Art Principles In Portrait Photography

How to Apply the Highest Classic Artistic Principles to your Photography.

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uneven spaces created by line No. I; the third should make it its duty to effect division of the larger space that now remains, - Fig. 76, but it should do more. It should be so placed that it will not injure the other two lines by making them appear as units. Instead it must help to quiet, to unify them to the degree of producing harmonious action among all three fac tors. By doing this it also establishes the much coveted quality of stability. Every additional line should further the same end.
How carefully the master has built up his picture from the frame inward, how its "power" has been controlled to protect that delicate face. The broken soft lines of the profile rest safely in the network previously constructed. If line I had been weak and the profile had been emphasized the outcome would have been the loss of the saint and the probable crea tion of the peasant type. How sensitively depend ent expression is upon construction may be realized when we study Fig. 77. The face lacks an element of kindness that is peculiar to the original and that is restored to our drawing when line V is introduced,- Fig. 78. The absence of this line serves to increase the strength of the first three lines out of their due proportion, with the effect that the entire facial char acter undergoes the change mentioned.
In dealing with power as expressed in lines, it is