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diff --git a/45410-h/45410-h.htm b/45410-h/45410-h.htm new file mode 100644 index 0000000..6a5972d --- /dev/null +++ b/45410-h/45410-h.htm @@ -0,0 +1,4957 @@ +<?xml version="1.0" encoding="utf-8"?> +<!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN" + "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd"> + +<html xmlns="http://www.w3.org/1999/xhtml" lang="en" xml:lang="en"> +<head> + <meta name="generator" content= + "HTML Tidy for Linux (vers 25 March 2009), see www.w3.org" /> + <meta http-equiv="Content-Type" content="text/html; charset=utf-8" /> + <meta http-equiv="Content-Style-Type" content="text/css" /> + <link rel="schema.DC" href="http://purl.org/dc/elements/1.1/" /> + <meta name="DC.Creator" content="Arthur Dow" /> + <meta name="DC.Title" content="Composition" /> + <meta name="DC.Date" content="April 15, 2014" /> + <meta name="DC.Language" content="English" /> + <meta name="DC.Publisher" content="Project Gutenberg" /> + <meta name="DC.Identifier" content= + "http://www.gutenberg.org/etext/45410" /> + <meta name="DC.Rights" content="This text is in the public domain." /> + + <title>The Project Gutenberg EBook of Composition by Arthur Dow</title> + <style type="text/css"> +/*<![CDATA[*/ + /* + The Gnutenberg Press - default CSS2 stylesheet + + Any generated element will have a class "tei" and a class "tei-elem" + where elem is the element name in TEI. + The order of statements is important !!! + */ + + .tei { margin: 0; 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} + + /*]]>*/ + </style> +</head> + +<body class="tei"> +<div>*** START OF THE PROJECT GUTENBERG EBOOK 45410 ***</div> + <div class="tei tei-front" style= + "margin-bottom: 6.00em; margin-top: 2.00em"> + <div class="tei tei-div" style= + "margin-bottom: 5.00em; margin-top: 5.00em"></div> + <hr class="doublepage" /> + + <div class="tei tei-titlePage" style="text-align: center"> + <span class="tei tei-docTitle" style= + "text-align: center"><span class="tei tei-titlePart" style= + "text-align: center"><span style= + "font-size: 144%">Composition</span></span><br /> + <br /> + <span class="tei tei-titlePart" style= + "text-align: center"><span style="font-size: 120%">A series of + exercises in art structure for the use of students and + teachers</span></span></span> + + <div class="tei tei-byline" style="text-align: center"> + <br /> + <br /> + <br /> + <br /> + <br /> + By <span class="tei tei-docAuthor" style= + "text-align: center">Arthur Wesley Dow</span><br /> + Professor of Fine Arts in Teachers College, Columbia University New + York City<br /> + Formerly Instructor in Art at the Pratt Institute<br /> + Author of Theory and Practice of Teaching Art and The Ipswich + Prints<br /> + <br /> + <br /> + </div><span class="tei tei-docEdition" style= + "text-align: center">NINTH EDITION—REVISED AND ENLARGED WITH NEW + ILLUSTRATIONS AND COLOR PLATES</span> + + <div class="tei tei-figure" style="text-align: center"> + <a href="images/synthsis.jpg"><img src="images/synthsis.jpg" alt= + "Synthesis" /></a> + </div><span class="tei tei-docImprint" style= + "text-align: center">Garden City, New York<br /> + DOUBLEDAY, PAGE & COMPANY<br /> + <br /></span> <span class="tei tei-docDate" style= + "text-align: center">1914</span> + </div> + <hr class="doublepage" /> + + <div class="tei tei-div" style= + "margin-bottom: 5.00em; margin-top: 5.00em"> + <a name="pdf1" id="pdf1"></a> + + <h1 class="tei tei-head" style= + "text-align: left; margin-bottom: 3.46em; margin-top: 3.46em"> + <span style="font-size: 173%">Contents</span></h1> + + <ul class="tei tei-index tei-index-toc"> + <li><a href="#toc2">BEGINNINGS</a></li> + + <li><a href="#toc4">THE THREE ELEMENTS</a></li> + + <li style="margin-left: 2em"><a href="#toc6">I. + LINE—NOTAN—COLOR</a></li> + + <li><a href="#toc8">LINE DRAWING</a></li> + + <li style="margin-left: 2em"><a href="#toc10">II.—JAPANESE + MATERIALS AND BRUSH PRACTICE</a></li> + + <li><a href="#toc12">PRINCIPLES OF COMPOSITION</a></li> + + <li style="margin-left: 2em"><a href="#toc14">III.—WAYS OF CREATING + HARMONY</a></li> + + <li><a href="#toc16">LINE</a></li> + + <li style="margin-left: 2em"><a href="#toc18">IV.—COMPOSITION IN + SQUARES AND CIRCLES</a></li> + + <li style="margin-left: 2em"><a href="#toc20">V.—COMPOSITION IN + RECTANGLES—VARIATION</a></li> + + <li style="margin-left: 2em"><a href="#toc22">VI.—LANDSCAPE + COMPOSITION</a></li> + + <li style="margin-left: 2em"><a href="#toc24">VII.—COMPOSITION IN + REPRESENTATION</a></li> + + <li><a href="#toc26">NOTAN</a></li> + + <li style="margin-left: 2em"><a href= + "#toc28">VIII.—HARMONY-BUILDING WITH DARK-AND-LIGHT</a></li> + + <li style="margin-left: 2em"><a href="#toc30">IX.—TWO + VALUES—VARIATIONS—DESIGN</a></li> + + <li style="margin-left: 2em"><a href="#toc32">X.—TWO + VALUES—LANDSCAPE AND PICTURES</a></li> + + <li style="margin-left: 2em"><a href="#toc34">XI.—TWO VALUES—GOTHIC + SCULPTURE JAPANESE DESIGN BOOKS. APPLICATIONS OF TWO + VALUES</a></li> + + <li style="margin-left: 2em"><a href="#toc36">XII.—THREE + VALUES</a></li> + + <li style="margin-left: 2em"><a href="#toc38">XIII.—MORE THAN THREE + VALUES</a></li> + + <li><a href="#toc40">COLOR</a></li> + + <li style="margin-left: 2em"><a href="#toc42">XIV.—COLOR + THEORY</a></li> + + <li style="margin-left: 2em"><a href="#toc44">XV.—COLOR DERIVED + FROM NOTAN</a></li> + + <li style="margin-left: 2em"><a href="#toc46">XVI.—COLOR SCHEMES + FROM JAPANESE PRINTS AND FROM TEXTILES</a></li> + + <li><a href="#toc48">COMPOSITION</a></li> + + <li style="margin-left: 2em"><a href="#toc50">XVII.—IN DESIGN AND + PAINTING</a></li> + + <li><a href="#toc52">CONCLUSION</a></li> + </ul> + </div> + <hr class="doublepage" /> + + <div class="tei tei-div" style= + "margin-bottom: 5.00em; margin-top: 5.00em"> + <h1 class="tei tei-head" style= + "text-align: left; margin-bottom: 3.46em; margin-top: 3.46em"> + <span style="font-size: 173%">ACKNOWLEDGMENTS</span></h1> + + <p class="tei tei-p" style="margin-bottom: 1.00em">Note.—The author + gratefully acknowledges the courtesy of those named below in + according him permission to use photographs of certain paintings and + objects of art as illustrations for this book.</p> + + <table summary="This is a list." class="tei tei-list" style= + "margin-bottom: 1.00em; margin-top: 1.00em"> + <tbody> + <tr class="tei tei-labelitem"> + <th class="tei tei-label"></th> + + <td class="tei tei-item">Museum of Fine Arts, Boston</td> + </tr> + + <tr class="tei tei-labelitem"> + <th class="tei tei-label"></th> + + <td class="tei tei-item">Metropolitan Museum, New York</td> + </tr> + + <tr class="tei tei-labelitem"> + <th class="tei tei-label"></th> + + <td class="tei tei-item">The National Gallery, London</td> + </tr> + + <tr class="tei tei-labelitem"> + <th class="tei tei-label"></th> + + <td class="tei tei-item">Musée de Cluny. Paris (J. Leroy, + photographer)</td> + </tr> + + <tr class="tei tei-labelitem"> + <th class="tei tei-label"></th> + + <td class="tei tei-item">Musée de Sculpture Comparée. + Paris</td> + </tr> + + <tr class="tei tei-labelitem"> + <th class="tei tei-label"></th> + + <td class="tei tei-item">Dr. William Sturgis Bigelow, Boston + (permission to photograph Japanese paintings)</td> + </tr> + + <tr class="tei tei-labelitem"> + <th class="tei tei-label"></th> + + <td class="tei tei-item">Mr. Frederick W. Gookin (use of + photographs from Kenzan and Kano Gyokuraku, made specially for + Mr. Gookin, Boston M. F. A.</td> + </tr> + + <tr class="tei tei-labelitem"> + <th class="tei tei-label"></th> + + <td class="tei tei-item">Giacomo Brogi, Florence</td> + </tr> + + <tr class="tei tei-labelitem"> + <th class="tei tei-label"></th> + + <td class="tei tei-item">Fratelli Alinari. Florence</td> + </tr> + + <tr class="tei tei-labelitem"> + <th class="tei tei-label"></th> + + <td class="tei tei-item">D. Anderson, Rome</td> + </tr> + + <tr class="tei tei-labelitem"> + <th class="tei tei-label"></th> + + <td class="tei tei-item">W. A. Mansell & Co., London</td> + </tr> + + <tr class="tei tei-labelitem"> + <th class="tei tei-label"></th> + + <td class="tei tei-item">F. Rothier, Reims, France, and</td> + </tr> + + <tr class="tei tei-labelitem"> + <th class="tei tei-label"></th> + + <td class="tei tei-item">Kaltenbacher, Amiens, France (the + Ruskin photographer)</td> + </tr> + </tbody> + </table> + + <p class="tei tei-p" style="margin-bottom: 1.00em">License to use + photographs was also obtained from the Autotype Fine Art Company, + Limited, London (the Michelangelo drawing, page 51), and from Baldwin + Coolidge, Boston.</p> + </div> + + <div class="tei tei-figure" style="text-align: center"> + <a href="images/p002.jpg"><img src="images/p002.jpg" alt= + "Landscape After Titlepage" /></a> + </div> + </div> + + <div class="tei tei-body" style= + "margin-bottom: 6.00em; margin-top: 6.00em"> + <hr class="doublepage" /> + + <div class="tei tei-div" style= + "margin-bottom: 5.00em; margin-top: 5.00em"> + <a name="toc2" id="toc2"></a> <a name="pdf3" id="pdf3"></a> + + <h1 class="tei tei-head" style= + "text-align: left; margin-bottom: 3.46em; margin-top: 3.46em"> + <span style="font-size: 173%">BEGINNINGS</span></h1> + + <p class="tei tei-p" style="margin-bottom: 1.00em">In writing this + book my main purpose is to set forth a way of thinking about art. The + most that such a book can do is to direct the thoughts, awaken a + sense of power and point to ways of controlling it.</p> + + <p class="tei tei-p" style="margin-bottom: 1.00em">The principles of + art teaching here outlined might be illustrated in other ways and + with better examples. I hope the reader will see how each chapter can + be developed into many sets of lessons. The progressions can be + varied, materials changed, lessons amplified and different designs + chosen, providing there is no sacrifice of essentials. The book is + based upon my experience in painting and teaching for more than + twenty years. The first edition of Composition was published in 1899. + In this revision I have made many additions and used new + illustrations without departing from theory or principles. + Composition was chosen as a title because that word expresses the + idea upon which the method here presented is founded—the <span class= + "tei tei-q">“putting together”</span> of lines, masses and colors to + make a harmony. Design, understood in its broad sense, is a better + word, but popular usage has restricted it to decoration.</p> + + <p class="tei tei-p" style="margin-bottom: 1.00em">Composition, + building up of harmony, is the fundamental process in all the fine + arts. I hold that art should be approached through composition rather + than through imitative drawing. The many different acts and processes + combined in a work of art may be attacked and mastered one by one, + and thereby a power gained to handle them unconsciously when they + must be used together. If a few elements can be united harmoniously, + a step has been taken toward further creation. Only through the + appreciations does the composer recognize a harmony. Hence the effort + to find art-structure resolves itself into a development of + appreciation. This faculty is a common human possession but may + remain inactive. A way must be found to lay hold upon it and cause it + to grow. A natural method is that of exercises in progressive order, + first building up very simple harmonies, then proceeding on to the + highest forms of composition. Such a method of study includes all + kinds of drawing, design and painting. It offers a means of training + for the creative artist, for the teacher or for one who studies art + for the sake of culture.</p> + + <p class="tei tei-p" style="margin-bottom: 1.00em">This approach to + art through Structure is absolutely opposed to the time-honored + approach through Imitation. For a great while we have been teaching + art through imitation—of nature and the <span class= + "tei tei-q">“historic styles”</span>—leaving structure to take care + of itself; gathering <span class="tei tei-pb" id="page4">[pg + 4]</span> knowledge of facts but acquiring little power to use them. + This is why so much modern painting is but picture-writing; only + story-telling, not art; and so much architecture and decoration only + dead copies of conventional motives. Good drawing results from + trained judgment, not from the making of fac-similes or maps. Train + the judgment, and ability to draw grows naturally. Schools that + follow the imitative or academic way regard drawing as a preparation + for design, whereas the very opposite is the logical order—design a + preparation for drawing.</p> + + <p class="tei tei-p" style="margin-bottom: 1.00em">Soon after the + time of Leonardo da Vinci art education was classified into + Representative (imitative), and Decorative, with separate schools for + each—a serious mistake which has resulted in loss of public + appreciation. Painting, which is essentially a rhythmic harmony of + colored spaces, became sculptural, an imitation of modelling. + Decoration became trivial, a lifeless copying of styles. The true + relation between design and representation was lost.</p> + + <p class="tei tei-p" style="margin-bottom: 1.00em">This error is + long-lived. An infinite amount of time is wasted in misdirected + effort because tradition has a strong hold, and because artists who + have never made a study of education keep to old ruts when they + teach.</p> + + <p class="tei tei-p" style="margin-bottom: 1.00em">This academic + system of art-study ignores fundamental structure, hence the young + pupil understands but few phases of art. Confronted with a Japanese + ink painting, a fresco by Giotto or a Gothic statue he is unable to + recognize their art value. Indeed he may prefer modern clever + nature-imitation to imaginative work of any period.</p> + + <p class="tei tei-p" style="margin-bottom: 1.00em">Study of + composition of Line, Mass and Color leads to appreciation of all + forms of art and of the beauty of nature. Drawing of natural objects + then becomes a language of expression. They are drawn because they + are beautiful or because they are to be used in some art work. + Facility in drawing will come more quickly in this way than by a dull + routine of imitation with no definite end in view.</p> + + <p class="tei tei-p" style="margin-bottom: 1.00em">The history of + this structural system of art teaching may be stated in a few words; + and here I am given the opportunity to express my indebtedness to one + whose voice is now silent. An experience of five years in the French + schools left me thoroughly dissatisfied with academic theory. In a + search for something more vital I began a comparative study of the + art of all nations and epochs. While pursuing an investigation of + Oriental painting and design at the Boston Museum of Fine Arts I met + the late Professor Ernest F. Fenollosa. He was then in charge of the + Japanese collections, a considerable portion of which had been + gathered by him in Japan. He was a philosopher and logician gifted + with a brilliant mind of great analytical power. This, with rare + appreciation, gave him an insight into the nature of fine art such as + few ever attain.</p><span class="tei tei-pb" id="page5">[pg 5]</span> + + <p class="tei tei-p" style="margin-bottom: 1.00em">As imperial art + commissioner for the Japanese government he had exceptional + opportunities for a critical knowledge of both Eastern and Western + art. He at once gave me his cordial support in my quest, for he also + felt the inadequacy of modern art teaching. He vigorously advocated a + radically different idea, based as in music, upon synthetic + principles. He believed music to be, in a sense, the key to the other + fine arts, since its essence is pure beauty; that space art may be + called <span class="tei tei-q">“visual music”</span>, and may be + studied and criticised from this point of view. Convinced that this + new conception was a more reasonable approach to art, I gave much + time to preparing with Professor Fenollosa a progressive series of + synthetic exercises. My first experiment in applying these in + teaching was made in 1889 in my Boston classes, with Professor + Fenollosa as lecturer on the philosophy and history of art. The + results of the work thus begun attracted the attention of some + educators, notably Mr. Frederic B. Pratt, of that great institution + where a father's vision has been given form by the sons. Through his + personal interest and confidence in these structural principles, a + larger opportunity was offered in the art department of Pratt + Institute, Brooklyn. Here during various periods, I had charge of + classes in life drawing, painting, design and normal art; also of a + course for Kindergarten teachers. Professor Fenollosa continued his + lectures during the first year.</p> + + <p class="tei tei-p" style="margin-bottom: 1.00em">The growth of the + work and its influence upon art teaching are now well known.</p> + + <p class="tei tei-p" style="margin-bottom: 1.00em">In 1900 I + established the Summer School at Ipswich, Massachusetts, for the + purpose of obtaining a better knowledge of the relation of art to + handicraft and manual training. Composition of line, mass and color + was applied to design, landscape and very simple hand work in metal, + wood-block printing and textiles. Parts of 1903 and '04 were spent in + Japan, India and Egypt observing the native crafts and gathering + illustrative material.</p> + + <p class="tei tei-p" style="margin-bottom: 1.00em">In 1904 I became + director of fine arts in Teachers College, Columbia University, New + York. The art courses are now arranged in progressive series of + synthetic exercises in line, dark-and-light and color. Composition is + made the basis of all work in drawing, painting, designing and + modelling—of house decoration and industrial arts—of normal courses + and of art training for children, After twenty years' experience in + teaching I find that the principles hold good under varying + conditions, and produce results justifying full confidence. They + bring to the student, whether designer, craftsman, sculptor or + painter an increase of creative power; to the teacher, all this and + an educational theory capable of the widest application. To all whose + loyal support has given impetus and advancement to this work—to the + pupils and friends who have so generously furnished examples for + illustration—I offer most grateful acknowledgments.</p> + + <div class="tei tei-signed" style="text-align: right"> + ARTHUR WESLEY DOW + </div> + + <div class="tei tei-dateline"> + New York, 1912 + </div> + </div><span class="tei tei-pb" id="page6">[pg 6]</span> <span class= + "tei tei-pb" id="page7">[pg 7]</span> + <hr class="doublepage" /> + + <div class="tei tei-div" style= + "margin-bottom: 5.00em; margin-top: 5.00em"> + <a name="toc4" id="toc4"></a> <a name="pdf5" id="pdf5"></a> + + <h1 class="tei tei-head" style= + "text-align: left; margin-bottom: 3.46em; margin-top: 3.46em"> + <span style="font-size: 173%">THE THREE ELEMENTS</span></h1> + + <div class="tei tei-div" style= + "margin-bottom: 4.00em; margin-top: 4.00em"> + <a name="toc6" id="toc6"></a> <a name="pdf7" id="pdf7"></a> + + <h2 class="tei tei-head" style= + "text-align: left; margin-bottom: 2.88em; margin-top: 2.88em"> + <span style="font-size: 144%">I. LINE—NOTAN—COLOR</span></h2> + + <p class="tei tei-p" style="margin-bottom: 1.00em">Architecture, + Sculpture, Painting, Music and Poetry are the principal fine arts. + Of these the first three are called Space arts, and take the + various forms of arranging, building, constructing, designing, + modelling and picture-painting. In the space arts there are three + structural elements with which harmonies may be built up:</p> + + <table summary="This is a list." class="tei tei-list" style= + "margin-bottom: 1.00em; margin-top: 1.00em"> + <tbody> + <tr class="tei tei-labelitem"> + <th class="tei tei-label">1.</th> + + <td class="tei tei-item">LINE. The chief element of beauty in + architecture, sculpture, metal work, etching, line design and + line drawings. Nos. 1, 2, 3, 6, 23, 38.</td> + </tr> + + <tr class="tei tei-labelitem"> + <th class="tei tei-label">2.</th> + + <td class="tei tei-item">NOTAN. The chief element in + illustration, charcoal drawing, mezzotint, Oriental ink + painting and architectural light and shade. Nos. 5, 59, 60, + 61.</td> + </tr> + + <tr class="tei tei-labelitem"> + <th class="tei tei-label">3.</th> + + <td class="tei tei-item">COLOR. The chief element in + painting, Japanese prints, textile design, stained glass, + embroidery, enamelling and pottery decoration. Nos. 8, 9, and + Chap. XIV.</td> + </tr> + </tbody> + </table> + + <div class="tei tei-figure" style="text-align: center"> + <a href="images/no_01.jpg"><img src="images/no_01.jpg" alt= + "No. 1. LINE. Iron, XV Century" /></a> + </div> + + <div class="tei tei-figure" style="text-align: center"> + <a href="images/no_02.jpg"><img src="images/no_02.jpg" alt= + "No. 2. LINE—Flying Buttresses, Chartres Cathedral" /></a> + </div> + + <p class="tei tei-p" style="margin-bottom: 1.00em">The term LINE + refers to boundaries of shapes and the interrelations of lines and + spaces. Line-beauty means harmony of combined lines or the peculiar + quality imparted by special treatment. The term NOTAN, a Japanese + word meaning <span class="tei tei-q">“dark, light”</span>, refers + to the quantity of light reflected, or the massing of tones of + different values. Notan-beauty means the harmony resulting from the + combination of dark and light spaces—whether colored or not—whether + in buildings, in pictures, or in nature.