Art Principles In Portrait Photography

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

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with the water-color brush characterized by spontaneity. The stroke is at once complete. Oil colors, the medium that to us is most responsive, allow deliberation, cor rection, growth, and in working with them we acquire a habit of "going into" the material, seeking greater depth through superposition of colors. Not least effec tive in this technique is the glaze, by means of which the under painting is made richer, more lustrous, and possessed of a mysterious quality resulting from its being revealed beneath the transparent film. With this technique an occidental artist may labor over his work indefinitely. Some famous pictures now in European galleries have required from four to five, others even ten years for completion.
The occidental artist is bound to his model, is unable to paint seriously without nature before him. Occidental art may be said to come nearer to an imita tion of nature than oriental art. In producing their pictures the Japanese work from a memory of things observed, from suggestion, and the work is considered worthless when labored. It can be readily seen that our oil pigment is not suited to oriental needs, nor is their method of using water colors serviceable to us in rendering the more compact phenomena of nature.
All our mediums, such as the pen and ink, pencil, etching needle and water colors, are used with a de liberate intention of getting the plastic effects to which