王凤军不是电视剧《青果巷》里的演员，与《青果巷》能搭上边的是在每集最后职员表的字幕中写着：副美术······王凤军。

Wang Fengjun is not an actor in the TV series "green fruit lane". What can be connected with "green fruit lane" is that in the subtitle of the staff table at the end of each episode, it says: sub art... Wang Fengjun.

排在他前边的还有美术黄皓。“人家那是大手，如果把电视剧比做一席大餐的话，我在这餐桌上只能算个牙签。”王凤军的话语里透着对这个比他小7岁还是科班出身美术主管的由衷的敬佩。

In front of him is the fine arts Huang Hao. "People are big hands. If we compare TV series to a big meal, I can only count a toothpick on this table." Wang Fengpei, who is a 7-year-old director of fine arts, sincerely respects him.

王凤军是从16岁开始学习绘画的，那年他正是初中二年，木匠出身的父亲看当时的学生不是学工学农干活就是“备战备荒”挖地道。感觉有点瞎折腾就让王凤军和当年下乡的双鸭山知青于大美学习画画。没啥文化的父亲知道中国有个木匠出身的大画家齐白石很有名气，他的画很值钱。他想让小儿子学画，让二儿子学木匠。老话说：千金在手，不如一技在身。那个年代正放着电影《李三辈儿》。说的就是青年木匠李瑞环的故事，后来李瑞环还当了国家领导人。父亲的打算挺好，这两个儿子，不管哪一个学成了，都能养家糊口。 王凤军的老师于大美叫于长河，因为长得帅气加上画得一手好画，人们都叫他于大美，以至于很多人都不知道他的真名。当年于大美曾是北大附中美术班的高材生，正要高考的前一年开始了文化大革命，知识青年上山下乡的洪流把他卷到了笔架山农场。他在文革中画的毛主席去安源和揭批“牛、鬼、蛇、神的漫画，使于大美在农场杨起了名气，王凤军那时开始跟他学画。

Wang Fengjun began to learn painting at the age of 16. That year, he was in junior high school for two years. His father, who was a carpenter, saw that the students at that time were either learning to work in agriculture or "preparing for war and famine" to dig tunnels. Wang Fengjun and Yu Damei, a scholar of Shuangyashan, who went to the countryside to learn painting. My father with no culture knows that there is a famous painter Qi Baishi who was born as a carpenter in China. His paintings are very valuable. He wanted his younger son to learn painting and his second son to learn carpentry. As the old saying goes, it's better to have a skill in your body than a thousand gold in your hand. At that time, the film "three generations of Li" was on. It's about the story of Li Ruihuan, a young carpenter who later became a national leader. The father's plan is very good, these two sons, no matter which one is successful, can support the family. Wang Fengjun's teacher Yu Damei is called Yu Changhe. Because he is handsome and good at painting, people call him Yu Damei, so many people don't know his real name. At that time, Yu Damei was a top student in the fine arts class of the high school affiliated to Peking University. The year before the college entrance examination, Yu Damei started the cultural revolution. The flood of young intellectuals going to the mountains and the countryside swept him to Bijiashan farm. At that time, he and Chairman Yang Wenge began to draw the famous snake in the farm.

画人从立七坐五盘三半开始

Painters start with seven seats, five plates and three and a half

于大美教王凤军绘画，是从正规的基础学起，他给这个瘦高清秀的徒弟找来了，《怎样画素描？》《写生技法实践》《美术中的透视关系》《怎样画写生？》《人体结构教学》《水彩和水粉的应用》等一大堆有关美术的教材，其中有几本是苏联列宾艺术学院的教材。

Yu Dami taught Wang Fengjun painting from a regular basis. He found this slim, tall and graceful apprentice, "how to sketch? 》"Practice of sketching techniques", "perspective relationship in fine arts", "how to draw from life"? 》"Teaching of human body structure", "Application of watercolor and gouache" and a large number of teaching materials related to fine arts, including several of them from the Soviet Union's Liebin Academy of art.