</p><span class= + "tei tei-pb" id="page8">[pg 8]</span> + + <div class="tei tei-figure" style="text-align: center"> + <a href="images/no_03.jpg"><img src="images/no_03.jpg" alt= + "No. 3 LINE. Harmony of rhythmic curves. From book of prints by Okumura Masanobu, Japanese, 18th century." /></a> + + <div class="tei tei-head" style= + "text-align: center; margin-bottom: 1.00em; margin-top: 1.00em"> + No. 3 LINE. Harmony of rhythmic curves. From book of prints by + Okumura Masanobu, Japanese, 18th century. + </div> + </div> + + <p class="tei tei-p" style="margin-bottom: 1.00em">Careful + distinction should be made between NOTAN, an element of universal + beauty, and LIGHT AND SHADOW, a single fact of external nature. The + term COLOR refers to quality of light.</p> + + <p class="tei tei-p" style="margin-bottom: 1.00em">These three + structural elements are intimately related. Good color is dependent + upon good notan, and that in turn is dependent upon good spacing. + It seems reasonable then that a study of art should begin with + line. One should learn to think in terms of line, and be somewhat + familiar with simple spacing before attempting notan or color. + There is danger, however, of losing interest by dwelling upon one + subject too long. Dark-and-light massing will reveal the mistakes + in spacing and stimulate to renewed effort. Color will reveal the + weakness of <span class="tei tei-pb" id="page9">[pg 9]</span> + dark-and-light. Very young pupils should begin with color but the + instructor will take pains to include spacing and notan in each + lesson. In general, however, the best plan is to take up exercises + in each element in turn; then go back to them separately and make + more detailed studies; then combine them, proceeding toward + advanced compositions. Whatever be the choice of progression, there + must be a thorough grounding in the elementary relations of space + cutting and simple massings of dark-and-light. This is essential to + successful work in designing, drawing, modelling, painting, + architecture and the crafts.</p> + + <div class="tei tei-figure" style="text-align: center"> + <a href="images/no_04.jpg"><img src="images/no_04.jpg" alt= + "No. 4. LINE. Priest, from Rheims Cathedral." /></a> + </div> + + <div class="tei tei-figure" style="text-align: center"> + <a href="images/no_05.jpg"><img src="images/no_05.jpg" alt= + "No. 5. Venetian Lace 2 values. Three values. Peruvian, Four values." /></a> + </div><span class="tei tei-pb" id="page10">[pg 10]</span> + <span class="tei tei-pb" id="page11">[pg 11]</span> + + <div class="tei tei-figure" style="text-align: center"> + <a href="images/no_06.jpg"><img src="images/no_06.jpg" alt= + "No. 6. Examples of Line Harmony. Greek Sculpture, Aphrodite. Gothic Sculpture, Mary." /></a> + + <div class="tei tei-head" style= + "text-align: center; margin-bottom: 1.00em; margin-top: 1.00em"> + No. 6. Examples of Line Harmony. Greek Sculpture, Aphrodite. + Gothic Sculpture, Mary. + </div> + </div><span class="tei tei-pb" id="page12">[pg 12]</span> + + <div class="tei tei-figure" style="text-align: center"> + <a href="images/no_07.jpg"><img src="images/no_07.jpg" alt= + "No. 7. Examples of Line and Notan Harmony. Michelangelo. Botticelli. Gothic Finial. Rhodian Ware." /></a> + </div><span class="tei tei-pb" id="page13">[pg 13]</span> + + <div class="tei tei-figure" style="text-align: center"> + <a href="images/no_08.jpg"><img src="images/no_08.jpg" alt= + "No. 8. Examples of Color Harmony. HIROSHIGE. “Taki no gawa at Oji”" /></a> + + <div class="tei tei-head" style= + "text-align: center; margin-bottom: 1.00em; margin-top: 1.00em"> + No. 8. Examples of Color Harmony. HIROSHIGE. <span class= + "tei tei-q" style="text-align: center">“Taki no gawa at + Oji”</span> + </div> + </div> + + <div class="tei tei-figure" style="text-align: center"> + <a href="images/no_09.jpg"><img src="images/no_09.jpg" alt= + "No. 9. Examples of Color Harmony. Persian Woolen, ancient" /></a> + + <div class="tei tei-head" style= + "text-align: center; margin-bottom: 1.00em; margin-top: 1.00em"> + No. 9. Examples of Color Harmony. Persian Woolen, ancient + </div> + </div> + </div> + </div><span class="tei tei-pb" id="page14">[pg 14]</span> <span class= + "tei tei-pb" id="page15">[pg 15]</span> + <hr class="doublepage" /> + + <div class="tei tei-div" style= + "margin-bottom: 5.00em; margin-top: 5.00em"> + <a name="toc8" id="toc8"></a> <a name="pdf9" id="pdf9"></a> + + <h1 class="tei tei-head" style= + "text-align: left; margin-bottom: 3.46em; margin-top: 3.46em"> + <span style="font-size: 173%">LINE DRAWING</span></h1> + + <div class="tei tei-div" style= + "margin-bottom: 4.00em; margin-top: 4.00em"> + <a name="toc10" id="toc10"></a> <a name="pdf11" id="pdf11"></a> + + <h2 class="tei tei-head" style= + "text-align: left; margin-bottom: 2.88em; margin-top: 2.88em"> + <span style="font-size: 144%">II.—JAPANESE MATERIALS AND BRUSH + PRACTICE</span></h2> + + <p class="tei tei-p" style="margin-bottom: 1.00em">Japanese + brushes, ink and paper are to be preferred for exercises in line + drawing, tracing, notan massing and washes in grays. Long brushes + are best for long continuous lines, short brushes for sharp corners + and broken lines. For lettering, clip the point of a long + line-brush, (see p. 55)</p> + + <div class="tei tei-figure" style="text-align: center"> + <a href="images/jbrushes.jpg"><img src="images/jbrushes.jpg" alt= + "Japanese Brushes" /></a> + </div> + + <p class="tei tei-p" style="margin-bottom: 1.00em">Japanese paper + for artists' use is made of the bark of the mulberry tree, and is + prepared with a sizing of glue and alum. Unprinted wall paper + (lining paper) is serviceable for practice work. <span class= + "tei tei-q">“Bogus”</span> paper and cover papers can also be used + for line or mass.</p> + + <p class="tei tei-p" style="margin-bottom: 1.00em">Japanese ink + must be ground upon the ink-stone, a slab of slate. Intense + blackness can be secured immediately by using only a few drops of + water. Dry the ink stick, and wrap in paper; never leave it + soaking. Ink of good quality, and a clean stone are essential. + Tools perfected by ages of practice in line drawing and brush work, + afford the best training for hand and eye. Painting with the + Japanese brush leads directly to oil painting. If Japanese + materials are not to be obtained or are not desired, the exercises + can be carried on with pencil, charcoal, water colors, crayons, and + even oil paint.</p> + + <div class="tei tei-figure" style="text-align: center"> + <a href="images/inkstone.jpg"><img src="images/inkstone.jpg" alt= + "Japanese ink and ink-stone." /></a> + </div><span class="tei tei-pb" id="page16">[pg 16]</span> + + <p class="tei tei-p" style="margin-bottom: 1.00em">For line drawing + the brush is held in a perpendicular position, that it may move + freely in all directions, much like the etcher's needle. The brush + should be well charged with ink, then pressed firmly down upon the + paper till it spreads to the width desired for the line. Draw with + the whole hand and arm in one sweep, not with the fingers. Steady + the hand if necessary by resting the wrist or end of the little + finger on the paper. Draw very slowly. Expressive line is not made + by mere momentum, but by force of will controlling the hand. By + drawing slowly the line can be watched and guided as it grows under + the brush point. Slight waverings are not objectionable; in fact + they often give character to the line.</p> + + <div class="tei tei-figure" style="text-align: center"> + <a href="images/holdbrsh.jpg"><img src="images/holdbrsh.jpg" alt= + "Manner of Holding the Brush." /></a> + </div> + + <div class="tei tei-div" style= + "margin-bottom: 3.00em; margin-top: 3.00em"> + <h3 class="tei tei-head" style= + "text-align: left; margin-bottom: 2.40em; margin-top: 2.40em"> + <span style="font-size: 120%">EXERCISE</span></h3> + + <p class="tei tei-p" style="margin-bottom: 1.00em">Begin with + straight lines, remembering that straightness of direction is the + essential thing, not mere geometric straightness. After some + practice with straight lines, try curves; then irregular lines. + Copy brush drawings from Japanese books, for a study of control + of the hand and quality of touch, No. 11, p. 19. This practice + work can be done upon ordinary paper. The aim of such an exercise + is to put the hand under control of the will, but too much time + should not be given to mere practice, apart from design. Quality + and power of line are illustrated in the drawings of masters, No. + 10 and p. 18. These may be copied later on, for a study of + advanced drawing.</p> + + <div class="tei tei-figure" style="text-align: center"> + <a href="images/pracline.jpg"><img src="images/pracline.jpg" + alt="Practice-lines drawn with Japanese Brush." /></a> + + <div class="tei tei-head" style= + "text-align: center; margin-bottom: 1.00em; margin-top: 1.00em"> + Practice-lines drawn with Japanese Brush. + </div> + </div> + </div> + </div> + </div><span class="tei tei-pb" id="page17">[pg 17]</span> + + <div class="tei tei-figure" style="text-align: center"> + <a href="images/no_10.jpg"><img src="images/no_10.jpg" alt= + "LINE DRAWING II. LINES BY MASTERS. SOGA SHUBUN. RHODIAN PLATES. KENZAN. REMBRANDT." /></a> + </div><span class="tei tei-pb" id="page18">[pg 18]</span> + + <div class="tei tei-figure" style="text-align: center"> + <a href="images/no_10a.jpg"><img src="images/no_10a.jpg" alt= + "LINE DRAWING II. LINES BY MASTERS. Leonardo da Vinci. Michelangelo. Kano Tanyu. Kano Naonobu." /></a> + </div><span class="tei tei-pb" id="page19">[pg 19]</span> + + <div class="tei tei-figure" style="text-align: center"> + <a href="images/no_11.jpg"><img src="images/no_11.jpg" alt= + "LINE DRAWING II. Brush drawings from Japanese Books." /></a> + </div> + + <div class="tei tei-figure" style="text-align: center"> + <a href="images/brshdraw.jpg"><img src="images/brshdraw.jpg" alt= + "Brush Drawing" /></a> + </div><span class="tei tei-pb" id="page20">[pg 20]</span> <span class= + "tei tei-pb" id="page21">[pg 21]</span> + <hr class="doublepage" /> + + <div class="tei tei-div" style= + "margin-bottom: 5.00em; margin-top: 5.00em"> + <a name="toc12" id="toc12"></a> <a name="pdf13" id="pdf13"></a> + + <h1 class="tei tei-head" style= + "text-align: left; margin-bottom: 3.46em; margin-top: 3.46em"> + <span style="font-size: 173%">PRINCIPLES OF COMPOSITION</span></h1> + + <div class="tei tei-div" style= + "margin-bottom: 4.00em; margin-top: 4.00em"> + <a name="toc14" id="toc14"></a> <a name="pdf15" id="pdf15"></a> + + <h2 class="tei tei-head" style= + "text-align: left; margin-bottom: 2.88em; margin-top: 2.88em"> + <span style="font-size: 144%">III.—WAYS OF CREATING + HARMONY</span></h2> + + <p class="tei tei-p" style="margin-bottom: 1.00em">Fine art, by its + very name, implies fine relations. Art study is the attempt to + perceive and to create fine relations of line, mass and color. This + is done by original effort stimulated by the influence of good + examples. As fine relations (that is, harmony, beauty) can be + understood only through the appreciations, the whole fabric of art + education should be based upon a training in appreciation. This + power cannot be imparted like information. Artistic skill cannot + be given by dictation or acquired by reading. It does not come by + merely learning to draw, by imitating nature, or by any process of + storing the mind with facts.</p> + + <p class="tei tei-p" style="margin-bottom: 1.00em">The power is + within—the question is how to reach it and use it.</p> + + <p class="tei tei-p" style="margin-bottom: 1.00em">Increase of + power always comes with exercise. If one uses a little of his + appreciative faculty in simple ways, proceeding on gradually to the + more difficult problems, he is in the line of natural growth. To + put together a few straight lines, creating a harmony of movement + and spacing, calls for exercise of good judgment and appreciation. + Even in this seemingly limited field great things are possible; the + proportions of the Parthenon and Giotto's Tower can be reduced to a + few straight lines finely related and spaced.</p> + + <p class="tei tei-p" style="margin-bottom: 1.00em">Effective + progress in composition depends upon working with an organized and + definite series of exercises, building one experience upon another, + calling for cultivated judgment to discern and decide upon finer + and finer relations. Little can be expressed until lines are + arranged in a Space. Spacing is the very groundwork of Design. Ways + of arranging and spacing I shall call</p> + + <div class="tei tei-div" style= + "margin-bottom: 3.00em; margin-top: 3.00em"> + <h3 class="tei tei-head" style= + "text-align: left; margin-bottom: 2.40em; margin-top: 2.40em"> + <span style="font-size: 120%">PRINCIPLES OF + COMPOSITION</span></h3> + + <p class="tei tei-p" style="margin-bottom: 1.00em">In my + experience these five have been sufficient:</p> + + <table summary="This is a list." class="tei tei-list" style= + "margin-bottom: 1.00em; margin-top: 1.00em"> + <tbody> + <tr class="tei tei-labelitem"> + <th class="tei tei-label">1.</th> + + <td class="tei tei-item">OPPOSITION</td> + </tr> + + <tr class="tei tei-labelitem"> + <th class="tei tei-label">2.</th> + + <td class="tei tei-item">TRANSITION</td> + </tr> + + <tr class="tei tei-labelitem"> + <th class="tei tei-label">3.</th> + + <td class="tei tei-item">SUBORDINATION</td> + </tr> + + <tr class="tei tei-labelitem"> + <th class="tei tei-label">4.</th> + + <td class="tei tei-item">REPETITION</td> + </tr> + + <tr class="tei tei-labelitem"> + <th class="tei tei-label">5.</th> + + <td class="tei tei-item">SYMMETRY</td> + </tr> + </tbody> + </table> + + <p class="tei tei-p" style="margin-bottom: 1.00em">These names + are given to five ways of creating harmony, all being dependent + upon a great general principle, PROPORTION or GOOD SPACING.</p> + + <p class="tei tei-p" style="margin-bottom: 1.00em">1. OPPOSITION. + Two lines meeting form a simple and severe harmony. <span class= + "tei tei-pb" id="page22">[pg 22]</span> Examples will be found in + Greek door-ways, Egyptian temples and early Renaissance + architecture; in plaid design; also in landscape where vertical + lines cut the horizon (see pp. 21, 45, 46.) This principle is + used in the straight line work in squares and rectangles, pp. 32, + 33, 39, and in combination with other principles, pp. 25, 29.</p> + + <div class="tei tei-figure" style="text-align: center"> + <a href="images/no_12.jpg"><img src="images/no_12.jpg" alt= + "No 12. Opposition" /></a> + </div> + + <div class="tei tei-figure" style="text-align: center"> + <a href="images/no_13.jpg"><img src="images/no_13.jpg" alt= + "No 13. Opposition" /></a> + </div> + + <p class="tei tei-p" style="margin-bottom: 1.00em">2. TRANSITION. + The arrangement thus designated involves a step beyond + Opposition. Two straight lines meeting in opposing directions + give an impression of abruptness, severity, or even violence; the + difference of movement being emphasized. If a third line is + added, as in the sketches below, the opposition is softened and + an effect of unity and completeness produced.</p> + + <p class="tei tei-p" style="margin-bottom: 1.00em">This + combination typifies beauty itself which has been defined as + consisting of elements of difference harmonized by elements of + unity.</p> + + <p class="tei tei-p" style="margin-bottom: 1.00em">A very common + example of Transition is the bracket, No. 15. The straight line + is modified into curves and may be elaborated with great + complexity of modelling.</p> + + <div class="tei tei-figure" style="text-align: center"> + <a href="images/no_14.jpg"><img src="images/no_14.jpg" alt= + "No 14. Transition" /></a> + </div> + + <div class="tei tei-figure" style="text-align: center"> + <a href="images/no_15.jpg"><img src="images/no_15.jpg" alt= + "No 15. Transition" /></a> + </div> + + <p class="tei tei-p" style="margin-bottom: 1.00em">Instead of a + drawn line of transition there may be only a suggestion of one, + but the effect is the same; a softening of the corner angle, No. + 14 and pp. 58,60. In pictorial art the vignette, in architecture + the capital, are examples of the transition principle. In design + an effect of Transition may be produced by radiation. + (Illustrations below.) Accidental transitions occur in nature in + the branching of old trees, where the rhythmic lines are thus + unified.</p><span class="tei tei-pb" id="page23">[pg 23]</span> + + <p class="tei tei-p" style="margin-bottom: 1.00em">For + convenience the suggestions for class work are grouped together + in the following</p> + </div> + + <div class="tei tei-div" style= + "margin-bottom: 3.00em; margin-top: 3.00em"> + <h3 class="tei tei-head" style= + "text-align: left; margin-bottom: 2.40em; margin-top: 2.40em"> + <span style="font-size: 120%">EXERCISE</span></h3> + + <p class="tei tei-p" style="margin-bottom: 1.00em">Opposition. + Copy the sketches and illustrations, enlarged. Design + straight-line arrangements of mouldings, plaids and rectangular + panellings, Nos. 13, 18, 24. Find examples in nature, and draw in + line, with brush, pen or pencil without a border.</p> + + <p class="tei tei-p" style="margin-bottom: 1.00em">Transition. + Copy the sketches, as before. Draw a bracket in straight line, + modifying into curved. Design corner ornaments for panels and + book covers; metal work for cabinet. No. 18. Find examples in + nature and draw in line. No. 18.</p> + + <p class="tei tei-p" style="margin-bottom: 1.00em">It is + important in all such work to make a number of sketches from + which the best may be chosen.</p> + + <p class="tei tei-p" style="margin-bottom: 1.00em">3. + SUBORDINATION. Neither of the foregoing principles is often found + alone as the basis of a single work. Transition in particular, + usually serves to harmonize the parts of a composition. The + principle Subordination is a great constructive idea not only in + the space arts but in all the fine arts:</p> + + <p class="tei tei-p" style="margin-bottom: 1.00em">To form a + complete group the parts are attached or related to a single + dominating element which determines the character of the whole. A + tree trunk with its branches is a good type of this kind of + harmony; unity secured through the relation of principal and + subordinate, even down to the veinings of leaves—a multitude of + parts organized into a simple whole. This way of creating beauty + is conspicuous in the perfect spacing and line-rhythm of + Salisbury cathedral, St. Maclou of Rouen and the Taj Mahal; in + Piero della Francesca's <span class= + "tei tei-q">“Resurrection”</span> and Millet's <span class= + "tei tei-q">“Goose-girl”</span>; in some Byzantine design and + Persian rugs (see pp. 58, 65, 98.)</p> + + <div class="tei tei-figure" style="text-align: center"> + <a href="images/no_16.jpg"><img src="images/no_16.jpg" alt= + "No 16. Subordination by Size" /></a> + </div> + + <p class="tei tei-p" style="margin-bottom: 1.00em">It governs the + distribution of masses in Dark-and-Light composition, and of hues + in Color schemes. It appears in poetry (the Odyssey for example) + in the subordination of all parts to the main idea of the + subject. It is used constructively in musical composition. + Whenever unity is to be evolved from complexity, confusion + reduced to order, power felt—through concentration, organization, + leadership—then will be applied the creative principle called + here Subordination.</p> + + <p class="tei tei-p" style="margin-bottom: 1.00em">In Line + Composition the arrangement by principal and subordinate may be + made in three ways, No. 16:</p> + + <table summary="This is a list." class="tei tei-list" style= + "margin-bottom: 1.00em; margin-top: 1.00em"> + <tbody> + <tr class="tei tei-labelitem"> + <th class="tei tei-label">1.</th> + + <td class="tei tei-item">By grouping about an axis, as leaf + relates to stem, branches to trunk.</td> + </tr> + + <tr class="tei tei-labelitem"> + <th class="tei tei-label">2.</th> + + <td class="tei tei-item">By radiation, as in flowers, the + rosette, vault ribs, the anthemion.</td> + </tr> + + <tr class="tei tei-labelitem"> + <th class="tei tei-label">3.</th> + + <td class="tei tei-item">By size, as in a group of mountain + peaks, a cathedral with its spire and pinnacles, tree + clusters, or Oriental rug with centre and border; p. + 65.</td> + </tr> + </tbody> + </table><span class="tei tei-pb" id="page24">[pg 24]</span> + + <p class="tei tei-p" style="margin-bottom: 1.00em">Art-interest + in any of these lies in the fineness of relation. A throwing + together of large and small; mere geometric radiation; or + conventional branching can never be other than commonplace. A + work of fine art constructed upon the principle of Subordination + has all its parts related by delicate adjustments and balance of + proportions, tone and color. A change in one member changes the + whole. No. 22.