WMM ¥; ^f^- "'TT W •M:;<j!rvrVu^' ^•^^^'^^r^V6^rK^cr;;*^//^rl^THi^O^rsT; VVe^ism Digitized by the Internet Archive in 2008 with funding-from IVIicrosoft Corporation http://www.archive.org/details/completetreatiseOOweis I^E NEW TOKK franc LIBRARY ASrOB, LENOX AND TILDEN FOUNDATIONg The Author A COMPLETE TREATISE ON Artistic Retouching, Modeling, Etching, Art and Nature, Art and Photography, Char- acter, ChiaroscuT*©, Composition, Style and Individuaiify. c BY CLARA WEISMAN PUBLISHED BY H. A. HYATT, SAINT LOUIS. TV?. NF/.y YORK T B iy-14 L [ Entered accordingtoactofCongress,intheyear1903,by- Clara Weisman, in theoffice of the Librarian ofCongress, at Washington. « . •< • • * « • c. » 'tecc t • 1 .••- • ,•»,• •• •e.•*«••»••*: • . . . • , \>*' c,V 770 U}3 CONTENTS, —page. Chapter I. —Introduction =. = 1 Chapter II. —Tone Values 5 Chapter III. —Preliminaries to Retouching 9 Chapter IV. —Necessities for Retouching 13 Chapter V. —What is Retouching > 17 Chapter VI. —Reasons forRetouching 19 Chapter VII. —Little Things 26 — ChapterVIII. Texture 31 Chapter IX. —Perspective 39 Chapter X. —Difficulties and Imperfections 43 ChapterXI. —Modeling 46 Chapter XII. —The Forehead 49 Chapter XIII. —The Cheek 57 Chapter XIV. —The Eye 61 = ChapterXV. —The Nose 69 Chapter XVI. —The Mouth 76 , Chapter XVII. —The Chin 80 Chapter XVIII. —The Cheek in Shadow 83 Chapter XIX. —The Ear 86 Chapter XX. —Neck, Bust, Arms and Hands 88 ChapterXXI. —Shadow Lightings 91 Chapter XXII. -The Hair 94 ChapterXXIII. —Drapery 96 CLNTRAL RE^ERVC 476 ru-TH AVE., KOOM !• 2 ARTISTIC RETOUCHING. such a subject is hard to deal with in this manner is par- tially evident from the fact that such a few have at- tempted a full treatise on the subject. Where such little of the artistic is known among the masses of photographers or camera students, a book of this na- ture could not be amiss. I feel a competency to under- ^ take such a work as this, having taken a course of several years at two of the best art schools in the U. S., namely, St. Louis and New York City, receiving as a result of my studies two medals for best drawings and best portraiture in oil colors from life, together with mentions. For the past three years I have held a position as Instructor in Retouching at the Illinois College of Photography in connection with talks given on Art. Feeling the artistic, one is able to understand more ^ clearly artistic retouching and its necessity in portrait- A ure. knowledge of art is beyond question very help- ful. There is something more and far beyond technical skill. Retouching is without question a fact; and it may, without fear of falling too far from the truth, be said to have revolutionized portraiture. In the first place, the end and aim of photography is to please, in other words, to make beautiful. All na- ture tends toward the ideal, perfection; all human efforts should be to the ideal. Pictures when made at their best and highest are the most beautiful things man can produce. They are the life of the individual, leav- ing here an impression, there an impression of his in- ward self, brot out in his productions. The higher our ideals, the better our work. A photographer must learn to love the beautiful, must be able to know what