至今王凤军还记得当年第一次上课时，于大美教他画人物时的最主要参考部位是头，一般情况下正常人头是身高的七分之一，画站立的人时就要画出七个人头高，坐着的人物就是五个人头高，人盘腿时是三个半人头高。最后告诉王凤军“立七坐五盘三半”是绘画中的重要规律，不按这个规律画出的画就造型不准，而造型不准在美术绘画中是硬伤。画画第一步就造型不准，往下明暗关系处理，黑白灰搭配，色彩使用等都是白废。

Wang Fengjun still remembers that when he was in class for the first time, Yu Dami taught him that the most important reference part for drawing figures was the head. Normally, the normal head was one seventh of his height. When drawing a standing person, he had to draw seven head heights. The figures sitting were five heads high, and when people were cross legged, they were three and a half head high. Finally, Wang Fengjun was told that "seven seats, five plates, and three and a half" is an important law in painting. If you don't follow this rule, the shape of a painting will not be accurate, and the inaccuracy of modeling is a hard injury in art painting. The first step of painting is not modeling. The relationship between light and shade, black and white and gray, and color use are all white waste.

画画的手艺结合上了木匠 好像冥冥之中都有定数一样，王凤军学绘画是与做木匠的父亲受齐白石绘画的启示。后来王凤军的绘画也和木匠结合到了一起。当年父亲让二哥凤民学木匠。十几年过去，早已是细作木匠成手，专打家具。打完家具让凤军给画上些山水花鸟。在当时那个年代真是很上讲究了。据说那个年代当地小青年结婚家俱上的图案九成以上都找王凤军去画。 王凤军也在国画这方面得到了锻炼和提高，那段时间他有时一天能画两家的立柜。一次给修理无线电的朋友画碗架子，画一半时赭石颜料不够了，就尝试着用朋友的电烙铁补上几笔。没想到这电烙铁修补处的效果竟比彩色画的还生动有感觉。从那以后他就专门试验了几次。原来用烙铁也能作画。后来随着眼界的开阔王凤军知道了能作画的方法、工具、材料还有很多。不论什么，能表现世间美好的东西都是艺术。而艺术的创作是不受任何工具、材料和方法限制的。这些是王凤军在后来通过对艺术理论的学习才悟出来的。 再后来王凤军到学校当过美术老师，参加过黑龙江省森工总局组织的对省内野生动植物的考察。他的工作主要是为一些新发现的珍惜动植物画插图。那个年代照相机还没普及，胶卷更是珍贵，所以很多工作都要人工完成。这段工作让王凤军接触了一些专家学者，也更加开阔了眼界。他知道了天外有天，人外有人。最关键的是心外有心，人不能自满。

The craftsmanship of painting is combined with carpenters. It seems that there are certain numbers in the world. Wang Fengjun learned painting from his father who was a carpenter and was inspired by Qi Baishi's painting. Later, Wang Fengjun's paintings were also combined with carpenters. At that time, his father asked his second brother Fengmin to learn carpentry. More than ten years later, it has already been a meticulous carpenter, specializing in furniture. After finishing the furniture, let Feng Jun paint some landscape flowers and birds. At that time, it was very particular. It is said that at that time, more than 90% of the patterns on the wedding furniture of local young people went to Wang Fengjun for painting. Wang Fengjun was also trained and improved in traditional Chinese painting. During that time, he could sometimes draw two cabinets one day. Once I drew a bowl shelf for a friend who repaired the radio. When the ochre pigment was not enough, I tried to make up a few strokes with my friend's electric iron. I didn't expect that the effect of the electric iron repair is even more vivid than the color painting. Since then, he has experimented with it several times. It turns out that you can paint with a soldering iron. Later, with the broadening of his horizons, Wang Fengjun learned that there were many methods, tools and materials for painting. Whatever can express the beauty of the world is art. The creation of art is not limited by any tools, materials and methods. These are Wang Fengjun later through the study of art theory. Later, Wang Fengjun worked as an art teacher in the school and participated in the investigation of wild animals and plants in Heilongjiang Province organized by the General Bureau of forest industry of Heilongjiang Province. His work is mainly to draw illustrations for some newly discovered rare animals and plants. In those days, cameras were not popular, and film was more precious, so a lot of work had to be done manually. This work let Wang Fengjun get in touch with some experts and scholars, and broaden his horizon. He knew that there was a heaven beyond the sky, and there were people outside. The most important thing is to have a heart out of your heart, and you can't be complacent.