</p> + + <p class="tei tei-p" style="margin-bottom: 1.00em">To discover + the meaning and the possibility of expression in this form of + corn-position the student may work out a series of problems as + suggested in this</p> + </div> + + <div class="tei tei-div" style= + "margin-bottom: 3.00em; margin-top: 3.00em"> + <h3 class="tei tei-head" style= + "text-align: left; margin-bottom: 2.40em; margin-top: 2.40em"> + <span style="font-size: 120%">EXERCISE</span></h3> + + <p class="tei tei-p" style="margin-bottom: 1.00em">The instructor + draws flower or fruit with stem and leaves. The pupil arranges + this motif in various rectangular spaces (page 25), combining the + 1st and 3rd forms of subordination, and using his critical + judgment in a way that is of great value to the beginner in + composition. The pupil now draws the same or similar subjects + from nature, acquainting himself with their form and character; + then composes them in decorative or pictorial panels—an art-use + of representative drawing as well as exercise in appreciation. + Copy the examples of the 2nd kind of Subordination, and design + original rosettes, anthemions, palmettes, thinking chiefly of the + spacing and rhythm. Find examples in nature; chimneys and roofs, + boats with masts and sails, or tree groups. Draw and arrange in + spaces. Nos. 16, 18, 26, 28, 37, 61.</p> + + <p class="tei tei-p" style="margin-bottom: 1.00em">After choosing + the best out of many trial sketches, draw in line with the + Japanese brush. Then, for further improvement in arrangement, and + refinement of line-quality, trace with brush and ink upon thin + Japanese paper.</p> + + <p class="tei tei-p" style="margin-bottom: 1.00em">4. REPETITION. + This name is give to the opposite of Subordination—the production + of beauty by repeating the same lines in rhythmical order. The + intervals may be equal, as in pattern, or unequal, as in + landscape, see below and No. 20.</p> + + <div class="tei tei-figure" style="text-align: center"> + <a href="images/no_17.jpg"><img src="images/no_17.jpg" alt= + "No 17. Repetition" /></a> + </div> + + <div class="tei tei-figure" style="text-align: center"> + <a href="images/no_18.jpg"><img src="images/no_18.jpg" alt= + "No 18. Opposition, Transition, Opposition and Symmetry, Subordination" /></a> + </div><span class="tei tei-pb" id="page25">[pg 25]</span> + <span class="tei tei-pb" id="page26">[pg 26]</span> + + <p class="tei tei-p" style="margin-bottom: 1.00em">Of all ways of + creating harmony this is the most common, being probably the + oldest form of design. It seems almost instinctive, perhaps + derived from the rhythms of breathing and walking, or the + movement of ripples and rolling waves. Marching is but orderly + walking, and the dance, in its primitive form, is a development + of marching. Children make rows and patterns of sticks or bits of + colored paper, thinking of them as in animated motion. In early + forms of art the figures march or dance around the vases, pots + and baskets.</p> + + <div class="tei tei-figure" style="text-align: center"> + <a href="images/no_19.jpg"><img src="images/no_19.jpg" alt= + "No. 19 Peruvian Tapestry" /></a> + </div> + + <p class="tei tei-p" style="margin-bottom: 1.00em">This principle + of Repetition is the basis of all music and poetry. The sacred + dance of the savage is associated with the drum and other + primitive instruments for marking rhythm; with the chant and + mystic song. From such rude beginnings, from the tomtoms, + trumpets and Pan-pipes of old, music has developed to the + masterpieces of modern times through the building of harmony upon + harmony,—composition.</p> + + <p class="tei tei-p" style="margin-bottom: 1.00em">From the crude + rhythm of the savage, like the Australian song <span class= + "tei tei-q">“Eat; eat; eat,”</span> from the battle cries and + folk poems of barbaric peoples, there has been refinement upon + refinement of word-music ever moving towards the supreme. This + gave the world the verse of Sappho which Swinburne thought the + most beautiful sounds ever produced in language. From the rude + patterns marked with sticks on Indian bowls and pots, or painted + in earth colors on wigwam and belt, or woven on blanket, this + form of space art has grown, through the complexities of Egyptian + and Peruvian textile design to the splendor of Byzantine mosaic, + the jewel patterns of the Moguls, and Gothic sculpture; from + rock-cut pillars of cave temples to the colonnade of the + Parthenon. (For examples of primitive design see the works of + William H. Holmes.)</p> + + <p class="tei tei-p" style="margin-bottom: 1.00em">Repetition, be + it remembered, is only a way of putting lines and spaces + together, and does not in itself produce beauty. A mere row of + things has no art-value. Railroads, fences, blocks of buildings, + and all bad patterns, are, like doggerel rhyme, examples of + repetition without art.</p> + + <p class="tei tei-p" style="margin-bottom: 1.00em">Repetition in + fine spacing, with the intention of creating a harmony, becomes a + builder of art fabric.</p> + </div> + + <div class="tei tei-div" style= + "margin-bottom: 3.00em; margin-top: 3.00em"> + <h3 class="tei tei-head" style= + "text-align: left; margin-bottom: 2.40em; margin-top: 2.40em"> + <span style="font-size: 120%">EXERCISE</span></h3> + + <p class="tei tei-p" style="margin-bottom: 1.00em">1. Borders. + Divide a long space by vertical or oblique lines at regular + intervals. By connecting the ends of these with straight lines, + develope many series of meanders, frets and zigzags. Waves and + scrolls are evolved from these by changing straight to curved + line, No. 20a, and p. 56. 26</p><span class="tei tei-pb" id= + "page27">[pg 27]</span> + + <p class="tei tei-p" style="margin-bottom: 1.00em">2. Surface + pattern. Subdivide a space (freehand) into squares, diamonds or + triangles, determining the size of the unit desired. This will + give a general plan for the distribution of figures. In one of + these spaces compose a simple group in straight lines, line and + dot, or straight and curved, if only geometric pattern be + desired; or a floral form for a sprig pattern. In the composition + of this unit the principle of Subordination will be + remembered.</p> + + <p class="tei tei-p" style="margin-bottom: 1.00em">As soon as the + unit is repeated a new set of relations will be created, + dependent upon the spacing. A secondary pattern forms itself out + of the background spaces. Hence the designer must decide whether + the unit is to fill the skeleton square completely, have a wide + margin, or overrun the square. Repeating the figure in these + various ways will determine the best size. The main effort should + be given to producing a fine relation between one unit and its + neighbors and between pattern and background. All the best work + in Repetition has this refined harmony of spacing. No. 20b below + and pp. 13, 65, 66, 85. Copy the illustrations of Repetition in + this book, and make original variations of them. Copy, in line, + the units of early Italian textiles, Oriental rugs or any of the + best examples to be found in museums or in illustrated art-books. + See <span class="tei tei-q">“Egg and Dart”</span> from the + Parthenon, p. 30, also pp. 67, 121. For anatomy and planning of + pattern, see the works of Lewis F. Day.</p> + + <div class="tei tei-figure" style="text-align: center"> + <a href="images/no_20.jpg"><img src="images/no_20.jpg" alt= + "No 20. Surface Pattern" /></a> + </div><span class="tei tei-pb" id="page28">[pg 28]</span> + + <p class="tei tei-p" style="margin-bottom: 1.00em">SYMMETRY. The + most common and obvious way of satisfying the desire for order is + to place two equal lines or shapes in exact balance, as in a + gable, windows each side of a door, or objects on a shelf. The + term Symmetry applies to three-and four-part groups, or others + where even balance is made, but here it refers mainly to a + two-part arrangement.</p> + + <p class="tei tei-p" style="margin-bottom: 1.00em">Sometimes + construction produces Symmetry, as in the human body; ships; + Greek and Rennaissance architecture; furniture; pottery; books. + Partly from this cause and partly through imitation, Symmetry, + like Repetition, has come to be used in cheap and mean design + where no regard is paid to beauty of form. Japanese art, when + influenced by Zen philosophy, as Okakura Kakuzo tells us in + <span class="tei tei-q">“The Book of Tea”</span>, avoids symmetry + as uninteresting. In Gothic art, the product of richly inventive + and imaginative minds, symmetry was never used in a commonplace + way.</p> + + <p class="tei tei-p" style="margin-bottom: 1.00em">This Principle + of Composition—when united to fine spacing,—produces, in + architecture an effect of repose and completeness; in design a + type of severely beautiful form, as seen in a Greek vase or the + treasures of the Sho-so-in at Nara where so much of the older + Japanese art has been preserved.</p> + + <div class="tei tei-figure" style="text-align: center"> + <a href="images/no_21.jpg"><img src="images/no_21.jpg" alt= + "No 21. Symmetry. Gemini, Amiens Cathedral." /></a> + </div> + + <p class="tei tei-p" style="margin-bottom: 1.00em">A few examples + of Symmetry are given here; the student will readily find others. + Exercises can be easily devised, following the steps suggested + under other principles. See opposite, and Nos. 42, 43.</p> + + <p class="tei tei-p" style="margin-bottom: 1.00em">PROPORTION or + GOOD SPACING. Principles of Composition, I must repeat, are only + ways of arranging lines and shapes; art is not produced by them + unless they are used in combination with this general + principle,—Good Spacing. They are by no means recipes for art, + and their names are of little consequence. Appreciation of + fineness of relations must always govern the method and form of + composition. It is possible to use all the principles here + discussed, and to complete all the exercises, without gaining + much, if any, art experience. The main thing is the striving for + the best, the most harmonious, result that can be obtained. One + way to accomplish this is to compare and choose + continually—making many designs under one subject and selecting + the best. The great general principle of Proportion needs no + special illustration or exercise, because it is so intimate a + part of all other principles and exercises. It may be studied in + every example of supreme art. It is the foundation of all the + finest work in line and mass. The mystery of Spacing will be + revealed to the mind that has developed + Appreciation.</p><span class="tei tei-pb" id="page29">[pg + 29]</span> + + <div class="tei tei-figure" style="text-align: center"> + <a href="images/no_22.jpg"><img src="images/no_22.jpg" alt= + "No. 22. Subordination, Symmetry, Subordination and Repetition, Opposiion and Subordination, Repetition, Repetition and Subordination." /></a> + </div> + + <p class="tei tei-p" style="margin-bottom: 1.00em">SYMMETRY. The + most common and obvious way of satisfying the desire for order is + to place two equal lines or shapes in exact balance, as in a + gable, windows each side of a door, or objects on a shelf. The + term Symmetry applies to three-and four-part groups, or others + where even balance is made, but here it refers mainly to a + two-part arrangement. Sometimes construction produces Symmetry, + as in the human body; ships; Greek and Rennaissance architecture; + furniture; pottery; books. Partly from this cause and partly + through imitation, Symmetry, like Repetition, has come to be used + in cheap and mean design where no regard is paid to beauty of + form. Japanese art, when influenced by Zen philosophy, as Okakura + Kakuzo tells us in <span class="tei tei-q">“The Book of + Tea”</span>, avoids symmetry as uninteresting. In Gothic art, the + product of richly inventive and imaginative minds, symmetry was + never used in a commonplace way.</p><span class="tei tei-pb" id= + "page30">[pg 30]</span> + + <div class="tei tei-figure" style="text-align: center"> + <a href="images/no_23.jpg"><img src="images/no_23.jpg" alt= + "No. 23" /></a> + </div><span class="tei tei-pb" id="page31">[pg 31]</span> + <span class="tei tei-pb" id="page32">[pg 32]</span> + + <div class="tei tei-figure" style="text-align: center"> + <a href="images/no_22a.jpg"><img src="images/no_22a.jpg" alt= + "Geometric, Variations." /></a> + </div> + </div> + </div> + </div> + <hr class="doublepage" /> + + <div class="tei tei-div" style= + "margin-bottom: 5.00em; margin-top: 5.00em"> + <span class="tei tei-pb" id="page33">[pg 33]</span> <a name="toc16" + id="toc16"></a> <a name="pdf17" id="pdf17"></a> + + <h1 class="tei tei-head" style= + "text-align: left; margin-bottom: 3.46em; margin-top: 3.46em"> + <span style="font-size: 173%">LINE</span></h1> + + <div class="tei tei-div" style= + "margin-bottom: 4.00em; margin-top: 4.00em"> + <a name="toc18" id="toc18"></a> <a name="pdf19" id="pdf19"></a> + + <h2 class="tei tei-head" style= + "text-align: left; margin-bottom: 2.88em; margin-top: 2.88em"> + <span style="font-size: 144%">IV.—COMPOSITION IN SQUARES AND + CIRCLES</span></h2> + + <p class="tei tei-p" style="margin-bottom: 1.00em">After working + with the principles long enough to understand their nature, and to + see what can be done with them, the student is ready for problems + in composition. Practice in line arrangement is a preparation for + all kinds of art work, be it design, painting, sculpture or + architecture. Choose an enclosed area of definite and regular + shape, and break it up into a harmonious group of smaller areas by + drawing lines. For these elementary exercises in composition the + square and circle are best because their boundaries are + unchangeable, and attention must be fixed upon interior lines. Take + first the square, using straight lines of equal thickness drawn + with the brush as suggested in chapter II. The result should be a + harmony of well-cut space, a little musical theme in straight lines + and grouped areas. Make many trial arrangements, sketching lightly + with charcoal on <span class="tei tei-q">“bogus”</span> or lining + paper. Select the best, correct them, and draw with brush and ink + over the charcoal lines. From these choose the most satisfactory, + place thin Japanese paper over them and trace in firm black lines, + freehand, with the Japanese brush. Avoid hard wiry lines and all + that savors of rule and compass or laborious pains-taking. Use no + measure <span class="tei tei-pb" id="page34">[pg 34]</span> of any + kind; sizes, shapes and directions must be decided upon without + mechanical aids.</p> + + <div class="tei tei-figure" style="text-align: center"> + <a href="images/no_24.jpg"><img src="images/no_24.jpg" alt= + "No. 24. Composition in Squares and Circles." /></a> + </div> + + <div class="tei tei-figure" style="text-align: center"> + <a href="images/no_25.jpg"><img src="images/no_25.jpg" alt= + "No. 25. Compositions in Squares and Circles" /></a> + </div><span class="tei tei-pb" id="page35">[pg 35]</span> + + <p class="tei tei-p" style="margin-bottom: 1.00em">Never try to + erase an ink line,—if a mistake occurs begin again. Tracing, for + the art-purpose of improving proportions and acquiring an + expressive brush-touch, is a most valuable help to the production + of good work. Architects use tracing-paper for changes in plans. + Japanese artists trace again and again until satisfied with the + quality of touch and strength of drawing. Straight line is chosen + for elementary practice because of its simplicity, and because it + prepares for work with curves. The finest curve is measured by a + series of straight lines in harmonic relations of rhythm and + proportion (p. 42). After some experience with straight line, cut + areas with curved,—geometric, flower, fruit, landscape or + figure.</p> + + <p class="tei tei-p" style="margin-bottom: 1.00em">Equal thickness + of line is advisable now, to fix attention upon direction, touch + and spacing. Variation in width will come later in notan of line + (page 54) and in representative drawing (page 51) where texture and + modelling are to be indicated. The main purpose of this and all + exercises in this book is the creation of harmony, hence if the + result has but a slight degree of line-beauty it can be considered + a first step in Art.</p> + + <p class="tei tei-p" style="margin-bottom: 1.00em">The examples are + chosen from students' work, from Japanese books, from design, craft + and architecture. They illustrate various ways of treating squares + and circles according to principles of composition.</p> + + <table summary="This is a list." class="tei tei-list" style= + "margin-bottom: 1.00em; margin-top: 1.00em"> + <tbody> + <tr class="tei tei-labelitem"> + <th class="tei tei-label">1.</th> + + <td class="tei tei-item">Copy these enlarged, with + brush.</td> + </tr> + + <tr class="tei tei-labelitem"> + <th class="tei tei-label">2.</th> + + <td class="tei tei-item">Select one, as a theme, and make + many variations.</td> + </tr> + + <tr class="tei tei-labelitem"> + <th class="tei tei-label">3.</th> + + <td class="tei tei-item">Originate new line-schemes in + squares and circles.</td> + </tr> + </tbody> + </table> + + <div class="tei tei-figure" style="text-align: center"> + <a href="images/no_26.jpg"><img src="images/no_26.jpg" alt= + "No. 26. Compositions in Squares and Circles." /></a> + </div><span class="tei tei-pb" id="page36">[pg 36]</span> + + <div class="tei tei-figure" style="text-align: center"> + <a href="images/no_27.jpg"><img src="images/no_27.jpg" alt= + "No. 27. Units for wood-block printing, stencilling and hand-coloring." /></a> + </div><span class="tei tei-pb" id="page37">[pg 37]</span> + + <div class="tei tei-div" style= + "margin-bottom: 3.00em; margin-top: 3.00em"> + <h3 class="tei tei-head" style= + "text-align: left; margin-bottom: 2.40em; margin-top: 2.40em"> + <span style="font-size: 120%">APPLICATIONS</span></h3> + + <table summary="This is a list." class="tei tei-list" style= + "margin-bottom: 1.00em; margin-top: 1.00em"> + <tbody> + <tr class="tei tei-labelitem"> + <th class="tei tei-label">1.</th> + + <td class="tei tei-item">Ginghams, plaids, embroidery, + stencil.</td> + </tr> + + <tr class="tei tei-labelitem"> + <th class="tei tei-label">2.</th> + + <td class="tei tei-item">Panelling, window sashes, leading + for glass, inlaid wood, mosaic, enamel on metal.</td> + </tr> + + <tr class="tei tei-labelitem"> + <th class="tei tei-label">3.</th> + + <td class="tei tei-item">Incised lines in wood, clay or + metal, low relief modelling.</td> + </tr> + </tbody> + </table> + + <p class="tei tei-p" style="margin-bottom: 1.00em">Study of the + principle precedes application in all cases. It is true that the + limitations of material must be recognized in making designs for + special purposes. The substance or surface for which the design + is intended will itself suggest the handling; but material + teaches us nothing about the finer relationships. First study the + art of design; develop capacity by exercise of the inventive and + appreciative faculties; then consider the applications in craft + or profession.</p> + + <div class="tei tei-figure" style="text-align: center"> + <a href="images/no_28.jpg"><img src="images/no_28.jpg" alt= + "No. 28. Japanese." /></a> + </div> + </div> + </div><span class="tei tei-pb" id="page38">[pg 38]</span> + <hr class="doublepage" /> + + <div class="tei tei-div" style= + "margin-bottom: 4.00em; margin-top: 4.00em"> + <a name="toc20" id="toc20"></a> <a name="pdf21" id="pdf21"></a> + + <h2 class="tei tei-head" style= + "text-align: left; margin-bottom: 2.88em; margin-top: 2.88em"> + <span style="font-size: 144%">V.—COMPOSITION IN + RECTANGLES—VARIATION</span></h2> + + <div class="tei tei-div" style= + "margin-bottom: 3.00em; margin-top: 3.00em"> + <p class="tei tei-p" style="margin-bottom: 1.00em">In the search + for finer relations there must be every opportunity for choice; + the better the choice, the finer the art. The square and circle + allow choice only as to interior divisions, but the rectangle is + capable of infinite variation in its boundary lines.</p> + + <p class="tei tei-p" style="margin-bottom: 1.00em">The scientific + mind has sought, by analysis of many masterpieces, to discover a + set of perfect proportions, and to reduce them to mathematical + form, for example, 3:5, or 4:7. The secret of spacing in Greek + art has been looked for in the <span class="tei tei-q">“golden + mean”</span>, viz: height is to length as length is to the sum of + height and length. Doubtless such formulae were useful for + ordinary work, but the finest things were certainly the product + of feeling and trained judgment, not of mathematics. Art resists + everything that interferes with free choice and personal + decision; art knows no limits.</p> + + <p class="tei tei-p" style="margin-bottom: 1.00em">Poverty of + ideas is no characteristic of the artist; his mind is ever + striving to express itself in new ways.</p> + + <p class="tei tei-p" style="margin-bottom: 1.00em">The personal + choice of proportions, tones and colors stamps the work with + individuality. A master in art is always intensely individual, + and what he does is an expression of his own peculiar + choices.</p> + + <p class="tei tei-p" style="margin-bottom: 1.00em">The beauty of + proportion in your rectangle is measured by your feeling for fine + relations, not by any formula what ever. No work has art-value + unless it reflects the personality of its author, What everybody + can do easily, or by rule, cannot be art.</p> + + <p class="tei tei-p" style="margin-bottom: 1.00em">The study of + Variation tends to lead the mind away from the conventional and + humdrum, toward original and individual expression. Variation has + no place in academic courses of art teaching, but in composition + it is a most important element.