ARTISTIC METHODS OF PRINTING THE PORTRAIT.
Having described in the last chapter the various mechanical arrangements
by which a simple vignette is produced, we will now proceed to give some
account of how that and other forms of printing can be turned to the
most artistic account in portraiture.
The idea that printing is a mere mechanical operation was exploded long
ago. It is now recognized that the final result owes a good deal of its
artistic effect to the way in which the negative is dealt with after it
is varnished, and especially to its treatment by the printer. There are
many varieties of vignettes, and the method is useful in various ways.
_Plain Vignettes._--The usual vignetted portrait is that which
represents a good-sized head and shoulders in the space allotted to the
picture. For a carte-de-visite, a head measuring about 1-1/4 inches
from the top of the head to the chin is a good proportion. Larger sizes
are often made, but they look coarse and vulgar, as if the photographer
had tried how much quantity he could give for the money, regardless of
quality; and even if the quality is good, the vulgar effect is still
there. For a cabinet size a head of 1-3/4 or 1-7/8 inches is quite large
enough. A very pretty style is that in which the gradation is carried
out so gradually as only to end with the edge of the paper.
_Three-quarter Length Vignettes._--A three-quarter length figure of a
lady, either standing or sitting, makes a pretty picture; for gentlemen,
a three-quarter vignette is not so good, although it is admissible. It
is difficult to make the legs look anything but awkward when they are
vignetted into empty space at the knee. For three-quarter vignettes a
light, sketchy landscape background may be used with effect.
There are many varieties of what may be called "fancy printing," in
which the vignette takes a conspicuous part. The first style that we
will consider is that of
_Vignettes on a Tinted Ground._--Print a vignette in the usual way.
Take it out of the frame, and place it on a board covered with velvet
or flannel, to prevent the paper shifting. Cover the print with glass,
and place over the printed part a piece of black paper roughly torn to
the shape, and rather smaller than the vignette. Place the whole in
the light until the white margin is slightly tinted, or "blushed," as
it is sometimes called. The edges of the black mask should be slightly
turned up or kept moving to prevent the junction of the tinting and the
vignette being visible.
The above method represents a vignetted head on smooth grey paper,
and is useful to show up the high lights on the face; but there is a
modification of this effect, in which the appearance of a sketch on
rough drawing-paper is produced.
_Vignettes on Rough Drawing-paper._--If, instead of placing a piece of
plain glass over the masked print, a thin negative of some diaper or
pattern had been used, the design could have been printed on the paper
instead of the even tint. A very good negative for this purpose is
made as follows:--Obtain a sheet of the roughest drawing-paper, take
a camel-hair brush dipped in thin sepia, and brush it evenly over the
paper; the colour will fall into the depressions of the paper, and make
the roughness still more visible. This should now be placed where a side
light falls upon it, and photographed. A very thin negative is all that
is required. This negative should be used in place of the plain glass,
and, if not printed too dark, the effect of the delicate vignette inside
the rough tint is very pleasing. It is better when using negatives for
this purpose to place them in pressure-frames, instead of merely placing
them or the print on the velvet board, to print, or perfect contact may
not be obtained.
_Medallions._--Medallions of oval and other forms are now a good deal
used for small portraits. These are simply produced by gumming a mask,
made of black or yellow paper, with an oval or other-shaped aperture,
on to the negative, the mask preserving the part it covers white. These
masks can be bought from the dealers cheaper and better than they can be
made. Eccentric shapes are, usually, in bad taste; the oval and dome are
quite sufficient for all purposes. If, instead of leaving the outside
of the print--that protected by the mask--white, it could be tinted,
the lights in the picture would have greater value, and the effect
be improved. To do this, the printed part should be covered with a
black-paper disc corresponding with the mask used in printing, the print
covered with glass, and exposed to the light until printed the required
depth. In performing this operation it will be found convenient to gum
the disc to the covering-glass. If texture could be added to this tinted
margin, then another element of beauty would be added. This may be done
in a similar manner to that described for vignettes, by using a negative
made from rough drawing-paper; but, in this case, there is opportunity
for a greater choice of objects from which to make the tinting negative,
such as grained leather, marble of various kinds, paper-hangings--when
suitable patterns can be obtained--and from the borders of old prints.
In this, as in many other things connected with photography, there is
a good deal of room for bad taste, which the photographer must try to
avoid. He must remember that all these surrounding designs should assist
the portrait, and not distract the attention from it.
_Vignettes in Ornamental Borders._--The writer has lately produced some
effects that have given much pleasure by using designs specially drawn
for the purpose. The designs principally consist of an oval in the
centre for the portrait, and a tablet underneath, on which the original
of the portrait may sign his name. These forms are surrounded by flowers
and other objects conventionally treated. The spaces for the portrait
and name should be stopped out with black varnish, so as to print
white. The easiest way to use these ornamental border negatives is as
follows:--First print the border negative; you will then have a print
with a white oval space in the centre. Place this print on the portrait
negative, taking care that it occupies the proper position in the oval.
This is easily ascertained by holding the print and negative up to the
light. It should then be placed in the frame and printed, care being
taken that the vignetted gradation does not spread beyond its limits
over the border.
There is a good deal of variety to be got out of the combination of the
mask and vignette. Here is one of them.
_Combination of Medallion and Vignette._--Vignette a head into the
centre of the paper; when this is done, place over it a black paper oval
disc, taking care that the head comes in the centre under the mask.
Place a piece of glass over the whole, and print. When the disc is
removed, the print will represent a vignette surrounded by a dark oval.
Many variations may be made of this form of picture, and there is much
scope for skill and taste.
Any of the tinting negatives above described may be used, or they can
be made from designs drawn on paper as we have already stated, or from
natural objects. But if our reader has followed us clearly thus far, he
is now in a position to form combinations for himself. This we recommend
him to do, for there is an additional beauty in anything in art that
indicates a distinctive style or shows thought and originality. There is
too much tendency in portraitists to run in grooves, which the universal
prevalence of the two styles, card and cabinet, help to promote. But
we must caution the young photographer against the mistake of making
changes for the sake of change. The "loud," and the bizarre, may attract
foolish people, but it is only the beautiful that will secure the
attention of the cultivated and refined.