到电视剧组成了归宿

To the TV series to form a home

说起上电视剧组，王凤军首先感谢他当年的同学。  王凤军的要好同学中还是有几个出类拔萃的。像现在旅居加拿大的莫海波，在央视工作的王有才，在国家机关的潘琦，做生意成功的阚宪友，还有在省市政府部门工作的一些同学，都曾和王凤军一起激扬过文字。在和这些同学相聚时，王凤军总是有一种压抑和自卑的心理，虽然这些同学经常开导他：中国大专家学者自学成材的人多了，科学家里的华罗庚、作家浩然就不说了，单说美术这行古今中外就比比皆是。外国的有达芬奇、米开朗基罗、拉菲尔、凡高、塞尚，中国有张大千、齐白石、傅抱石、林子平、潘良玉。哪行哪业都有自学成才的。再说了，成材的标准也不一定就得在国际国内都出名的，只要能在同类中做得突出会别人不会的绝活那就是成才。同学莫海波的话给了王凤军很大的鼓励。这些同学不仅在精神上开导他，也在实际生活中帮他寻找适合的工作。

Speaking of being on TV, Wang Fengjun first thanks his classmates. Wang Fengjun's good classmates still have a few outstanding. For example, Mo Haibo, who lives in Canada now, Wang Youcai, who works for CCTV, Pan Qi, who works in state organs, Mei Xianyou, who has successfully done business, and some students who work in provincial and municipal government departments, have all worked together with Wang Fengjun to encourage writing. When meeting with these students, Wang Fengjun always has a sense of depression and inferiority. Although these students often enlighten him, there are more and more Chinese experts and scholars who have become useful by themselves. Hua Luogeng, a scientist, and Haoran, a writer, do not talk about art. Art is a profession that has been compared at all times and in all countries. Foreign countries include Leonardo da Vinci, Michelangelo, Raphael, Van Gogh and Cezanne. In China, there are Zhang Daqian, Qi Baishi, Fu Baoshi, Lin Ziping and pan Liangyu. There are self-taught talents in all trades and professions. What's more, the standard of becoming a useful person doesn't have to be well-known both at home and abroad. As long as you can do outstanding skills in the same kind that others won't, that's talent. The words of his classmate Mo Haibo gave Wang Fengjun great encouragement. These students not only enlighten him spiritually, but also help him to find a suitable job in real life.

2008年，同学聚会时阚宪友感觉王凤军这一生快50岁了还困在农场太屈才了，就让女儿阚宇萍介绍到了当时的电视剧《镜海风云》剧组。  如今在影视剧组摸爬滚打干了八年，王凤军最大的感受就是：影视行业是门综合艺术，需要团队的整体配合，虽然他做的工作都是修边补沿的“牙签”工作，但弄不好就会穿帮，影响整个电视剧的效果。 所以每次他的大主管黄晧交待给他工作时他都尽量找来剧本看，把自己要做的场景与整个剧情结合起来

In 2008, when the students got together, she felt that Wang Fengjun was nearly 50 years old and was still trapped in the farm. She asked her daughter, Yi Yuping, to introduce him to the then TV drama "mirror sea wind and cloud". Now, after eight years of hard work in the film and television drama group, Wang Fengjun's biggest feeling is that the film and television industry is a comprehensive art, which needs the overall cooperation of the team. Although all his work is "toothpick" work of trimming and mending edges, if he can't do it well, it will get through and affect the effect of the whole TV series. So every time his chief executive, Huang Fan, told him to work, he tried to find a script to read and combine his own scene with the whole plot

在拍《青果巷》时，为了表现主要人物画家王庚的绘画水平，导演要求在王庚的工作室要有一些油画特写镜头，王凤军根据剧情里王庚是从美国回来的特点，画了几幅带欧美风情的油画作品，导演和美工主管都认为选材选得好，符合王庚的身份。一部作品就是要从各种角度来刻画人物，细节决定成败。他还讲了前段时间网上沸沸扬扬评说的一女性从裤裆中拉出手榴弹的情节。应该说那就是细节不抗推敲，影响了整个剧情。  “美工道具方面细节出现漏洞的影视作品也是不少的，像抗战片里的敌军司令部里挂着塑料拉花，明清戏的背景里挂着现代人洪丕谟的书法作品，民国时期的剧情里边摆着矿泉水瓶子。明朝人吃方便面。一部作品几万个镜头，你不可能让导演都去把关审查，所以各职能部门就需要把好自己那道关。不然一部作品失败，就是几千万的损失。”王凤军说出了他这些年的体会。  王凤军不干没把握的活，像古装戏里写奏折和皇帝的圣旨他就轻易不写，他说古代的大官都是考上的，他们的字都是馆阁体，写得没功夫就能看出窜帮。