</p> + + <p class="tei tei-p" style="margin-bottom: 1.00em">The masters of + music have shown that infinite possibilities of variation—the + same theme appearing again and again with new beauty, different + quality and complex accompaniment. Even so can lines, masses and + colors be wrought into musical harmonies and endlessly varied. + The Japanese color print exemplifies this, each copy of the same + subject being varied in shade or hue or disposition of masses to + suit the restless inventive energy of its author. In old Italian + textiles the same pattern appears repeatedly, but varied in size, + proportion, dark-and-light and color. In times when art is + decadent, the designers and painters lack inventive power and + merely imitate nature or the creations of others. Then comes + Realism, conventionality, and the death of art.</p><span class= + "tei tei-pb" id="page39">[pg 39]</span> + + <p class="tei tei-p" style="margin-bottom: 1.00em">Some + experience in choice of proportions and the cutting of + rectangular spaces may be gained from the following</p> + + <div class="tei tei-figure" style="text-align: center"> + <a href="images/no_29.jpg"><img src="images/no_29.jpg" alt= + "No. 29. Examples of Rectangular Design." /></a> + </div> + </div> + + <div class="tei tei-div" style= + "margin-bottom: 3.00em; margin-top: 3.00em"> + <h3 class="tei tei-head" style= + "text-align: left; margin-bottom: 2.40em; margin-top: 2.40em"> + <span style="font-size: 120%">EXERCISE</span></h3> + + <table summary="This is a list." class="tei tei-list" style= + "margin-bottom: 1.00em; margin-top: 1.00em"> + <tbody> + <tr class="tei tei-labelitem"> + <th class="tei tei-label">1.</th> + + <td class="tei tei-item">Design some simple theme in + vertical and horizontal lines and arrange it in several + rectangles of the same size, varying the spacing in each, + No. 29a.</td> + </tr> + + <tr class="tei tei-labelitem"> + <th class="tei tei-label">2.</th> + + <td class="tei tei-item">Compose a straight-line theme in + several rectangles of different proportions, No. 29b.</td> + </tr> + + <tr class="tei tei-labelitem"> + <th class="tei tei-label">3.</th> + + <td class="tei tei-item">Choose the best and trace with + brush and ink.</td> + </tr> + </tbody> + </table> + + <p class="tei tei-p" style="margin-bottom: 1.00em">In the first + case there is variation of interior lines only; in the second all + lines are changed. This exercise admits of great expansion, + according to age of pupils and limits of time.</p> + </div> + + <div class="tei tei-div" style= + "margin-bottom: 3.00em; margin-top: 3.00em"> + <h3 class="tei tei-head" style= + "text-align: left; margin-bottom: 2.40em; margin-top: 2.40em"> + <span style="font-size: 120%">EXAMPLES OF RECTANGULAR + DESIGN.</span></h3> + + <p class="tei tei-p" style="margin-bottom: 1.00em">Contact with + the best works of art is an essential part of art education, for + from them comes power and the stimulus to create. The student + hears and reads much that passes for art criticism but is only + talk about the subject of a picture, the derivation and meaning + of a design, or the accuracy of a drawing. These minor points + have their place in discussing the literary and scientific sides + of a masterpiece; they relate to art only superficially, and give + no key to the perception of fine quality.</p> + + <p class="tei tei-p" style="margin-bottom: 1.00em">The most + important fact about a great creative work is that it is + beautiful; and the best way to see this is to study the + art-structure of it,—the way it is built up as Line, Notan, + Color,—the principle of composition which it exemplifies. See + what a master has done with the very problem you are trying to + work out.</p> + + <p class="tei tei-p" style="margin-bottom: 1.00em">This method of + approach will involve a new classification of the world's art, + cutting across the historical, topical and geographical lines of + development. The instructor in composition will illustrate each + step with many examples differing as to time, locality, material + and subject, but alike in art-structure.</p> + + <p class="tei tei-p" style="margin-bottom: 1.00em">Museum + collections might be used for a series of progressive studies + based upon composition; taking up one principle at a time and + seeking illustrations in a group of wide range,—a picture, + sculpture, architecture, Gothic carving, metal work, old textile, + bit of pottery, Japanese print.</p><span class="tei tei-pb" id= + "page40">[pg 40]</span> + + <p class="tei tei-p" style="margin-bottom: 1.00em">The beauty of + simple spacing is found in things great and small, from a + cathedral tower to a cupboard shelf.</p> + + <p class="tei tei-p" style="margin-bottom: 1.00em">The campanile + of the Duomo of Florence (No. 30) designed by that master of + architecture and painting, Giotto, is a rectangular composition + of exceeding beauty. Its charm lies chiefly in its delicately + harmonized proportions on a straight-line scheme. It is visual + music in terms of line and space. The areas are largest at the + top, growing gradually smaller in each of the stories downward. + The graceful mouldings, the window tracery, the many colors of + marble and porphyry are but enrichments of the splendid main + lines.</p> + + <div class="tei tei-figure" style="text-align: center"> + <a href="images/no_30.jpg"><img src="images/no_30.jpg" alt= + "No. 30. Giotto's Tower (traced from a photograph)." /></a> + </div> + + <p class="tei tei-p" style="margin-bottom: 1.00em">The Ca' d'Oro + of Venice (No. 31, A) presents this rectangular beauty in an + entirely different way. First, a vertical line divides the facade + into two unequal but balanced proportions; each of these is again + divided by horizontal lines and by windows and balconies into + smaller spaces, the whole making a perfect harmony—each part + related to, and affected by every other part.</p> + + <p class="tei tei-p" style="margin-bottom: 1.00em">The tokonoma + of a Japanese room (No. 31, B) is arranged in a similar + rectangular scheme. A vertical line, as in the Venetian palace + facade, divides the whole space into two; one of these is divided + again into recesses with shelves or sliding doors; the other is + for pictures (kakemono), not more than three of which a hung at a + time. No. 31, C shows three of these sets of shelves. The + Japanese publish books with hundreds of designs for this little + recess. The fertility of invention combined with feeling for good + spacing, even in such a simple bit of craft, is characteristic of + the Japanese. Their design books, from which I have copied many + examples for this volume, are very useful to the student of + art.</p> + + <p class="tei tei-p" style="margin-bottom: 1.00em">Style, in + furniture, is a matter of good spacing, rather than of period or + person. The best designs are very simple, finely balanced + compositions of a few straight lines (No. 31, D).</p> + + <p class="tei tei-p" style="margin-bottom: 1.00em">Book covers + with their lettering and decorations, and book pages with or + without illustrations are examples of space cutting,—good or + commonplace according to the designer's feeling for line-beauty, + In the early days of printing the two pages of an open book were + consider together as a single rectangular space. Into this the + type was to be set with the utmost care as to proportion and + margin.</p> + </div> + + <div class="tei tei-div" style= + "margin-bottom: 3.00em; margin-top: 3.00em"> + <h3 class="tei tei-head" style= + "text-align: left; margin-bottom: 2.40em; margin-top: 2.40em"> + <span style="font-size: 120%">EXERCISE</span></h3> + + <p class="tei tei-p" style="margin-bottom: 1.00em">The few + examples given here show how varied are the applications of a + single principle. The study of these will suggest a field for + research. If possible the student should work from the objects + themselves or from large photographs; and from the original + Japanese design books. These <span class="tei tei-pb" id= + "page41">[pg 41]</span></p> + + <div class="tei tei-figure" style="text-align: center"> + <a href="images/no_31.jpg"><img src="images/no_31.jpg" alt= + "No. 31. Compositions in Rectangles." /></a> + </div> + + <p class="tei tei-p" style="margin-bottom: 1.00em"><span class= + "tei tei-pb" id="page42">[pg 42]</span> tracings are given for + purposes of comparison.</p> + + <table summary="This is a list." class="tei tei-list" style= + "margin-bottom: 1.00em; margin-top: 1.00em"> + <tbody> + <tr class="tei tei-labelitem"> + <th class="tei tei-label">1.</th> + + <td class="tei tei-item">Copy the examples, without + measuring. An attempt to copy brings the pupil's mind into + contact with that of a superior, and lets him see how + difficult it is to reach the master's perfection. Copying + as a means of improving one's style is the opposite of + copying as a substitute for original work.</td> + </tr> + + <tr class="tei tei-labelitem"> + <th class="tei tei-label">2.</th> + + <td class="tei tei-item">After making the best possible + copies, invent original variations of these themes,—keeping + the same general plan but changing the sizes.</td> + </tr> + </tbody> + </table> + </div> + + <div class="tei tei-div" style= + "margin-bottom: 3.00em; margin-top: 3.00em"> + <p class="tei tei-p" style="margin-bottom: 1.00em">COMPOSITION OF + POTTERY FORMS. Makers of modern commercial ware usually leave + beauty of line out of account, thinking only of utility,—of the + piece of pottery as a feeding-dish, or as a costly and showy + object. The glaring white glaze, harsh colors and clumsy shapes + of common table-ware must be endured until there is sufficient + public appreciation to demand something better; yet even this is + less offensive than the kind that pretends to be art,—bad in line + and glittering with false decoration.</p> + + <p class="tei tei-p" style="margin-bottom: 1.00em">Pottery, like + other craft-products, is truly useful when it represents the best + workmanship, combined with feeling for shape, tone, texture and + color,—in a word, fine art.</p> + + <p class="tei tei-p" style="margin-bottom: 1.00em">Such quality + is found, to mention only a few cases, in some of the + <span class="tei tei-q">“peasant wares”</span>; in the best + Japanese pottery, ancient and modern; in Chinese, especially of + the Sung period (A. D. 960-1280) in Moorish, Persian, Rhodian and + Greek. When each maker tried to improve up older models, and had + the taste and inventive genius to do it, the art grew to supreme + excellence; even fragments such handicraft are now precious. The + difference between the contours a really great piece of pottery + and ordinary one may seem very slight, but in just this little + difference lies the art.</p> + </div> + + <div class="tei tei-div" style= + "margin-bottom: 3.00em; margin-top: 3.00em"> + <h3 class="tei tei-head" style= + "text-align: left; margin-bottom: 2.40em; margin-top: 2.40em"> + <span style="font-size: 120%">EXERCISE</span></h3> + + <p class="tei tei-p" style="margin-bottom: 1.00em">One good way + to stimulate invention in composing pottery shapes is to evolve + them from rectangles. In the straight line there is strength; a + curve is measured by a series of straight lines connected in + rhythm. No. 32a. This principle is recognized in blocking out a + freehand drawing,—a process often misunderstood and + exaggerated.</p> + + <p class="tei tei-p" style="margin-bottom: 1.00em">Curved + profiles are only variations of rectangular forms, for example + the bowl in No. 32b.</p> + + <div class="tei tei-figure" style="text-align: center"> + <a href="images/no_32.jpg"><img src="images/no_32.jpg" alt= + "No. 32. Pottery Forms." /></a> + </div> + + <p class="tei tei-p" style="margin-bottom: 1.00em">Change the + height and a series of new shapes will result. As the top and + bottom lines remain the same we have to compare the curved sides + only. Another effect (c) comes from varying <span class= + "tei tei-pb" id="page43">[pg 43]</span> the width; and still + another (d) by changing both height and width. In No. 33 are + students' drawings of pottery profiles evolved from rectangles. + For brushwork, in this exercise, it is well to indicate the lines + of the rectangle in pale red, the pottery in black. Make many + sketches, select the best profiles, improve them by tracing in + ink, and compare with historic pieces. Drawing from the finest + examples of pottery, and making original variations of the forms, + will aid in drawing from the cast or the nude, because of the + intimate study of the character of curves.</p> + + <div class="tei tei-figure" style="text-align: center"> + <a href="images/no_33.jpg"><img src="images/no_33.jpg" alt= + "No 33. Pottery Forms Derived from Rectangles." /></a> + </div> + </div> + + <div class="tei tei-div" style= + "margin-bottom: 3.00em; margin-top: 3.00em"> + <p class="tei tei-p" style="margin-bottom: 1.00em">FLOWERS and + other forms as LINE-MOTIVES. The rectangular space may be + subdivided, as was the square, by a simple line-motif,—flower, + fruit, still life, animal or figure,—following some Principle of + Composition. In chapter III, under Subordination, an exercise was + suggested and illustrated; it could be taken up again at this + point, with new subjects, for a study of Variation. As + rectangular compositions will be found under Notan and Color, it + is not necessary to consider them further here as pure line, + except in the case of Landscape, to which a special chapter is + given.</p> + </div> + </div><span class="tei tei-pb" id="page44">[pg 44]</span> + <hr class="doublepage" /> + + <div class="tei tei-div" style= + "margin-bottom: 4.00em; margin-top: 4.00em"> + <a name="toc22" id="toc22"></a> <a name="pdf23" id="pdf23"></a> + + <h2 class="tei tei-head" style= + "text-align: left; margin-bottom: 2.88em; margin-top: 2.88em"> + <span style="font-size: 144%">VI.—LANDSCAPE COMPOSITION</span></h2> + + <p class="tei tei-p" style="margin-bottom: 1.00em">The modern + arbitrary division of Painting into Representative and Decorative + has put composition into the background and brought forward + nature-imitation as a substitute. The picture-painter is led to + think of likeness to nature as to the most desirable quality for + his work, and the designer talks of <span class= + "tei tei-q">“conventionalizing”</span>; both judging their art by a + standard of Realism rather than of Beauty.</p> + + <p class="tei tei-p" style="margin-bottom: 1.00em">In the world's + art epochs there was no such division. Every work of space-art was + regarded as primarily an arrangement, with Beauty as its raison + d'etre. Even a portrait was first of all a composition, with the + facts and the truth subordinate to the greater idea of aesthetic + structure. Training in the fundamental principles of Composition + gave the artists a wide field—they were at once architects, + sculptors, decorators and picture-painters.</p> + + <p class="tei tei-p" style="margin-bottom: 1.00em">Following this + thought of the oneness of art, we find that the picture, the plan, + and the pattern are alike in the sense that each is a group of + synthetically related spaces. Abstract design is, as it were, the + primer of painting, in which principles of Composition appear in a + clear and definite form. In the picture they are not so obvious, + being found in complex interrelations and concealed under + detail.</p> + + <p class="tei tei-p" style="margin-bottom: 1.00em">The designer and + picture-painter start in the same way. Each has before him a blank + space on which he sketches out the main lines of his composition. + This may be called his Line-idea, and on it hinges the excellence + of the whole, for no delicacy of tone, or harmony of color can + remedy a bad proportion. A picture, then, may be said to be in its + beginning actually a pattern of lines. Could the art student have + this fact in view at the outset, it would save him much time and + anxiety. Nature will not teach him composition. The sphinx is not + more silent than she on this point. He must learn the secret as + Giotto and della Francesca and Kanawoka and Turner learned it, by + the study of art itself in the works of the masters, and by + continual creative effort. If students could have a thorough + training in the elements of their profession they would not fall + into the error of supposing that such a universal idea as Beauty of + Line could be compressed into a few cases like the <span class= + "tei tei-q">“triangle,”</span> <span class= + "tei tei-q">“bird's-wing,”</span> <span class="tei tei-q">“line of + beauty,”</span> or <span class="tei tei-q">“scroll + ornament,”</span> nor would they take these notions as a kind of + receipt for composing the lines of pictures.</p> + + <p class="tei tei-p" style="margin-bottom: 1.00em">Insistence upon + the placing of Composition above Representation must not be + considered as any undervaluation of the latter. The art student + must learn to <span class="tei tei-pb" id="page45">[pg 45]</span> + represent nature's forms, colors and effects; must know the + properties of pigments and how to handle brushes and materials. He + may have to study the sciences of perspective and anatomy. More or + less of this knowledge and skill will be required in his career, + but they are only helps to art, not substitutes for it, and I + believe that if he begins with Composition, that is, with a study + of art itself, he will acquire these naturally, as he feels the + need of them.</p> + + <p class="tei tei-p" style="margin-bottom: 1.00em">Returning now to + the thought that the picture and the abstract design are much alike + in structure, let us see how some of the simple spacings may be + illustrated by landscape.</p> + + <p class="tei tei-p" style="margin-bottom: 1.00em">Looking out from + a grove we notice that the trees, vertical straight lines, cut + horizontal lines,—an arrangement in Opposition and Repetition + making a pattern in rectangular spaces. Compare the gingham and + landscape on page 22. This is a common effect in nature, to be + translated into terms of art as suggested in the following + exercise.</p> + + <div class="tei tei-figure" style="text-align: center"> + <a href="images/no_34.jpg"><img src="images/no_34.jpg" alt= + "No. 34. Landscape Reduced to its Main Lines." /></a> + </div> + + <div class="tei tei-div" style= + "margin-bottom: 3.00em; margin-top: 3.00em"> + <h3 class="tei tei-head" style= + "text-align: left; margin-bottom: 2.40em; margin-top: 2.40em"> + <span style="font-size: 120%">EXERCISE</span></h3> + + <p class="tei tei-p" style="margin-bottom: 1.00em">No. 34 is a + landscape reduced to its main lines, all detail being + omitted.</p> + + <p class="tei tei-p" style="margin-bottom: 1.00em">Make an + enlarged copy of this, or design a similar one. Then, in the + attempt to find the best proportion and the best way of setting + the subject upon canvas or paper, arrange this in rectangles of + varying shape, some nearly square, others tall, others long and + narrow horizontally as in No. 35. To bring the whole landscape + into all these will not, of course, be possible, but in each the + essential lines must be retained.</p> + + <div class="tei tei-figure" style="text-align: center"> + <a href="images/no_35.jpg"><img src="images/no_35.jpg" alt= + "No. 35. Landscape in Rectangles of Various Shape." /></a> + </div> + + <p class="tei tei-p" style="margin-bottom: 1.00em">Draw in ink + after preliminary studies with pencil or charcoal, correcting + errors by tracing.</p> + + <p class="tei tei-p" style="margin-bottom: 1.00em">Then find in + nature other similar subjects; sketch and vary in the same + way.</p> + </div> + + <div class="tei tei-div" style= + "margin-bottom: 3.00em; margin-top: 3.00em"> + <span class="tei tei-pb" id="page46">[pg 46]</span> + + <div class="tei tei-figure" style="text-align: center"> + <a href="images/no_36.jpg"><img src="images/no_36.jpg" alt= + "No. 36. Pictures on Rectangular Lines." /></a> + </div><span class="tei tei-pb" id="page47">[pg 47]</span> + + <p class="tei tei-p" style="margin-bottom: 1.00em">The art of + landscape painting is a special subject, not to be treated at + length here, but I believe that the true way to approach it is + through these or similar exercises.</p> + + <p class="tei tei-p" style="margin-bottom: 1.00em">First study + the art, then apply it, whether to landscape or any other kind of + expression.</p> + </div> + + <div class="tei tei-div" style= + "margin-bottom: 3.00em; margin-top: 3.00em"> + <h3 class="tei tei-head" style= + "text-align: left; margin-bottom: 2.40em; margin-top: 2.40em"> + <span style="font-size: 120%">PICTURES COMPOSED ON RECTANGULAR + LINES.</span></h3> + + <p class="tei tei-p" style="margin-bottom: 1.00em">Great + architects and designers were not the only ones to use this + simple line-idea; the masters of pictorial art have based upon it + some of their best work; (opposite page).</p> + + <p class="tei tei-p" style="margin-bottom: 1.00em">These tracings + from a variety of compositions, old and new (No. 36), show that + this combination was chosen either to express certain qualities + and emotions,—majesty, solemnity, peace, repose, (Puvis de + Chavannes)—or because such a space division was suited to + tone-effects (Whistler's Battersea Bridge), or to color schemes + (Hiroshige). These should be copied exactly in pencil, then drawn + enlarged. Find other examples in museums, illustrated books, or + photographs, and draw in the same way.