. Portrait . re evasive. That theprofile is roughly modeled after a Greek pattern, andthat the parallelism of certain lines has much to dowith the general expression would occur only to personsof some art knowledge. The main trouble is that all our eye movements andeye adjustments are unconscious and that we are notaware of doing any measuring and comparing. Thepractitioner, however, should be aware of this fact, andthe more deeply he is versed in form knowledge, themore will he realize that the simplest shapes furnishthe most easily comprehended vehicles of instance, if you see
. Portrait . re evasive. That theprofile is roughly modeled after a Greek pattern, andthat the parallelism of certain lines has much to dowith the general expression would occur only to personsof some art knowledge. The main trouble is that all our eye movements andeye adjustments are unconscious and that we are notaware of doing any measuring and comparing. Thepractitioner, however, should be aware of this fact, andthe more deeply he is versed in form knowledge, themore will he realize that the simplest shapes furnishthe most easily comprehended vehicles of instance, if you see before you an upright shape ofthe dimensions 3 x 4, the easiest way would be to di-vide the area into twelve equal squares. And to pro-duce a pleasing fundamental design, nothing else than6 PORTRAIT the drawing of a few diagonal lines would be you imagine the squares to the right dark, and theremainder white, you will have a favorable division,the shape of a person reading. And it is possible to. divide the area in similar fashion into numerous shapes,and they will always make a design sufficiently pHablefor composition, as long as the ratio would be about4K to 6^2. The reason is that the proportional senseof the ordinary person is sufficiently familiar with the PORTRAIT simple square and triangular shapes to appreciate suchdivisions. Also other—a trifle more intricate, divisions,as shown in diagram III, could be utilized, as well aspentagons and octagons. The introduction of simplegeometrical shapes will always produce pleasant varia-tions of fundamental forms of composition within asquare or oblong, while circular picture areas wouldnecessarily demand more rounded shapes, resemblingthe circle and ellipse. / \ / / \. \ 3 This also applies to the details of portraiture. Thebust of any person is a rather bulky proposition. Whatis available to animate this monotonous mass? Theneck, collar or opening of the bodice, and still more sothe lines of the arms and the han
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