of you go away for a minute I am roughly 15 years older than you, and I see a lot of the same strengths and weaknesses in your work and mine. You and I have a good handle on setting up a solid value structure and then playing with paint and light effects to keep the eye entertained. But you, like me, need more drawing. I just started about 3-4 years ago.. Don’t make the same mistakes I made, hiding behind piles of pretty paint, start now and learn more about drawing. Any painterly illustrative style depends on this more than anything. Your work will be better, faster, more flexible, and more profitable. You will learn faster as time goes on and the emergence of your own artistic personality will be much stronger. I had a teacher at AC that said plainly that in all the students he had seen, income was based on the ability to draw more than any other factor. 　　不好意思，我要说一些令人尴尬的事, 我可能比你多活了15年, 在你们之中我看到很多相同的力量和弱点。你和我都有很强的造型能力，调色，用光，画出赏心悦目的画，但你和我都需要更多图画。我开始电脑绘画大约3-4 年前。不要犯我犯的同样错误, 把问题掩藏在堆砌华丽的油彩背后, 现在开始学画更多的图画。美术风格的形成比任何东西更需要更多练习。只有坚持不懈的练习，你的画才会更好, 更快更加灵活, 和更加有益的。它将有益于画技的快速地成长同时继续增强你自己艺术个性诞生。我有一位老师在AC教书曾经坦白地对学生们说：你的能力将比任何因素更能决定你的收入！　　But you protest “you just said you did not know what drawing is!” That’s right I don’t, but I think that it has something to do with your own personal understanding the form and structure of the things around us, and figuring out how to express that on a 2-d surface. And to further explain my obnoxious comments about academic artists above, be very very careful of whom you listen to, and that includes me. I have seen way too many young artists get caught in the academic thing and never emerge. I can see them sitting before the feet of the robed master, as he tells tales of the greatness that they should all strive for, to immolate themselves on the pyre of 19th century masters, there is only one true path and all else lead to the dark side. So try to find people you can learn from, but a variety, not one (or one institution) who claims to Know, and says if you don’t listen you are Damned. 　　也许你会抗议，说你不知道是什么真正的图画!? 正确，其实我也不知道, 但我认为它是有关形式和结构的个人理解并且如何在2d平面的媒体上表现出来。进一步解释，我讨厌关于学术艺术家的评论, 请非常非常小心你正在聆听的讲演者, 包括我。我看到许多位年轻艺术家陷入了技巧之中不能自拔。我仿佛看见他们坐在穿长袍的大师之前, 听他讲伟大的传说, 牺牲在19世纪大师们的圣坛之上, 事实上只有一条道路通罗马，其他的都通向黑暗。如此尝试找到你能值得学的人, 不仅仅是一个人，要是多方面的人, 而不是那种自称为什么都知道，你不听他就会被谴责的人。 　　I don’t think this will happen to you, you are a little older, and maybe have a stronger personality and could tell them to shove it.
　　If you find yourself on your own, go to museums often, carry a sketchbook at all times (and even draw in it) and draw from life as much as you can. Learn about art history too. Draw and think while you are drawing. Spending 2 hours filling a background behind a head drawing with a 4H pencil is not the best use of time. 　　我不认为这将发生在你身上, 你们更成熟, 有更强的个性, 能劝告他们抛弃这种想法。 如果你想寻找到真正的你, 就经常去艺术博物馆, 带着速写本 (并且要用它画) 并且尽你所能去写生。还要多学艺术史，画的时候要多思考。我曾经说过很多次，花2个小时用4H 铅笔在一张头像之后机械地涂背景，不是对时间的最佳利用和明智之举。
    Craig Mullins个人经历自述：
“我1964年生于加利福尼亚州，3岁的时候随全家搬到俄亥俄州。18岁的时候回到了加州，在洛山矶一带定居多年。现在我住在夏威夷，经常开我的小卡车。
我开始在克莱尔蒙特的Pitzer大学上了2年，然后去Art Center College of Design（艺术中心大学）学习工业设计。当时我画汽车非常拿手，所以我就到底特律的福特公司做了6个月的汽车设计。不过我的设计理念在底特律好像显得有点怪异，于是我又回到了艺术中心大学去学习插画。就像在学习工业设计时我所表现出的保守和古怪差不多，我依然只学绘画里那些学院派的经典技术知识。1990年，我终于毕业了。
我为一些建筑师和主题公园做了N多张概念画以后开始慢慢接触电影业。我最早接触电脑（用于工作）是在87年为福特公司做设计的时候，记得用的那个东西叫做“Dubner PaintBox”，我不清楚那个东西现在来看能有多大，它做的事情就和现在的Photoshop差不多。我在一个很大的效果工作室工作了一小段时间，并且由那里的一位创建人John Knoll推荐我开始用Photoshop。从1994年开始我的所有商业创作都转为了数字化。”

CM作品：

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