</p> + + <p class="tei tei-p" style="margin-bottom: 1.00em">The student + must, however, be warned against mistaking a mere geometric + combination of lines for an aesthetic combination. There is no + special virtue in a rectangular scheme or any other in itself; it + is the treatment of it that makes it art or not art. Many a + commonplace architect has designed a tower similar to Giotto's, + and many a dauber of oil paint has constructed a wood interior on + a line-plan resembling that of Puvis. So the mere doing of the + work recommended here will be of little value if the only thought + is to get over the ground, or if the mind is intent upon names + rather than principles. The doing of it well, with an artistic + purpose in mind, is the true way to develop the creative + faculties.</p> + </div> + + <div class="tei tei-div" style= + "margin-bottom: 3.00em; margin-top: 3.00em"> + <h3 class="tei tei-head" style= + "text-align: left; margin-bottom: 2.40em; margin-top: 2.40em"> + <span style="font-size: 120%">LANDSCAPE + ARRANGEMENT,—VARIATION.</span></h3> + + <p class="tei tei-p" style="margin-bottom: 1.00em">Leaving now + the rectangular scheme, take any landscape that has good + elements, reduce it to a few main lines and strive to present it + in the most beautiful way—for example one from No. 61, or one + drawn by the instructor, or even a tracing from a photograph. + Remember that the aim is not to represent a place, nor to get + good drawing now; put those thoughts out of the mind and try only + to cut a space finely by landscape shapes; the various lines in + your subject combine to enclose spaces, and the art in your + composition will lie in placing these spaces in good relations to + each other. Here must come in the personal influence of the + instructor, which is, after all, the very core of all art + teaching. He can bring the pupils up to the height of his own + appreciation, and perhaps no farther. The best of systems is + valueless without this personal artistic guidance.</p> + + <p class="tei tei-p" style="margin-bottom: 1.00em">At this stage + of landscape composition, the idea of Grouping (Subordination) + can <span class="tei tei-pb" id="page48">[pg 48]</span> be + brought in, as a help in arranging sizes and shapes. There is a + certain beauty in a contrast of large and small. It is the + opposite of Monotony. For instance, compare a street where there + is variety in the sizes of buildings and trees, with another of + rows of dull ugly blocks. Ranges of hills, spires and pinnacles, + clumps of large and small trees, clusters of haystacks, + illustrate this idea in landscape.</p> + + <div class="tei tei-figure" style="text-align: center"> + <a href="images/no_37.jpg"><img src="images/no_37.jpg" alt= + "No. 37. A Landscape in Three Proportions." /></a> + </div> + </div> + + <div class="tei tei-div" style= + "margin-bottom: 3.00em; margin-top: 3.00em"> + <h3 class="tei tei-head" style= + "text-align: left; margin-bottom: 2.40em; margin-top: 2.40em"> + <span style="font-size: 120%">EXERCISE</span></h3> + + <p class="tei tei-p" style="margin-bottom: 1.00em">To discover + the best arrangement, and to get the utmost experience in line + and space composition, the landscape should be set into several + boundaries of differing proportions, as in Chapter V, and as + shown in the examples, keeping the essential lines of the + subject, but varying them to fit the boundary. For instance, a + tree may be made taller in a high vertical space than in a low + horizontal space, (No. 37 below). After working out this exercise + the pupil may draw a landscape from nature and treat it in the + same way. Let him rigorously exclude detail, drawing only the + outlines of objects.</p> + </div> + </div><span class="tei tei-pb" id="page49">[pg 49]</span> + <hr class="doublepage" /> + + <div class="tei tei-div" style= + "margin-bottom: 4.00em; margin-top: 4.00em"> + <a name="toc24" id="toc24"></a> <a name="pdf25" id="pdf25"></a> + + <h2 class="tei tei-head" style= + "text-align: left; margin-bottom: 2.88em; margin-top: 2.88em"> + <span style="font-size: 144%">VII.—COMPOSITION IN + REPRESENTATION</span></h2> + + <p class="tei tei-p" style="margin-bottom: 1.00em">In academic art + teaching representation is the starting-point. This means that one + must first of all <span class="tei tei-q">“learn to draw”</span>, + as power in art is thought to be based upon ability to represent + accurately and truthfully either nature's facts or historic + ornament. I use the word <span class="tei tei-q">“academic”</span> + to define all teaching founded upon representation. The theory may + be summed up in two points:</p> + + <table summary="This is a list." class="tei tei-list" style= + "margin-bottom: 1.00em; margin-top: 1.00em"> + <tbody> + <tr class="tei tei-labelitem"> + <th class="tei tei-label">1.</th> + + <td class="tei tei-item">Store the mind with facts, to be + used in creative work later on.</td> + </tr> + + <tr class="tei tei-labelitem"> + <th class="tei tei-label">2.</th> + + <td class="tei tei-item">Technique is best acquired by the + practice of object and figure drawing. The first is a purely + scientific process, a gathering up of data, with no thought + of harmony or originality; hence drawing with such an end in + view is not strictly art-work. Nor does the artist need to + lumber up his mind; nature is his storehouse of facts. The + second point has more reason, but when the aim is for mere + accuracy, only a limited amount of skill is acquired and that + often hardly more than nice workmanship—not art-skill. The + powerful drawing of the masters is largely derived from other + masters, not from copying nature. It is an interpretation + with the purpose of attaining a high standard. Such drawing + aims to express character and quality in an individual way—a + thing quite different from fact-statement.</td> + </tr> + </tbody> + </table> + + <p class="tei tei-p" style="margin-bottom: 1.00em">Nature-drawing, + wrongly placed and misunderstood, has become a fetich in our modern + teaching. Our art critics talk of <span class= + "tei tei-q">“just”</span> rendering, <span class= + "tei tei-q">“true”</span> values, <span class= + "tei tei-q">“conscientious”</span> painting and the like; terms + that belong to morals, not art, and could not be applied to + Architecture, Music or Poetry. These stock-phrases are a part of + that tradition of the elders—that eighteenth century academism + still lingering. Representation has but a small place in the art of + the world. This is roughly shown in the two lists below:</p> + + <div class="tei tei-div" style= + "margin-bottom: 3.00em; margin-top: 3.00em"> + <h3 class="tei tei-head" style= + "text-align: left; margin-bottom: 2.40em; margin-top: 2.40em"> + <span style="font-size: 120%">NON-REPRESENTATIVE</span></h3> + + <table summary="This is a list." class="tei tei-list" style= + "margin-bottom: 1.00em; margin-top: 1.00em"> + <tbody> + <tr class="tei tei-labelitem"> + <th class="tei tei-label"></th> + + <td class="tei tei-item">Architecture—Furniture.</td> + </tr> + + <tr class="tei tei-labelitem"> + <th class="tei tei-label"></th> + + <td class="tei tei-item">Wood carving.</td> + </tr> + + <tr class="tei tei-labelitem"> + <th class="tei tei-label"></th> + + <td class="tei tei-item">Pottery.</td> + </tr> + + <tr class="tei tei-labelitem"> + <th class="tei tei-label"></th> + + <td class="tei tei-item">Modelling,—mouldings and + pattern.</td> + </tr> + + <tr class="tei tei-labelitem"> + <th class="tei tei-label"></th> + + <td class="tei tei-item">Metal work.</td> + </tr> + + <tr class="tei tei-labelitem"> + <th class="tei tei-label"></th> + + <td class="tei tei-item">Inlay,—mosaic, etc.</td> + </tr> + + <tr class="tei tei-labelitem"> + <th class="tei tei-label"></th> + + <td class="tei tei-item">Geometric design, including + Egyptian, Peruvian and Savage.</td> + </tr> + + <tr class="tei tei-labelitem"> + <th class="tei tei-label"></th> + + <td class="tei tei-item">Ginghams, plaids and much textile + pattern.</td> + </tr> + + <tr class="tei tei-labelitem"> + <th class="tei tei-label"></th> + + <td class="tei tei-item">Mohammedan art (one great + division) etc.</td> + </tr> + </tbody> + </table> + </div> + + <div class="tei tei-div" style= + "margin-bottom: 3.00em; margin-top: 3.00em"> + <h3 class="tei tei-head" style= + "text-align: left; margin-bottom: 2.40em; margin-top: 2.40em"> + <span style="font-size: 120%">REPRESENTATIVE</span></h3> + + <table summary="This is a list." class="tei tei-list" style= + "margin-bottom: 1.00em; margin-top: 1.00em"> + <tbody> + <tr class="tei tei-labelitem"> + <th class="tei tei-label"></th> + + <td class="tei tei-item">Painting and Sculpture of Figures, + Portraits, Animals, Flowers, Still Life, Landscape + Painting.</td> + </tr> + </tbody> + </table> + </div><span class="tei tei-pb" id="page50">[pg 50]</span> + + <div class="tei tei-div" style= + "margin-bottom: 3.00em; margin-top: 3.00em"> + <p class="tei tei-p" style="margin-bottom: 1.00em">The + nature-imitators hold that accurate representation is a virtue of + highest order and to be attained in the beginning. It is + undeniably serviceable, but to start with it is to begin at the + wrong end. It is not the province of the landscape painter, for + example, to represent so much topography, but to express an + emotion; and this he must do by art. His art will be manifest in + his composition; in his placing of his trees, hills and houses in + synthetic relations to each other and to the space-boundary. Here + is the strength of George Inness; to this he gave his chief + effort. He omits detail, and rarely does more than indicate + forms.</p> + + <p class="tei tei-p" style="margin-bottom: 1.00em">This relation + among the parts of a composition is what we call Beauty, and it + begins to exist with the first few lines drawn. Even the student + may express a little of it as he feels it, and the attempt to + embody it in lines on paper will surely lead to a desire to know + more fully the character and shapes of things, to seek a + knowledge of drawing with enthusiasm and pleasure.</p> + + <p class="tei tei-p" style="margin-bottom: 1.00em">These things + are said, not against nature-drawing—I should advise more rather + than less—but against putting it in the wrong place.</p> + + <p class="tei tei-p" style="margin-bottom: 1.00em">The main + difference between Academic and Structural (Analytic and + Synthetic) is not in the things done, but in the reason for doing + them, and the time for them. All processes are good in their + proper places.</p> + + <p class="tei tei-p" style="margin-bottom: 1.00em">The relation + of representative drawing to a synthetic scheme is this: One uses + the facts of nature to express an idea or emotion. The figures, + animals, flowers or objects are chosen for the sake of presenting + some great historical or religious thought as in della + Francesca's Annunciation (No. 36), for decoration of an + architectural space (Reims capital, No. 38), because the + landscape has special beauty as in Hiroshige's print (No. 8), or + because the objects have form and color suggesting a high order + of harmony, as in Chinese and Japanese paintings of flowers, or + Leonardo's drawings of insects and reptiles.</p> + + <p class="tei tei-p" style="margin-bottom: 1.00em">Another reason + for drawing is found in the use of the shapes or hues in design. + Desire to express an idea awakens interest in the means. + Observation is keen, close application is an easy task, every + sense is alert to accomplish the undertaking. This is quite + different from drawing anything and everything for practice + only.</p> + + <p class="tei tei-p" style="margin-bottom: 1.00em">Mere accuracy + has no art-value whatever. Some of the most pathetic things in + the world are the pictures or statues whose only virtue is + accuracy. The bare truth may be a deadly commonplace. Pupils + should look for character; that includes all truth and all + beauty. It leads one to seek for the best handling and to value + power in expression above success in drawing.</p> + + <p class="tei tei-p" style="margin-bottom: 1.00em">Composition is + the greatest aid to representation because it cultivates judgment + as to relations of space and mass. Composition does not invite + departure from nature's truth, or encourage inaccuracies of any + kind—it helps one to draw in a finer way.</p> + </div> + </div> + </div><span class="tei tei-pb" id="page51">[pg 51]</span> + + <div class="tei tei-figure" style="text-align: center"> + <a href="images/no_38.jpg"><img src="images/no_38.jpg" alt= + "No. 38. Notan Plan, Rhythm of Line, Representation Composed into a Space." /></a> + </div><span class="tei tei-pb" id="page52">[pg 52]</span> + + <div class="tei tei-figure" style="text-align: center"> + <a href="images/no_39.jpg"><img src="images/no_39.jpg" alt= + "No. 39. Notan VIII. Dark and Light Harmonies from the Masters." /></a> + </div> + <hr class="doublepage" /> + + <div class="tei tei-div" style= + "margin-bottom: 5.00em; margin-top: 5.00em"> + <a name="toc26" id="toc26"></a> <a name="pdf27" id="pdf27"></a> + + <h1 class="tei tei-head" style= + "text-align: left; margin-bottom: 3.46em; margin-top: 3.46em"> + <span style="font-size: 173%">NOTAN</span></h1> + + <div class="tei tei-div" style= + "margin-bottom: 4.00em; margin-top: 4.00em"> + <span class="tei tei-pb" id="page53">[pg 53]</span> <a name="toc28" + id="toc28"></a> <a name="pdf29" id="pdf29"></a> + + <h2 class="tei tei-head" style= + "text-align: left; margin-bottom: 2.88em; margin-top: 2.88em"> + <span style="font-size: 144%">VIII.—HARMONY-BUILDING WITH + DARK-AND-LIGHT</span></h2> + + <p class="tei tei-p" style="margin-bottom: 1.00em">As there is no + one word in English to express the idea contained in the phrase + <span class="tei tei-q">“dark-and-light,”</span> I have adopted the + Japanese word <span class="tei tei-q">“no-tan”</span> (dark, + light). It seems fitting that we should borrow this art-term from a + people who have revealed to us so much of this kind of beauty. + <span class="tei tei-q">“Chiaroscuro”</span> has a similar but more + limited meaning. Still narrower are the ordinary studio terms + <span class="tei tei-q">“light-and-shade,”</span> <span class= + "tei tei-q">“shading,”</span> <span class= + "tei tei-q">“spotting,”</span> <span class= + "tei tei-q">“effect”</span> that convey little idea of special + harmony-building, but refer usually to representation.</p> + + <p class="tei tei-p" style="margin-bottom: 1.00em">Notan, while + including all that these words connote, has a fuller meaning as a + name for a great universal manifestation of beauty.</p> + + <p class="tei tei-p" style="margin-bottom: 1.00em">Darks and lights + in harmonic relations—this is Notan the second structural element + of space-art; p. 7.</p> + + <p class="tei tei-p" style="margin-bottom: 1.00em">The Orientals + rarely represent shadows; they seem to regard them as of slight + interest—mere fleeting effects or accidents. They prefer to model + by line rather than by shading. They recognize notan as a vital and + distinct element of the art of painting.</p> + + <p class="tei tei-p" style="margin-bottom: 1.00em">The Buddhist + priest-painters of the Zen sect discarded color, and for ages + painted in ink, so mastering tone-relations as to attract the + admiration and profoundly influence the art of the western + world.</p> + + <p class="tei tei-p" style="margin-bottom: 1.00em">Our etching and + book illustration have long felt the effect of contact with + Japanese classic painting, though the influence came indirectly + through the Ukiyoye color prints and books. Such names as Kakei, + Chinese of the Sung dynasty (p. 96), Soga Shubun, the Chinese who + founded a school in Japan in the fifteenth century (p. 17), Sesshu, + one of the greatest painters of all time (p. 97), Sotan, Soami, + Motonobu, Tanyu are now placed with Titian, Giorgione (p. 51), + Rembrandt, Turner, Corot and Whistler. The works of Oriental + masters who felt the power and mystery of Notan are becoming known + through the reproductions that the Japanese are publishing, and + through precious examples in our own museums and collections. This + in one of the forces tending to uproot our traditional scientific + art teaching which does not recognize Dark-and-Light as worthy of + special attention.</p> + + <p class="tei tei-p" style="margin-bottom: 1.00em">Appreciation of + Notan and power to create with it can be gained, as in the case of + Line, by definite study through progressive exercises. At the + outset a fundamental fact must be understood, that synthetically + related masses of dark and light convey an impression of beauty + entirely independent of meaning,—for example, geometric patterns or + blotty ink sketches by Dutch and Japanese.</p><span class= + "tei tei-pb" id="page54">[pg 54]</span> + + <p class="tei tei-p" style="margin-bottom: 1.00em">When this occurs + accidentally in nature,—say a grove of dark trees on a light + hillside, or a pile of buildings against the morning sky,—we at + once feel the charm and call the effect <span class= + "tei tei-q">“picturesque.”</span> The quality which makes the + natural scene a good subject for a picture is like musical harmony. + It is the <span class="tei tei-q">“visual music”</span> that the + Japanese so love in the rough ink paintings of their masters where + there is but a hint of facts (pp. 97, 99)—a classic style which is + the outward expression of a fine appreciation, and whose origin and + practice are admirably set forth in <span class="tei tei-q">“The + Book of Tea.”</span> Recognition of Notan as an individual element + will simplify the difficulties of tone-composition and open the way + for growth in power.</p> + + <p class="tei tei-p" style="margin-bottom: 1.00em">NOTAN OF LINE. + As long as the lines of a design are kept of uniform width, the + beauty is limited to proportion of areas and quality of touch, but + widen some of the lines, and at once appears a new grace, + Dark-and-Light. The textile designers who are restricted to + straight lines, have recourse to this principle. They widen lines, + vary their depth of tone, glorify them with color, and show that + what seems a narrow field is really one of wide range.</p> + + <div class="tei tei-figure" style="text-align: center"> + <a href="images/no_40.jpg"><img src="images/no_40.jpg" alt= + "No. 40. Notan of Line." /></a> + </div> + + <div class="tei tei-div" style= + "margin-bottom: 3.00em; margin-top: 3.00em"> + <h3 class="tei tei-head" style= + "text-align: left; margin-bottom: 2.40em; margin-top: 2.40em"> + <span style="font-size: 120%">EXERCISE</span></h3> + + <p class="tei tei-p" style="margin-bottom: 1.00em">Choose some of + the previous geometric line patterns, and widen certain of the + lines, as illustrated in the plate. Incidentally this will give + good brush practice, as the lines are to be drawn at one stroke. + Push the point of the brush down to the required width, then draw + the line. Try a large number of arrangements, set them up in a + row and pick out the best. In choosing and criticising, remember + that every part of a work of art has something to say. If one + part is made so prominent that the others have no reason for + being there, the art is gone. So in this case; if one line + asserts itself to the detriment of the others, there is discord. + There may be many or few lines, but each must have its part in + the whole. In a word, wholeness is essential to beauty; it + distinguishes Music from Noise.</p> + </div> + + <div class="tei tei-div" style= + "margin-bottom: 3.00em; margin-top: 3.00em"> + <span class="tei tei-pb" id="page55">[pg 55]</span> + + <p class="tei tei-p" style="margin-bottom: 1.00em">LETTERING. + When forming part of an artistic composition, in books, posters, + manuscripts, illuminations, etc., lettering should be classed as + Notan of Line. Obviously the spacing of masses of letters has + first consideration, and is usually a simple problem in + rectangular composition. The effect is a tone or group of tones + more or less complicated according to sizes of letters, thickness + of their lines and width of spaces between and around them. I + have found the reed-pen and the Japanese brush (clipped) the best + implements for students' lettering (see below). Having suggested + that Lettering, including Printing, as an art, is a problem in + composition of line and notan, it seems hardly worth while to + introduce special exercises here. Johnston has treated this + subject exhaustively; the reader is referred to his book + <span class="tei tei-q">“Writing, Illuminating and + Lettering,”</span> to Walter Crane's and other good books on + lettering. Compare fine printing, old and new, Japanese, Chinese + and Arabic writing, and ancient manuscripts and + inscriptions—Egyptian, Greek, and Mediaeval.</p> + + <div class="tei tei-figure" style="text-align: center"> + <a href="images/no_41.jpg"><img src="images/no_41.jpg" alt= + "No. 41. Japanese brushes clipped for lettering." /></a> + </div> + </div> + </div><span class="tei tei-pb" id="page56">[pg 56]</span> + + <div class="tei tei-figure" style="text-align: center"> + <a href="images/notan2.jpg"><img src="images/notan2.jpg" alt= + "Notan VIII. Repetition and variation in two values." /></a> + </div><span class="tei tei-pb" id="page57">[pg 57]</span> + + <div class="tei tei-figure" style="text-align: center"> + <a href="images/notan3.jpg"><img src="images/notan3.jpg" alt= + "Notan VII. Landscape compositions by HOKUSAI, three values." /></a> + </div><span class="tei tei-pb" id="page58">[pg 58]</span> + + <div class="tei tei-figure" style="text-align: center"> + <a href="images/no_42.jpg"><img src="images/no_42.jpg" alt= + "Notan IX. Two Values, Historic Examples." /></a> + </div><span class="tei tei-pb" id="page59">[pg 59]</span> + <hr class="doublepage" /> + + <div class="tei tei-div" style= + "margin-bottom: 4.00em; margin-top: 4.00em"> + <a name="toc30" id="toc30"></a> <a name="pdf31" id="pdf31"></a> + + <h2 class="tei tei-head" style= + "text-align: left; margin-bottom: 2.88em; margin-top: 2.88em"> + <span style="font-size: 144%">IX.