When shooting "green fruit lane", in order to show the painting level of the main character painter Wang Geng, the director required that there should be some oil painting close-up shots in Wang Geng's studio. According to the characteristics of Wang Geng coming back from the United States, Wang Fengjun drew several oil paintings with European and American flavor. Both the director and the art director thought that the material selection was good, which was in line with Wang Geng's identity. A work is to depict the characters from various angles, and the details determine the success or failure. He also talked about the plot of a woman pulling a grenade out of her crotch some time ago. It should be said that the details are not resistant to scrutiny, affecting the whole plot. "There are also many film and television works with loopholes in the details of Arts and props. For example, in the Anti Japanese war films, there are plastic flowers hanging in the headquarters of the enemy forces; in the background of the Ming and Qing Dynasties dramas, there are modern people's calligraphy works; and in the plot of the Republic of China period, there are mineral water bottles. People in Ming Dynasty eat instant noodles. There are tens of thousands of scenes in a work. You can't ask the director to check and review, so all functional departments need to take good care of their own. Otherwise, if a work fails, it will be tens of millions of losses. " Wang Fengjun said his experience in these years. Wang Fengjun did not do uncertain work, such as writing memorials and Emperor's edicts in ancient costume drama. He said that ancient officials were all passed the examination, and their characters were in the style of Pavilion. If you don't have time to write, you can see the gang.

他最拿手的是大艺术字和山水画，像门扇大小的“中日亲善，东亚共荣。”按用工量计算得用两天，因为得先打格放大，描字后再添颜色。王凤军干这样活很简单，到那三米多高的大墙下，抬眼瞄了几瞄，拣起根小木棍在墙上画几个印，抓笔就写。八个大字，不用打格，不用修正，两个小时一气完成。  拍一部谍战片时，一个场景怎么也表现不出当时国民党军统机关的环境，导演围现场看了一圈决定写一块军统局的牌子挂上。大大小小14个字，带画国民党党微，一下午完成，明天就用，这时就看出了部门间的配合，道具用两小时做出了木牌子交给了王凤军，他就刷底漆，画国民党微，写出了“国民政府军事委员会调查统计局”。没等油漆干透就被剧务给拿走了。

He is good at big art characters and landscape paintings, like the door leaf size of "China Japan friendship, East Asia co prosperity." According to the amount of labor, it takes two days, because you have to enlarge the grid first, and then add color after tracing. Wang Fengjun did such a simple job. Under the three meter high wall, he raised his eyes and took aim. He picked up a small stick and drew a few marks on the wall. Then he wrote with a pen. Eight big characters, no need to type, no correction, two hours to complete. When shooting an espionage film, one scene could not show the environment of the Kuomintang's military unification organs at that time. The director looked around the scene and decided to put up a sign of the Bureau of military statistics. In 14 characters of all sizes, the painting of KMT party micro was completed in one afternoon and will be used tomorrow. At this time, we can see the cooperation between departments. The props took two hours to make a wooden sign and gave it to Wang Fengjun. He painted the Kuomintang micro and wrote "investigation and statistics Bureau of the Military Commission of the national government". He was taken away by the drama crew before the paint dried out.

▲王凤军画的道具牌子

屈指算来王凤军参加拍摄的电视已有11部了，分别是：《镜海风云》《傻儿传奇》《满山打鬼子》《秦湘莲》《粉墨》《火烧云》《大漠谣》《青果巷》等。问他能在演职表中找到他吗？他说：“哪有吃完饭还能记住牙签的？”  最近剧组又给他发来微信：“老王，年前可能有戏，做好准备。”

According to Qu Zhi, Wang Fengjun has participated in 11 TV programs, which are: Jinghai Fengyun, legend of a fool, beating ghosts all over the mountain, qinxianglian, pink ink, fire burning cloud, desert ballad, green fruit lane, etc. Can he find him in the cast? He said, "how can you remember a toothpick after a meal?" Recently, the crew sent him a wechat: "Lao Wang, there may be a play before the new year. Be ready."

剧组还真需要这样的牙签。

The crew really needs toothpicks like this.

2015-11-23

2015-11-23