Brunette Girl With Huge Breasts Reveals In The Atelier With A White Pillar

In addition to parts of the body, artists may rely on the manipulation of many other elements to achieve a successful illusion. These can include, the manipulation of color, value, edge characteristics, overlapping shapes and a number of different types of paint applications such as glazing and scumbling. Work developed this way would not begin with a drawing, but rather the placement of all relevant elements necessary for the success of the illusions as well as the composition as a whole. Many of the illusions designed to mimic reality also speed the painting process, allowing artists more time to design and complete complex large scale works.
Individual students of this method study a diverse selection of old masters, although many begin their studies with the High Renaissance, Mannerist, Baroque, and Impressionist painters, including Michelangelo, Raphael, Leonardo da Vinci, Titian, Rubens and Degas. However, because the emphasis is on creativity, it is often the design of the composition and the application and use of materials that is studied with less focus on reproducing a particular style or subject.
Students of these ateliers will therefore exhibit a wide range of personal styles and increasing amounts of creative experimentation. The result is a group whose art is highly individualized with each student pursuing their own individual interests. Notice the great diversity found at the Atelier of Léon Bonnat (1846-1855). Bonnat "was a liberal teacher who stressed simplicity in art above high academic finish, as well as overall effect rather than detail." Some of Bonnat's more notable students include: Gustave Caillebotte, Suzor-Coté, Georges Braque, Thomas Eakins, Raoul Dufy, Marius Vasselon, Fred Barnard, Aloysius O'Kelly, Henri de Toulouse-Lautrec, and John Singer Sargent.
As with sight-size and comparative measurement, this method requires the artist to constantly back up to view the work. The reason for this is demonstrated by a very successful illusion image created to look like Marilyn Monroe from a distance and Albert Einstein up close. Since images look entirely different at different distances, the artists backs up to view the work at the distance where the final picture will be viewed. If the work is large, constantly pacing back to a distance relatively far from the painting is crucial to the success of the work.