—TWO + VALUES—VARIATIONS—DESIGN</span></h2> + + <div class="tei tei-div" style= + "margin-bottom: 3.00em; margin-top: 3.00em"> + <p class="tei tei-p" style="margin-bottom: 1.00em">Dark-and-light + has not been considered in school curricula, except in its + limited application to representation. The study of <span class= + "tei tei-q">“light and shade”</span> has for its aim, not the + creation of a beautiful idea in terms of contrasting masses of + light and dark, but merely the accurate rendering of certain + facts of nature,—hence is a scientific rather than an artistic + exercise. The pupil who begins in this way will be embarrassed in + advanced work by lack of experience in arranging and + differentiating tones. Worse than that, it tends to cut him off + from the appreciation of one whole class of great works of art. + As in the case of Line, so again in this is manifest the + narrowness and weakness of the scheme of nature-imitating as a + foundation for art education. The Realistic standard always tends + to the decay of art. The student in an academic school, feeling + the necessity for a knowledge of Dark-and-Light when he begins to + make original compositions, has usually but one resource, that of + sketching the <span class="tei tei-q">“spotting”</span> as he + calls it, of good designs and pictures—an excellent practice if + followed intelligently. His difficulties may be overcome (1) by + seeing that Notan is an element distinct from Line or Color; (2) + by attempting its mastery in progressive stages leading to + appreciation.</p> + </div> + + <div class="tei tei-div" style= + "margin-bottom: 3.00em; margin-top: 3.00em"> + <h3 class="tei tei-head" style= + "text-align: left; margin-bottom: 2.40em; margin-top: 2.40em"> + <span style="font-size: 120%">METHOD OF STUDY.</span></h3> + + <p class="tei tei-p" style="margin-bottom: 1.00em">Line melts + into Tone through the clustering of many lines. Direct study of + tone-intervals begins with composition in two values—the simplest + form of Notan. There may be several starting-points; one might + begin by blotting ink or charcoal upon paper, by copying the + darks and lights from photographs of masterpieces, or by making + scales. Experience has shown that the straight-line design and + the flat black ink wash are most satisfactory for earlier + exercises in two values. Instead of black and white, or black and + gray, one might use two grays of different values, or two values + of one color (say light blue and dark blue) according to need. + The aim being to understand Notan as something by which harmony + may be created, it is best to avoid Representation at first. + Notan must not be confounded with Light and Shade, Modelling or + anything that refers to imitation of natural objects.</p> + + <p class="tei tei-p" style="margin-bottom: 1.00em">The beginner + may imagine that not much can be done with flat black against + flat white, but let him examine the decorative design of the + world. He will find the black and white check and patterns + derived from it, in old velvets of Japan, in the woven and + printed textiles of all nations, in marble floors, inlaid boxes + and architectural <span class="tei tei-pb" id="page60">[pg + 60]</span></p> + + <div class="tei tei-figure" style="text-align: center"> + <a href="images/no_43.jpg"><img src="images/no_43.jpg" alt= + "NOTAN IX. No. 43." /></a> + </div> + + <p class="tei tei-p" style="margin-bottom: 1.00em"><span class= + "tei tei-pb" id="page61">[pg 61]</span> ornament. The use of + these two simple tones is as universal as Art itself. They appear + in the black vine on the white marble floor of the Church of the + Miracoli at Venice; on the wall of the Arabian Mosque, and the + frieze of the Chinese temple. They have come into favor on book + covers and page borders. Aubrey Beardsley went scarcely beyond + them. R. Anning Bell and other artists have boldly carried them + into pictorial work in the illustration of children's books.</p> + + <p class="tei tei-p" style="margin-bottom: 1.00em">These facts + will show the beginner that no terms are too simple for artistic + genius to use. Moreover a limited field often stimulates to + greater inventive activity.</p> + + <div class="tei tei-figure" style="text-align: center"> + <a href="images/no_44.jpg"><img src="images/no_44.jpg" alt= + "No. 44." /></a> + </div> + </div> + + <div class="tei tei-div" style= + "margin-bottom: 3.00em; margin-top: 3.00em"> + <h3 class="tei tei-head" style= + "text-align: left; margin-bottom: 2.40em; margin-top: 2.40em"> + <span style="font-size: 120%">EXERCISE</span></h3> + + <p class="tei tei-p" style="margin-bottom: 1.00em">Choose a + simple line-design fine in proportion, and add to it this new + kind of beauty,—as much of it as can be expressed by the extremes + of Notan, black against white. It is apparent that we cannot + reduce Dark-and-Light to simpler terms than these two values. The + principle of Variation comes into this exercise with special + force, for each line-design admits of several Notan arrangements. + The student should be given at first a subject with few lines. + Let him use one of his own (chapter V), or draw one from the + instructor's sketch, but the essential point is to have his + design as good as possible in space-proportion before adding the + ink.</p> + + <p class="tei tei-p" style="margin-bottom: 1.00em">Make several + tracings, then darken certain spaces with black. A round Japanese + brush, short and thick, is best for this work. Nos. 43 and 44. + Pupils should be warned against mistaking mere inventive action + for art. The teacher must guide the young mind to perceive the + difference between creating beautiful patterns, and mere + fantastic play.</p> + </div> + + <div class="tei tei-div" style= + "margin-bottom: 3.00em; margin-top: 3.00em"> + <p class="tei tei-p" style="margin-bottom: 1.00em">Those gifted + with little aesthetic perception may go far astray in following + the two-tone idea. It is very easy and somewhat fascinating to + darken parts of designs with black ink. The late poster craze + showed to what depth of vulgarity this can be carried. The pupil + must be taught that all two-tone arrangements are not fine, and + that the very purpose of this exercise is so to develop his + appreciation that he may be able to tell the difference between + the good, the commonplace, and the ugly. His only guides must be + his own innate taste, and his instructor's + experience.</p><span class="tei tei-pb" id="page62">[pg + 62]</span> + </div> + + <div class="tei tei-div" style= + "margin-bottom: 3.00em; margin-top: 3.00em"> + <h3 class="tei tei-head" style= + "text-align: left; margin-bottom: 2.40em; margin-top: 2.40em"> + <span style="font-size: 120%">FLOWER COMPOSITIONS TWO + VALUES</span></h3> + + <div class="tei tei-figure" style="text-align: center"> + <a href="images/no_44a.jpg"><img src="images/no_44a.jpg" alt= + "Japanese design for “ramma” (frieze) Fret-saw work." /></a> + </div> + + <p class="tei tei-p" style="margin-bottom: 1.00em">Flowers, + having great variety of line and proportion, are valuable, as + well as convenient subjects for elementary composition. Their + forms and colors have furnished themes for painters and sculptors + since the beginning of Art, and the treatment has ranged from + abstractions to extreme realism; from refinements of + lotus-derived friezes to poppy and rose wall papers of the + present time. In the exercise here suggested, there is no + intention of making a design to apply to anything as decoration, + hence there need be no question as to the amount of nature's + truth to be introduced. The flower may be rendered realistically, + as in some Japanese design, or reduced to an abstraction as in + the Greek, without in the least affecting the purpose in view, + namely, the setting of floral lines into a space in a fine + way—forming a line-scheme on which may be played many + notan-variations.</p> + + <p class="tei tei-p" style="margin-bottom: 1.00em">It is + essential that the space should be cut by the main lines. + (Subordination, page 23.) A small spray in the middle of a big + oblong, or disconnected groups of flowers, cannot be called + compositions all the lines and areas must be related one to + another by connections and placings, so as to form a beautiful + whole. Not a picture of a flower is sought,—that can be left to + the botanist—but rather an irregular pattern of lines and spaces, + something far beyond the mere drawing of of a flower from nature, + and laying an oblong over it, or vice versa.</p> + </div> + + <div class="tei tei-div" style= + "margin-bottom: 3.00em; margin-top: 3.00em"> + <h3 class="tei tei-head" style= + "text-align: left; margin-bottom: 2.40em; margin-top: 2.40em"> + <span style="font-size: 120%">EXERCISE</span></h3> + + <p class="tei tei-p" style="margin-bottom: 1.00em">The instructor + chooses one of the best flower compositions done under Line, or + draws a flower in large firm outlines on the blackboard, avoiding + confusing detail, and giving the character as simply as possible. + The pupil first copies the instructor's drawing, then he decides + upon the shape into which to compose this subject—a square or + rectangle will be best for the beginner. He makes several trial + arrangements roughly, with pencil or charcoal. Having chosen the + best of these, he improves and refines them, first on his trial + paper, and later by tracing with brush and ink on thin Japanese + <span class="tei tei-pb" id="page63">[pg 63]</span> paper. Effort + must be concentrated on the arrangement, not on botanical + correctness.</p> + + <div class="tei tei-figure" style="text-align: center"> + <a href="images/no_45a.jpg"><img src="images/no_45a.jpg" alt= + "Flower Compositions." /></a> + </div> + + <p class="tei tei-p" style="margin-bottom: 1.00em">Many line + compositions can be derived from one flower subject, but each of + these can in turn be made the source of a great variety of + designs by carrying the exercise farther, into the field of + Dark-and-Light. Paint certain of the areas black, and at once a + whole new series suggests itself, from a single line design. To + the beauty of the line is added the beauty of opposing and + intermingling masses of black and white; see below and p. 64.</p> + + <p class="tei tei-p" style="margin-bottom: 1.00em">In this part + of the exercise the arrangement of shapes of light with shapes of + dark, occupies the attention, rather than shading, or the + rendering of shadows. Hence the flowers and leaves and stems, or + parts of them, may be black or white, according to the feeling of + the student. Let him choose out of his several drawings those + which he considers best. The instructor can then criticise, + pointing out the best and the worst, and explaining why they are + so. A mere aimless or mechanical blackening of paper, without + effort to arrange, will result in nothing of importance.</p> + + <p class="tei tei-p" style="margin-bottom: 1.00em">The examples + show the variety of effects produced by flowers of different + shapes, and the beauty resulting from schemes of Dark-and-Light + in two values.</p> + + <div class="tei tei-figure" style="text-align: center"> + <a href="images/no_45.jpg"><img src="images/no_45.jpg" alt= + "Flower Compositions." /></a> + </div><span class="tei tei-pb" id="page64">[pg 64]</span> + <span class="tei tei-pb" id="page65">[pg 65]</span> + + <div class="tei tei-figure" style="text-align: center"> + <a href="images/no_45b.jpg"><img src="images/no_45b.jpg" alt= + "Notan variations on lines of fine old textiles. Rug designs in two values." /></a> + </div><span class="tei tei-pb" id="page66">[pg 66]</span> + + <div class="tei tei-figure" style="text-align: center"> + <a href="images/no_46.jpg"><img src="images/no_46.jpg" alt= + "NOTAN IX." /></a> + </div><span class="tei tei-pb" id="page67">[pg 67]</span> + </div> + + <div class="tei tei-div" style= + "margin-bottom: 3.00em; margin-top: 3.00em"> + <h3 class="tei tei-head" style= + "text-align: left; margin-bottom: 2.40em; margin-top: 2.40em"> + <span style="font-size: 120%">TEXTILE PATTERNS AND RUGS TWO + VALUES</span></h3> + + <p class="tei tei-p" style="margin-bottom: 1.00em">A line-scheme + underlies every notan composition, and a notan-scheme underlies + every color composition. The three elements have the closest + relation one to another. For purposes of study, however, it is + necessary to isolate each element, and even the separate + principles of each.</p> + + <p class="tei tei-p" style="margin-bottom: 1.00em">In the present + instance, Notan can be separated from Line by taking a + line-design of acknowledged excellence and making many Notan + variations of it; being sure of beauty of line, the only problem + is to create beauty of tone. As this brings in historic art, let + me note that the works of the past are best used, in teaching, as + illustrations of composition, (p. 40).</p> + + <p class="tei tei-p" style="margin-bottom: 1.00em">While the + knowledge of a <span class="tei tei-q">“style”</span> may have a + commercial value, it has no art-value unless the designer can + make original and fine variations of it, not imitations.</p> + + <p class="tei tei-p" style="margin-bottom: 1.00em">The first + essential is to appreciate the quality of historic examples, + hence the student should work from the objects themselves, from + photographic copies, from tracings, or from casts. The + commonplace lithographic plates and rude wood cuts in some books + of design are useless for our purpose. They give no hint of the + original. If the actual painting on an Egyptian mummy case is + compared with a page of one of these books, the poor quality of + the latter is instantly apparent. Chinese and Japanese + <span class="tei tei-q">“ornament”</span> in most of such books + is of a flamboyant and decadent sort. The facsimile copies of + Greek vases usually belong in this same category.</p> + </div> + + <div class="tei tei-div" style= + "margin-bottom: 3.00em; margin-top: 3.00em"> + <h3 class="tei tei-head" style= + "text-align: left; margin-bottom: 2.40em; margin-top: 2.40em"> + <span style="font-size: 120%">EXERCISE</span></h3> + + <p class="tei tei-p" style="margin-bottom: 1.00em">Choose a + textile of the best period, say Italian of the XVth or XVIth + century; copy or trace the line and play upon this several + notan-schemes of two values. You will at once discover how superb + the spacing is in these designs, but your main thought is the + creation of new dark-and-light ideas upon the fine old pattern; + p. 65.</p> + + <p class="tei tei-p" style="margin-bottom: 1.00em">The Oriental + rug affords an excellent line-scheme for practice in notan. As + composition it is a combination of two principles: Subordination + and Repetition. Copying a part or the whole of some good rug—in + line and color—is the best way to become aquainted with the + spacing, motives and quality. Then design a rug with border and + centre, the shapes to be pure inventions or symbols. Border and + centre must differ, and there are many ways of doing this even in + two values, for instance: Border: Black figures on white ground. + Centre: White figures on black ground. Border: White figures on + black ground. Centre: Black figures on white ground. Border: + Small figures. Centre: One large figure. The illustrations, pp. + 65, 66, give some idea of the possibilities of tone-composition + in textiles and rugs. The exercise points to one good way of + using museum collections and art books.</p> + </div> + </div><span class="tei tei-pb" id="page68">[pg 68]</span> + + <div class="tei tei-figure" style="text-align: center"> + <a href="images/no_47.jpg"><img src="images/no_47.jpg" alt= + "No. 47." /></a> + </div><span class="tei tei-pb" id="page69">[pg 69]</span> + <hr class="doublepage" /> + + <div class="tei tei-div" style= + "margin-bottom: 4.00em; margin-top: 4.00em"> + <a name="toc32" id="toc32"></a> <a name="pdf33" id="pdf33"></a> + + <h2 class="tei tei-head" style= + "text-align: left; margin-bottom: 2.88em; margin-top: 2.88em"> + <span style="font-size: 144%">X.—TWO VALUES—LANDSCAPE AND + PICTURES</span></h2> + + <div class="tei tei-div" style= + "margin-bottom: 3.00em; margin-top: 3.00em"> + <p class="tei tei-p" style="margin-bottom: 1.00em">Landscape is a + good subject for notan-composition, to be treated at first as a + design, afterward as a picture. Its irregular spacings contrast + well with the symmetries of pattern, and when tones are played + over them the effects are new and strange, stimulating to further + research into the mysteries of tone. Such an exercise leads to + the appreciation of landscape pictures, and is an introduction to + pencil and charcoal sketching from nature, to monotypes and + etching.</p> + + <p class="tei tei-p" style="margin-bottom: 1.00em">Notan in + landscape, a harmony of tone-relations, must not be mistaken for + light-and-shadow which is only one effect or accident. Like all + other facts of external nature, light-and-shadow must be + expressed in art-form. The student under the spell of the + academic dictum <span class="tei tei-q">“Paint what you see and + as you see it”</span> feels that he must put down every + accidental shadow <span class="tei tei-q">“just as it is in + nature”</span> or be false to himself and false to art. He finds + later that accurate record is good and right in studies or + sketches but may be wrong in a picture or illustration. No + accidents enter into pictures, but every line, light, and dark + must be part of a deliberate design.</p> + + <p class="tei tei-p" style="margin-bottom: 1.00em"> + Light-and-shade is a term referring to modelling or imitation of + solidity; the study of it by drawing white casts and still life + tends to put attention upon facts rather than upon experience in + structure. It does not help one to appreciate tone-values in + pictures. Such drawing is worth while as pure representation and + the discipline of it contributes to mastery of technique, but it + is absurd to prescribe this or life drawing as a training for the + landscape painter. Its influence is only indirect, for modeling + is of secondary importance in Painting, the art of two + dimensions.</p> + + <p class="tei tei-p" style="margin-bottom: 1.00em">When a painter + works for roundness and solidity he enters the province of his + brother the sculptor. In typical paintings, like Giotto's + frescoes at Assisi, Masaccio's <span class="tei tei-q">“Tribute + Money,”</span> Piero della Francesca's work at Arezzo, the + compositions of the Vivarini, the Bellini and Titian, and even + the Strozzi portrait by Raphael, the modelling is subordinate to + the greater elements of proportion and dark-and-light.</p> + + <p class="tei tei-p" style="margin-bottom: 1.00em">In a mural + painting extreme roundness is a fatal defect, as illustrated in + the Pantheon at Paris, where Puvis de Chavannes and his + contemporaries have put pictorial designs upon the walls. Puvis + created a mosaic of colored spaces intended to beautify the wall; + charm of color and tone, poetry and illusion of landscape possess + the beholder long before he even thinks of the special subjects. + The <span class="tei tei-pb" id="page70">[pg 70]</span> other + painters made their figures stand out in solid modelling, + replacing composition with sculpturesque realities. From these + you turn away unsatisfied. I am not arguing for the entire + omission of shadows and modelling—they have their place—but am + insisting that flat relations of tone and color are of first + importance; they are the structural frame, while gradation and + shading are the finish. To begin with rounding up forms in light + and shade, especially in landscape, is to reverse the natural + order, ignore structure, and confuse the mind. The academic + system has adopted the word <span class= + "tei tei-q">“decorate”</span> for flat tone relations and + non-sculpturesque effects, as if everything not standing out in + full relief must belong to decoration. This use of the word is + misleading to the student; we do not speak of music and poetry as + <span class="tei tei-q">“decorative”</span>. Lines, tones and + colors may be used to decorate something, but they may be simply + beautiful in themselves, in which case they are no more + decorative than music. This word should be dropped from the art + vocabulary.</p> + </div> + + <div class="tei tei-div" style= + "margin-bottom: 3.00em; margin-top: 3.00em"> + <h3 class="tei tei-head" style= + "text-align: left; margin-bottom: 2.40em; margin-top: 2.40em"> + <span style="font-size: 120%">EXERCISE</span></h3> + + <p class="tei tei-p" style="margin-bottom: 1.00em">Choose a + landscape with a variety of large and small spaces.</p> + + <p class="tei tei-p" style="margin-bottom: 1.00em">1. Compose + this within a border (see Chap. VI.) and when the spacing is good + trace with the brush on several sheets of Japanese paper.