The relief is mostly in stiacciato, with the foreground figures are done in bas-relief.

This panel is also a good example of Nicolas understanding of depth with the foreground figures being the largest.

The other foreground figure was a female- slender, with light brown skin and delicate, dark features.

The work also shows how Degas changed the number of foreground figures with an additional boy on the right of the painting.

This scene, with a lone foreground figure in a skiff and shingled houses framed by trees, is beautiful.

To duplicate the painting's perspective, the foreground figures are taller.

To make the extraction a line must be drawn around the foreground figure to select it.

He next had the idea to reverse the process: he reserved the background in black glaze instead of the foreground figures.

The lighting is usually direct flash, which often turns the foreground figure into a ghostly, abstract patch of white.

However, the painter has set him forward of the light streaming through the window, and so minimised the contrast of tone on this foreground figure.