</p> + + <p class="tei tei-p" style="margin-bottom: 1.00em">Next try the + effect of painting certain spaces black, or dark gray, or some + dark color like blue. The other spaces may be left white, or + painted light gray or with light color. Landscapes are capable of + a great many two-value arrangements but not all such will be + fine. Strive for harmony rather than number, variety or + strangeness. Compare your set and select the best.</p> + + <p class="tei tei-p" style="margin-bottom: 1.00em">2. Compose the + landscape into borders of different proportions; then vary each + of these in two values. The illustrations, No. 47, make clear + these two ways of working. The student may use the examples given + here, then sketch his own subjects from nature.</p> + </div> + + <div class="tei tei-div" style= + "margin-bottom: 3.00em; margin-top: 3.00em"> + <h3 class="tei tei-head" style= + "text-align: left; margin-bottom: 2.40em; margin-top: 2.40em"> + <span style="font-size: 120%">SPOTTING,—NOTAN OF + PICTURES.</span></h3> + + <p class="tei tei-p" style="margin-bottom: 1.00em">When the art + student sketches the masses of dark-and-light in pictures, the + <span class="tei tei-q">“Spotting”</span> as he calls it, he is + studying Notan of two values, but in an aimless way. He is + hunting for some rule or secret scheme of shading,—an + <span class="tei tei-q">“ornament,”</span> <span class= + "tei tei-q">“bird's wing,”</span> a <span class= + "tei tei-q">“line;”</span> vain search, for no two works can have + the same plan, each has its own individual line and tone.</p> + + <p class="tei tei-p" style="margin-bottom: 1.00em">On the other + hand much can be learned by studying the masters' plans of + composition,—not to imitate but to appreciate the harmony. One + good way to accomplish this is to sketch in the massing, in two + values. Choose a number of masterpieces, ancient and modern, and + blot in the darks in broad flat tones. This will reveal the + general notan-scheme of each picture (pp. 71, 72).</p> + </div> + + <div class="tei tei-div" style= + "margin-bottom: 3.00em; margin-top: 3.00em"> + <h3 class="tei tei-head" style= + "text-align: left; margin-bottom: 2.40em; margin-top: 2.40em"> + <span style="font-size: 120%">ORIGINAL PICTORIAL COMPOSITION IN + TWO VALUES.</span></h3> + + <p class="tei tei-p" style="margin-bottom: 1.00em">The student is + now ready for original <span class="tei tei-pb" id="page71">[pg + 71]</span></p> + + <div class="tei tei-figure" style="text-align: center"> + <a href="images/no_47a.jpg"><img src="images/no_47a.jpg" alt= + "NOTAN X. Compositions by various masters, reduced to two tones. “Spotting.”" /></a> + </div> + + <p class="tei tei-p" style="margin-bottom: 1.00em"><span class= + "tei tei-pb" id="page72">[pg 72]</span> work with landscape, + still life or figures. Sketching from nature with brush and ink + is a means of interpreting subjects in a very broad way, obliging + one to select and reject, to keep only the essentials. It + cultivates appreciation of texture and character and brings out + the power of doing much with little,—of making a few vigorous + strokes convey impressions of form and complexity. It leads to + oil painting where the brush-touch must be charged with meaning; + it is of direct practical value in illustration as such sketches + are effective and easily reproduced. It is almost the only method + for painting on pottery, as the absorbent glaze admits of no + gradation, emendation or erasure; the touch must be decisive and + characterful. Examples of brush-sketching from nature are given + in No. 48 on opposite page.</p> + + <div class="tei tei-figure" style="text-align: center"> + <a href="images/no_47b.jpg"><img src="images/no_47b.jpg" alt= + "Massing in two values, from Corot, Daubigny and Hokusai." /></a> + </div><span class="tei tei-pb" id="page73">[pg 73]</span> + + <div class="tei tei-figure" style="text-align: center"> + <a href="images/no_48.jpg"><img src="images/no_48.jpg" alt= + "No. 48. Sketches from nature in two values." /></a> + </div><span class="tei tei-pb" id="page74">[pg 74]</span> + + <div class="tei tei-figure" style="text-align: center"> + <a href="images/no_49.jpg"><img src="images/no_49.jpg" alt= + "Notan, two values, variations of a motif. Subordination and Repetition." /></a> + </div> + </div> + </div> + <hr class="doublepage" /> + + <div class="tei tei-div" style= + "margin-bottom: 4.00em; margin-top: 4.00em"> + <span class="tei tei-pb" id="page75">[pg 75]</span> <a name="toc34" + id="toc34"></a> <a name="pdf35" id="pdf35"></a> + + <h2 class="tei tei-head" style= + "text-align: left; margin-bottom: 2.88em; margin-top: 2.88em"> + <span style="font-size: 144%">XI.—TWO VALUES—GOTHIC SCULPTURE + JAPANESE DESIGN BOOKS. APPLICATIONS OF TWO VALUES</span></h2> + + <div class="tei tei-div" style= + "margin-bottom: 3.00em; margin-top: 3.00em"> + <p class="tei tei-p" style="margin-bottom: 1.00em">Sculpture, a + line-art, when designed to enrich architectural spaces, may have + the aid of notan in the form of relief and shadow. The range of + tone is narrow and the field seems limited, but the masters have + shown that the creative imagination knows no bounds. They have + expressed every emotion-divine calm, serenity, excitement, fury, + horror; and effects of light, atmosphere, distance.</p> + + <p class="tei tei-p" style="margin-bottom: 1.00em">The pediment + and metopes of the Greek temple owed as much to notan as to line; + we can infer from the restorations what the original scheme was. + Greek architecture, however, did not admit of extensive + enrichment with sculpture; there were few spaces to fill, and + those not advantageous as to position, shape or lighting. As the + temple evolved into the Christian church, the new forms of + building and the new story to tell called for sculpture. Through + Byzantine and Romanesque it took a fresh start, pushing upward + and outward until it flowered abundantly in Gothic. Although the + church selected the themes, the sculptor might interpret form and + facial expression as his imagination directed, and compose his + groups as he chose. Old conventions were abandoned; the artist + might now seek motifs in his own mind or in nature. The result of + this liberation of individual creative power was great art. The + Gothic designer used notan with dramatic invention and magical + strangeness. The French cathedrals of the best period (XI to XIV + century) notably Paris, Chartres, Amiens and Reims, show how + sculptural traditions were boldly broken and the most daring + effects accomplished without forgetting the character of stone or + the architectural requirements. The stone-cutter was an artist as + long as his restraint was self-imposed—as long as he held to + unity of the whole composition and kept details in their own + place—as long as he carved harmonies, not mere stories; pp. 8, + 11, 29, 51, 52.</p> + + <p class="tei tei-p" style="margin-bottom: 1.00em">The + masterpieces of Gothic sculpture may be studied from photographs + and from reproductions published by the Musée de Sculpture + Comparée, Paris. Sketch in the masses with brush and ink in two + values. Draw freely, at arm's length, on gray or low-toned paper, + observing the character of shapes of dark; No. 49, opposite. New + avenues of tone-thought will now open, through appreciation of + the power and beauty of the stone cutter's art of the + middle-ages.</p><span class="tei tei-pb" id="page76">[pg + 76]</span> + + <div class="tei tei-div" style= + "margin-bottom: 2.00em; margin-top: 2.00em"> + <h3 class="tei tei-head" style= + "text-align: center; margin-bottom: 2.00em; margin-top: 2.00em"> + JAPANESE DESIGN BOOKS</h3> + + <div class="tei tei-figure" style="text-align: center"> + <a href="images/no_49a.jpg"><img src="images/no_49a.jpg" alt= + "Japanese Ramma, Fret-saw work." /></a> + </div> + + <p class="tei tei-p" style="margin-bottom: 1.00em">If time had + preserved for us the sketches of Pheidias, of the architect of + St. Mark's, of the great designers of the early ages, we should + know how these creators planned the line and mass, the simple + structural schemes of their immortal works. In later days when + paper was common, artists' drawings were in a less perishable + form and many can now be seen in our museums. Some have been + published and are fairly within reach, though often in costly + editions. But Japanese art comes to the aid of the student of + composition with abundant material—sketch books, design books, + drawings and color prints. The learner should seek for genuine + works of the best periods, avoiding modern bad reproductions, + imitations, carelessly re-cut blocks, crude colors, and all the + hasty and commonplace stuff prepared by dealers for the foreign + market.</p> + + <p class="tei tei-p" style="margin-bottom: 1.00em">The Japanese + knew no division into Representative and Decorative; they + thought of painting as the art of two dimensions, the art of + rhythm and harmony, in which modelling and nature-imitation are + subordinate. As in pre-Renaissance times in Europe, the + education of the Japanese artist was founded upon composition. + Thorough grounding in fundamental principles of spacing, rhythm + and notan, gave him the utmost freedom in design. He loved + nature and went to her for his subjects, not to imitate. The + winding brook with wild iris (above) the wave and spray, the + landscape, No. 51, were to him themes for art to be translated + into terms of line or dark-and-light or color. They are so much + material out of which may be fashioned a harmonious line-system + or a sparkling web of black and white.</p> + </div> + </div> + + <div class="tei tei-div" style= + "margin-bottom: 3.00em; margin-top: 3.00em"> + <p class="tei tei-p" style="margin-bottom: 1.00em">The Japanese + books of most value to the student of composition are those with + collections of designs for lacquer, wood, metal and pottery, the + Ukiyo-ye books of figures, birds, flowers and landscape, and the + books by Kano artists, with brush-sketches of compositions by + masters. It was a common practice with the Japanese to divide a + page into sections of equal size and place a different design in + each section, p. 55. This is of great <span class="tei tei-pb" + id="page77">[pg 77]</span> <span class="tei tei-pb" id= + "page78">[pg 78]</span> <span class="tei tei-pb" id="page79">[pg + 79]</span> <span class="tei tei-pb" id="page80">[pg 80]</span> + importance to the student for it illustrates at once the + principles of space-filling and notan, and gives an idea of the + infinite possibilities of artistic invention. I have reproduced + examples from the three classes of books mentioned above, + selected in this case for their brilliancy of notan. Let the + student copy them enlarged, then make original designs of similar + motives. Good reproductions of many Japanese design books can now + be obtained at low prices. They are very stimulating, for they + point to the best way of studying nature and of translating her + beauty into the language of art; pp. 57, 62, 64, 76—79.</p> + + <div class="tei tei-figure" style="text-align: center"> + <a href="images/no_50.jpg"><img src="images/no_50.jpg" alt= + "No. 50. Japanese Ramma Fret-saw Work. Japanese design for embroidered kimono." /></a> + </div> + + <div class="tei tei-figure" style="text-align: center"> + <a href="images/no_51.jpg"><img src="images/no_51.jpg" alt= + "No. 51. Japanese landscape compositions for color printing." /></a> + </div> + + <div class="tei tei-figure" style="text-align: center"> + <a href="images/no_52.jpg"><img src="images/no_52.jpg" alt= + "No. 52. Japanese botanical work. Each page a composition in two values." /></a> + </div> + </div> + + <div class="tei tei-div" style= + "margin-bottom: 3.00em; margin-top: 3.00em"> + <h3 class="tei tei-head" style= + "text-align: left; margin-bottom: 2.40em; margin-top: 2.40em"> + <span style="font-size: 120%">APPLICATIONS of NOTAN of TWO + VALUES</span></h3> + + <p class="tei tei-p" style="margin-bottom: 1.00em">The Structural + method of art study places principle before application. Much + appreciation of notan could be gained from any one of the + subjects just considered,—for example, textiles,—but the tendency + would be to think of tone as belonging specially to textiles. The + same can be said of Line as it appears in casts, the human form, + or historic ornament. Attention is centred upon the particular + case, and the larger view is lost. It is better to gain a + knowledge of line, mass and color as the material out of which to + create; and to become acquainted with principles of + harmony-building, before undertaking definite applications. This + gives fuller control, and enhances the worker's powers of + invention. Applications of two values are numberless; I will + mention a few of them to give the student some clues for original + research and experiment.</p> + + <p class="tei tei-p" style="margin-bottom: 1.00em">PRINTING. + Florets, seals, initial letters, page ornaments, illustrations, + posters, end papers,—drawn in black, gray or one color.</p> + + <p class="tei tei-p" style="margin-bottom: 1.00em">TEXTILES. Blue + and white towels, quilts, etc., woven or printed, lace, + embroidery, rugs,—pages 9, 65, 66.</p> + + <p class="tei tei-p" style="margin-bottom: 1.00em">KERAMICS. One + color on a ground of different value, as blue and white, No. 54; + or black on gray.</p> + + <p class="tei tei-p" style="margin-bottom: 1.00em">METAL. + Perforated sheet metal; metal for corners, fixtures, etc., pp. + 25, 58.</p> + + <p class="tei tei-p" style="margin-bottom: 1.00em">WOOD. Fret saw + work, inlay; pp. 62, 76, 77.</p> + + <p class="tei tei-p" style="margin-bottom: 1.00em">Examples of + applications are given below, No. 53, and on opposite page.</p> + + <div class="tei tei-figure" style="text-align: center"> + <a href="images/no_53.jpg"><img src="images/no_53.jpg" alt= + "No. 53." /></a> + </div><span class="tei tei-pb" id="page81">[pg 81]</span> + + <div class="tei tei-figure" style="text-align: center"> + <a href="images/no_54.jpg"><img src="images/no_54.jpg" alt= + "No. 54." /></a> + </div> + </div> + </div> + <hr class="doublepage" /> + + <div class="tei tei-div" style= + "margin-bottom: 4.00em; margin-top: 4.00em"> + <span class="tei tei-pb" id="page82">[pg 82]</span> <a name="toc36" + id="toc36"></a> <a name="pdf37" id="pdf37"></a> + + <h2 class="tei tei-head" style= + "text-align: left; margin-bottom: 2.88em; margin-top: 2.88em"> + <span style="font-size: 144%">XII.—THREE VALUES</span></h2> + + <div class="tei tei-div" style= + "margin-bottom: 3.00em; margin-top: 3.00em"> + <p class="tei tei-p" style="margin-bottom: 1.00em">Clear black + against clear white is a strong contrast; even the best of such + work has some harshness, despite a sparkling brilliancy. A tone + of gray, midway between these two extremes, changes their + relations and opens up a whole new field for creative activity. + Now we must think of different degrees of Notan,—the <span class= + "tei tei-q">“value”</span> of one tone against another. This + simple set of three notes is the basis of the mezzotint, + aquatint, charcoal sketch and wash drawing. The old masters drew + on gray paper with black and white.</p> + + <p class="tei tei-p" style="margin-bottom: 1.00em">From three, it + is an easy step to many values, and in these refinements of Notan + lies the true meaning of the word <span class= + "tei tei-q">“values.”</span> That property of painted shapes, + whereby they <span class="tei tei-q">“take their places”</span> + one beyond another in a picture, is aerial perspective, not + values. It is a desirable quality of Representation, and often + becomes a kind of deception most agreeable to the mind + unappreciative of art. Those who have little perception of + harmonies of tone and color, wish to see objects <span class= + "tei tei-q">“stand out”</span> in the picture <span class= + "tei tei-q">“as if they were real.”</span></p> + + <p class="tei tei-p" style="margin-bottom: 1.00em">Whistler + protested against this, holding that the portrait painter is not + an artist unless he can give the opposite effect; that a portrait + that stands out beyond its frame is bad.</p> + + <p class="tei tei-p" style="margin-bottom: 1.00em">The word + <span class="tei tei-q">“values”</span> refers to harmony of + tone-structure; the value of a mass is its degree of light or + dark in relation to its neighbors.</p> + </div> + + <div class="tei tei-div" style= + "margin-bottom: 3.00em; margin-top: 3.00em"> + <h3 class="tei tei-head" style= + "text-align: left; margin-bottom: 2.40em; margin-top: 2.40em"> + <span style="font-size: 120%">EXERCISE</span></h3> + + <p class="tei tei-p" style="margin-bottom: 1.00em">The student + comes now to a new exercise of judgment in determining the middle + value between black and white, or between light and dark gray. He + has to mix this tone, and decide when it is of the right depth; + here, for the first time, he begins to paint.</p> + + <p class="tei tei-p" style="margin-bottom: 1.00em">For this + painting-exercise will be needed white dishes in which to mix the + ink tones, and flat Japanese (ha-ke) brushes. The best paper is + Japanese, well sized. The thin coating of glue keeps the edge of + the wash from drying before the brush can take it up.</p> + + <p class="tei tei-p" style="margin-bottom: 1.00em">The first + difficulty is the laying of a flat wash; this requires dexterity + and much practice. Paper must be stretched or thumb-tacked + perfectly smooth; ink-stone, dishes and brushes must be clean. + For a beginning take a simple line pattern; decide which parts + shall be white; then wash a middle tone of gray over the rest. + When dry, paint in the black spaces.</p> + + <p class="tei tei-p" style="margin-bottom: 1.00em">The reason for + keeping a tone flat is that the value of a whole space can be + judged better; if it is sloppy and uneven it loses force and + interest. In beginners' work, <span class="tei tei-pb" id= + "page83">[pg 83]</span> and in design, flatness is necessary, but + in picture-painting purely flat tones would rarely be used.</p> + </div> + + <div class="tei tei-div" style= + "margin-bottom: 3.00em; margin-top: 3.00em"> + <h3 class="tei tei-head" style= + "text-align: left; margin-bottom: 2.40em; margin-top: 2.40em"> + <span style="font-size: 120%">THREE GRAYS, A SCALE</span></h3> + + <p class="tei tei-p" style="margin-bottom: 1.00em">The next step + is to mix three values, light, medium and dark, in three white + dishes. The intervals can be tested by painting the spaces of a + simple scale. This need not have an outline, as three + brush-strokes will suffice. Apply these tones to a design; make + several arrangements, for the effect, and to discover the + possibilities in three values. The subjects might be the same as + in notan of two values, pages 63—68. The examples below + illustrate the method and results. See scale, p. 88, also p. 9. + In addition to original composition, the student should copy from + masterpieces of design and pictorial art, translating them into + three values.</p> + + <div class="tei tei-figure" style="text-align: center"> + <a href="images/threegra.jpg"><img src="images/threegra.jpg" + alt="White. Middle Gray. Black." /></a> + </div> + </div> + + <div class="tei tei-div" style= + "margin-bottom: 3.00em; margin-top: 3.00em"> + <h3 class="tei tei-head" style= + "text-align: left; margin-bottom: 2.40em; margin-top: 2.40em"> + <span style="font-size: 120%">LANDSCAPE AND PICTURES</span></h3> + + <p class="tei tei-p" style="margin-bottom: 1.00em">For + three-value studies one may use ink, charcoal or oil paint. The + two latter are particularly suitable for landscape designs and + illustrative work. Charcoal should be used lightly and very + freely. It gives effects of vibration, atmosphere, envelope and + light, but the handling requires special study and much + practice.</p> + + <p class="tei tei-p" style="margin-bottom: 1.00em">The first few + exercises in charcoal landscape may be in flat tones (see No. 55, + page 85), and the student may find it well to make a scale of + three values in this medium; he must learn however to feel + outlines without drawing them, and to handle charcoal firmly but + loosely.</p> + + <p class="tei tei-p" style="margin-bottom: 1.00em">Cover the + paper with a very sketchy tone of soft charcoal; pass over it + lightly with a paper stump or piece of cotton cloth. Be careful + not to grind the black into the paper, making an opaque smoky + tone. Charcoal paper is made rough, to let the <span class= + "tei tei-pb" id="page84">[pg 84]</span> warm white shine between + the little particles of black that lie upon the points of the + surface.</p> + + <div class="tei tei-figure" style="text-align: center"> + <a href="images/no_54a.jpg"><img src="images/no_54a.jpg" alt= + "Flower design." /></a> + </div> + + <p class="tei tei-p" style="margin-bottom: 1.00em">When a + luminous middle-gray is obtained, sketch in the darks with soft + charcoal and take out the lights with bread or rubber; this + effect is like a mezzotint, Nos. 55, 57, and p. 57. After the + principle of three values has been demonstrated, and the student + can appreciate definite intervals of tone, the instructor should + allow great freedom in execution, not even limiting to three + notes but adding one or two others if necessary to good + expression.</p> + + <p class="tei tei-p" style="margin-bottom: 1.00em">For oil + painting, mix the three tones in quantity sufficient to paint + several studies. Ivory Black and Burnt Sienna will give a good + neutral gray. For the color of blue china or the Abruzzi towels, + use Prussian Blue, Black and White. Opinions differ as to the use + of diluting mediums, and sizes of brushes, for oil painting. I + should advise thinning the color with linseed oil and turpentine + (half and half), and using large flat bristle brushes. Canvas + should be fairly rough in texture. If the surface to be painted + on is smooth,—either wood, pasteboard, or canvas,—prepare a + ground with thick paint, leaving brush-marks.</p> + </div> + + <div class="tei tei-div" style= + "margin-bottom: 3.00em; margin-top: 3.00em"> + <h3 class="tei tei-head" style= + "text-align: left; margin-bottom: 2.40em; margin-top: 2.40em"> + <span style="font-size: 120%">APPLICATIONS, THREE + VALUES</span></h3> + + <p class="tei tei-p" style="margin-bottom: 1.00em">Use of the + principle of three values in out-door sketching and in + illustration, has been explained above. There is one application, + among others, that should be made by the student at this + point—composition of a book-page.</p> + + <p class="tei tei-p" style="margin-bottom: 1.00em">The usual + illustrated page is an arrangement in three tones,—white paper, + gray type, dark picture. The value to the publisher depends quite + as much upon the picturesque effect of the illustration as upon + its drawing. Size and placing, disposition of type, amount of + margin, are matters of Line Composition; but choice of type, and + the tone of the illustration belong to Notan Composition. Hence + the student will gain much from designing pages, in ink, charcoal + or oil, using as pictures the copies from masters, or original + studies. Picture, title, initial letter, and body of type must be + so composed that the result will be effective and harmonious, No. + 58.</p> + + <p class="tei tei-p" style="margin-bottom: 1.00em">Reference + should be made to examples of early printing, to the works of + William Morris, and to the best modern printing.</p> + + <div class="tei tei-figure" style="text-align: center"> + <a href="images/no_54b.jpg"><img src="images/no_54b.jpg" alt= + "Japanese drawing, effect of three values." /></a> + </div> + </div><span class="tei tei-pb" id="page85">[pg 85]</span> + + <div class="tei tei-figure" style="text-align: center"> + <a href="images/no_55.jpg"><img src="images/no_55.jpg" alt= + "No 55." /></a> + </div><span class="tei tei-pb" id="page86">[pg 86]</span> + + <div class="tei tei-figure" style="text-align: center"> + <a href="images/no_57.jpg"><img src="images/no_57.jpg" alt= + "“The World Afloat” by John Sell Cotman. “St. John's River” by William Morris Hunt." /></a> + </div><span class="tei tei-pb" id="page87">[pg 87]</span> + <span class="tei tei-pb" id="page88">[pg 88]</span> + + <div class="tei tei-figure" style="text-align: center"> + <a href="images/scale57.jpg"><img src="images/scale57.jpg" alt= + "No 55." /></a> + </div> + </div><span class="tei tei-pb" id="page89">[pg 89]</span> + <hr class="doublepage" /> + + <div class="tei tei-div" style= + "margin-bottom: 4.00em; margin-top: 4.00em"> + <a name="toc38" id="toc38"></a> <a name="pdf39" id="pdf39"></a> + + <h2 class="tei tei-head" style= + "text-align: left; margin-bottom: 2.88em; margin-top: 2.88em"> + <span style="font-size: 144%">XIII.—MORE THAN THREE + VALUES</span></h2> + + <div class="tei tei-div" style= + "margin-bottom: 3.00em; margin-top: 3.00em"> + <p class="tei tei-p" style="margin-bottom: 1.00em">Line, Notan, + Color—the elements by which the whole visible world is + apprehended,—may or may not be used as the language of art. Like + speech, this three-fold language may voice noble emotions in + poetic style, or may subserve the vulgar and the humdrum. + Art-language must be in art-form; a number of facts, or an + incident, accurately described in paint and color may have no + more connection with art than a similar set of written statements + just plain prose. There is no art unless the statements are bound + together in certain subtle relations which we call beauty. When + beauty enters, the parts cease to have separate existence, but + are melted together in a unit.</p> + + <p class="tei tei-p" style="margin-bottom: 1.00em">Advanced + composition is only a working out of simple elements into more + complex and difficult interrelations. If the picture has figures + and landscape, the lines of each run in such directions, + intersect and interweave in such ways as to form a musical + movement. The tones and colors are arranged to enrich one + another. A noble subject requires noble pictorial style.</p> + + <p class="tei tei-p" style="margin-bottom: 1.00em">Experience of + tone-harmony in two and three values brings appreciation of + no-tan-structure and lays a solid foundation for advanced + work.</p> + + <p class="tei tei-p" style="margin-bottom: 1.00em">SCALE. At this + point construct a scale introducing more delicate relations of + tone, and involving finer judgment as to intervals.</p> + + <p class="tei tei-p" style="margin-bottom: 1.00em">A scale of + white, black and three grays</p> + + <table summary="This is a list." class="tei tei-list" style= + "margin-bottom: 1.00em; margin-top: 1.00em"> + <tbody> + <tr class="tei tei-labelitem"> + <th class="tei tei-label">(a)</th> + + <td class="tei tei-item">will be best for beginning, to be + followed by a scale of seven values</td> + </tr> + + <tr class="tei tei-labelitem"> + <th class="tei tei-label">(b).</th> + + <td class="tei tei-item">See page 88. These may be made + with Japanese ink, water color, charcoal or oil; but not + with pencil as it has not depth enough.</td> + </tr> + </tbody> + </table> + + <p class="tei tei-p" style="margin-bottom: 1.00em">The values + here are only approximate; perfect accuracy cannot be obtained by + the half-tone process.</p> + </div> + + <div class="tei tei-div" style= + "margin-bottom: 3.00em; margin-top: 3.00em"> + <h3 class="tei tei-head" style= + "text-align: left; margin-bottom: 2.40em; margin-top: 2.40em"> + <span style="font-size: 120%">EXERCISE</span></h3> + + <p class="tei tei-p" style="margin-bottom: 1.00em">Choose a + textile, or any design with a variety of spaces, and try + notan-effects with tones from the scale. The object is to + discover a fine notan-scheme of values, and by using the scale + one is assured of definite intervals. If the notes are mixed in + quantity, they may be tried upon a half-dozen tracings at once, + from which the best should be chosen. Remember that the + scale-work is only an exercise to help toward clarity of tone, + and to encourage invention. Harmony of dark-and-light does not + depend upon fixed intervals, nor will the composer adhere to any + scale in his original creative work.</p> + + <p class="tei tei-p" style="margin-bottom: 1.00em">Some results + of this exercise are shown in No. 58, page 91.</p> + </div> + + <div class="tei tei-div" style= + "margin-bottom: 3.00em; margin-top: 3.00em"> + <span class="tei tei-pb" id="page90">[pg 90]</span> + + <h3 class="tei tei-head" style= + "text-align: left; margin-bottom: 2.40em; margin-top: 2.40em"> + <span style="font-size: 120%">ILLUSTRATION</span></h3> + + <p class="tei tei-p" style="margin-bottom: 1.00em">After some + experience in handling five or seven tones, the student can + undertake original composition. For a beginning pure landscape + may be best, taking some of the subjects previously used.</p> + + <p class="tei tei-p" style="margin-bottom: 1.00em">Follow this + with landscape and figures; groups of figures with landscape + background; figures in interiors; and portrait sketches.</p> + + <p class="tei tei-p" style="margin-bottom: 1.00em">Compose for a + book-page, using one light gray value to represent the effect of + type, as in No. 58, opposite. Paint very freely, without too much + thought of scales and intervals. Let gradations enter where + needed for finer effect. Study the work of the best illustrators, + noting the tone-scheme and the placing upon the page.</p> + </div> + + <div class="tei tei-div" style= + "margin-bottom: 3.00em; margin-top: 3.00em"> + <h3 class="tei tei-head" style= + "text-align: left; margin-bottom: 2.40em; margin-top: 2.40em"> + <span style="font-size: 120%">ETCHING</span></h3> + + <p class="tei tei-p" style="margin-bottom: 1.00em">Etching, pen + drawing and pencil sketching are line-arts. The needle, pen and + lead pencil are tools for drawing lines, and there is much reason + in Whistler's contention that tone and shading should not be + attempted with them. The tool always gives character to work, and + the best results are obtained when the possibilities of tools and + materials are fully appreciated. If a sharp point is used in + drawing, it will produce pure line, whose quality may reach any + degree of excellence. Whistler, in his etchings, worked for the + highest type of line-beauty; shadows and tones were felt, but not + expressed. On the other hand the artist is not subject to + restrictions and fixed laws. He cannot allow even a master to + interfere with his freedom; there is no <span class= + "tei tei-q">“thou shalt”</span> and <span class="tei tei-q">“thou + shalt not”</span> in art. Admitting the value of all the + arguments for restricting the use of the needle to line only, the + artist observes that clustering of lines inevitably produces tone + and suggests massing (notan of line, page 54) that this effect is + developed in rich gradations by wiping the etching-plate in the + process of printing. Etchers are thus tempted to use tone, and + many masters, from Rembrandt down, have worked in tone more often + than in line.</p> + </div> + + <div class="tei tei-div" style= + "margin-bottom: 3.00em; margin-top: 3.00em"> + <h3 class="tei tei-head" style= + "text-align: left; margin-bottom: 2.40em; margin-top: 2.40em"> + <span style="font-size: 120%">PEN DRAWING</span></h3> + + <p class="tei tei-p" style="margin-bottom: 1.00em">is a dry, hard + process but one of great value in modern illustration owing to + the ease with which it may be reproduced. It need not be as + inartistic as it usually appears; observation of pen work will + show that, aside from faults in composition, failure in interest + lies largely in the handling. Perhaps one pen only is used, and + all textures treated alike, whereas every texture should have its + own characteristic handling; cross hatching or any uniform system + of shading with the pen is deadly. Study the rendering; suggest + surface-quality rather than imitate or elaborate; use a variety + of pens. Johnston has shown with what art the reed pen may be + employed in lettering and illuminating. In comparison with the + Japanese brush, the ordinary pen is a clumsy tool, but + nevertheless it is capable of much more than is usually gotten + with <span class="tei tei-pb" id="page91">[pg 91]</span></p> + + <div class="tei tei-figure" style="text-align: center"> + <a href="images/no_58.jpg"><img src="images/no_58.jpg" alt= + "No 58. Three, Four, Five values." /></a> + </div> + + <p class="tei tei-p" style="margin-bottom: 1.00em"><span class= + "tei tei-pb" id="page92">[pg 92]</span></p> + + <div class="tei tei-figure" style="text-align: center"> + <a href="images/no_58a.jpg"><img src="images/no_58a.jpg" alt= + "Compositions in more than three values. Pratt Institute, Brooklyn, New York." /></a> + </div> + + <p class="tei tei-p" style="margin-bottom: 1.00em"><span class= + "tei tei-pb" id="page93">[pg 93]</span></p> + + <div class="tei tei-figure" style="text-align: center"> + <a href="images/no_59.jpg"><img src="images/no_59.jpg" alt= + "“The Pirate Ship”, Composition in four values, Teachers College, New York. “Harry Mayne's House”, from nature, five values, Ipswich Summer School of Art" /></a> + </div> + + <p class="tei tei-p" style="margin-bottom: 1.00em"><span class= + "tei tei-pb" id="page94">[pg 94]</span></p> + + <div class="tei tei-figure" style="text-align: center"> + <a href="images/no_60.jpg"><img src="images/no_60.jpg" alt= + "No. 60." /></a> + </div> + + <p class="tei tei-p" style="margin-bottom: 1.00em"><span class= + "tei tei-pb" id="page95">[pg 95]</span> it; and the reed pen + closely approaches the brush as a line-implement. The brush may + be used as a pen, values and massing being obtained by blots and + clustering of lines. Two examples are given below; see also pp. + 7, 9, 19.</p> + + <div class="tei tei-figure" style="text-align: center"> + <a href="images/no_60a.jpg"><img src="images/no_60a.jpg" alt= + "Old house on Brook St. Ipswich. Harry Mayne ye Pyrate hys house Ipswich." /></a> + </div> + </div> + + <div class="tei tei-div" style= + "margin-bottom: 3.00em; margin-top: 3.00em"> + <h3 class="tei tei-head" style= + "text-align: left; margin-bottom: 2.40em; margin-top: 2.40em"> + <span style="font-size: 120%">PENCIL SKETCHING</span></h3> + + <p class="tei tei-p" style="margin-bottom: 1.00em">Much that has + been said of etching and pen drawing is equally true of the hard + lead pencil; but the soft pencil has many of the qualities of + charcoal. It may even be made to resemble the ink wash. The most + successful pencil work is that in which line is the main thing, + shading being only suggested. These darks, whether meant for + shadows, local tone, or color, will form a <span class= + "tei tei-q">“spotting”</span> to which is largely due the + interest of the sketch.</p> + + <p class="tei tei-p" style="margin-bottom: 1.00em">If shading is + attempted, the tones, whether gray or dark, are made by laying + lines side by side, not by cross-hatching or going over twice. A + pencil sketch must be off-hand, premier coup, brilliant and + characterful. Two examples are given as hints for handling, No. + 60. It is not possible here to discuss pencil, pen or etching, at + length; they are only touched upon in their relation to + composition of line and notan.</p> + </div> + + <div class="tei tei-div" style= + "margin-bottom: 3.00em; margin-top: 3.00em"> + <span class="tei tei-pb" id="page96">[pg 96]</span> + + <h3 class="tei tei-head" style= + "text-align: left; margin-bottom: 2.40em; margin-top: 2.40em"> + <span style="font-size: 120%">INK PAINTING</span></h3> + + <p class="tei tei-p" style="margin-bottom: 1.00em">Supreme + excellence in the use of ink was attained by the Chinese and + Japanese masters. Impressionism is by no means a modern art + (except as to color-vibrations) for suggestiveness was highly + prized in China a thousand years ago. The painter expected the + beholder to create with him, in a sense, therefore he put upon + paper the fewest possible lines and tones; just enough to cause + form, texture and effect to be felt. Every brush-touch must be + full-charged with meaning, and useless detail eliminated. Put + together all the good points in such a method, and you have the + qualities of the highest art; for what more do we require of the + master than simplicity, unity, powerful handling, and that + mysterious force that lays hold upon the imagination. Why the + Buddhist priests of the Zen sect became painters, and why they + chose monochrome are questions involving a knowledge of the + doctrines of Buddhism and of the Zen philosophy. It is sufficient + to say here that contemplation of the powers and existences of + external nature, with a spiritual interpretation of them, was the + main occupation of Zen thought. Nature's lessons could be learned + by bringing the soul to her, and letting it behold itself as in a + mirror; the teaching could be passed on to others by means of + art—mainly the art of landscape painting. Religious emotion was + the spring of art-power in the East, as it was in the West. + Landscape painting as religious art, has its parallel in Greek + and Gothic sculpture, in Italian painting of the world-story, of + the Nativity, the Passion, and the joys of heaven. Some of these + priest-artists of the Zen, Mokkei, Kakei, Bayen in China; Shubun, + Sesshu in Japan, rank with the great painters of all time. They, + and such pupils as Sesson, Soami, Motonobu and Tanyu, were + classic leaders who have given us the purest types of the art of + ink-painting. To them we look for the truly artistic + interpretation of nature; for dramatic, mysterious, elusive + tone-harmony; for supreme skill in brush-work.</p> + + <div class="tei tei-figure" style="text-align: center"> + <a href="images/no_60b.jpg"><img src="images/no_60b.jpg" alt= + "Japanese sketch of the massing in a painting by an old master" /></a> + </div> + + <p class="tei tei-p" style="margin-bottom: 1.00em">Ink-painting + is both an art and a craft; it has refinements and possibilities + that can be realized only by working with a Japanese artist. He + starts with a paper of low tone—it may be its natural state, or + he may wash it over with thin ink <span class="tei tei-pb" id= + "page97">[pg 97]</span></p> + + <div class="tei tei-figure" style="text-align: center"> + <a href="images/no_61.jpg"><img src="images/no_61.jpg" alt= + "No. 61. Painting and detail of painting by SESSHU." /></a> + </div> + + <p class="tei tei-p" style="margin-bottom: 1.00em"><span class= + "tei tei-pb" id="page98">[pg 98]</span></p> + + <div class="tei tei-figure" style="text-align: center"> + <a href="images/no_62.jpg"><img src="images/no_62.jpg" alt= + "No 62. An Ipswich Hill." /></a> + </div> + + <p class="tei tei-p" style="margin-bottom: 1.00em"><span class= + "tei tei-pb" id="page99">[pg 99]</span> and color. Into this + atmospheric undertone he plays gradations, sharp-edged strokes, + drops of black, and vibrating washes,—only touching upon forms, + but clearly marking planes of aerial perspective. No. 61.</p> + + <div class="tei tei-figure" style="text-align: center"> + <a href="images/no_62a.jpg"><img src="images/no_62a.jpg" alt= + "Sketch from a XVIIth century Japanese book" /></a> + </div> + + <p class="tei tei-p" style="margin-bottom: 1.00em">For + experiments in ink-painting I recommend the Japanese paper called + <span class="tei tei-q">“toshi.”</span></p> + + <p class="tei tei-p" style="margin-bottom: 1.00em">If this is not + within reach, a good substitute may be made by sizing manila + paper with a thin solution of alum. Japanese paper should be wet, + and pasted, by the edges, upon a board. Manila paper, after + wetting, may be tacked upon a stretcher. Japanese ink and + ink-stone, (Chapter II) round and flat brushes, soft charcoal, + and a set of white dishes will be needed. Sketch in the subject + lightly with the charcoal, dust it off and draw the main lines + with pale thin vermilion water color. Wash in the broad masses, + relying upon strengthening by many overtones. Put in the darks + last, being very careful that they are not too sharp-edged. No. + 62.</p> + + <p class="tei tei-p" style="margin-bottom: 1.00em">It is not + possible for us to attain perfect mastery of Japanese materials + and methods, but the study will train in appreciation of + tone-composition, and in better handling of our own water color + and oil. Good photogravures may now be obtained; in some cases + the student may copy from originals in our museums.</p> + + <div class="tei tei-figure" style="text-align: center"> + <a href="images/no_62b.jpg"><img src="images/no_62b.jpg" alt= + "Sketch from a XVIIth century Japanese book" /></a> + </div> + </div> + </div> + </div> + <hr class="doublepage" /> + + <div class="tei tei-div" style= + "margin-bottom: 5.00em; margin-top: 5.00em"> + <span class="tei tei-pb" id="page100">[pg 100]</span> <a name="toc40" + id="toc40"></a> <a name="pdf41" id="pdf41"></a> + + <h1 class="tei tei-head" style= + "text-align: left; margin-bottom: 3.46em; margin-top: 3.46em"> + <span style="font-size: 173%">COLOR</span></h1> + + <div class="tei tei-div" style= + "margin-bottom: 4.00em; margin-top: 4.00em"> + <a name="toc42" id="toc42"></a> <a name="pdf43" id="pdf43"></a> + + <h2 class="tei tei-head" style= + "text-align: left; margin-bottom: 2.88em; margin-top: 2.88em"> + <span style="font-size: 144%">XIV.—COLOR THEORY</span></h2> + + <div class="tei tei-div" style= + "margin-bottom: 3.00em; margin-top: 3.00em"> + <p class="tei tei-p" style="margin-bottom: 1.00em">Color, with + its infinity of relations, is baffling; its finer harmonies, like + those of music, can be grasped by the appreciations only, not by + reasoning or analysis. Color, in art, is a subject not well + understood as yet, and there are violent differences of opinion + among artists, teachers and critics, as to what constitutes good + color-instruction. The most that I can do here is to outline a + simple method of study. The usual advice of the academic painter + to <span class="tei tei-q">“keep trying,”</span> is discouraging + to the beginner and increases his confusion; it is not in accord + with good sense either, for the other arts are not attacked + through timid and aimless experiment. An artist may say that a + certain group of colors is a harmony; the pupil cannot see it, + but he takes the master's word for it. The artist is not teaching + successfully unless he points the way to appreciation, however + hard or long it may be.</p> + + <p class="tei tei-p" style="margin-bottom: 1.00em">A systematic + study of line and tone is very profitable, as we have seen; I + believe that color may be approached in like manner, and I shall + attempt now to relate the treatment of the color-element (chapter + I) to that of the other two, and to give some results of personal + experience.</p> + + <p class="tei tei-p" style="margin-bottom: 1.00em">Those who have + but little time for work in color, can spend it best in copying, + under guidance, examples of acknowledged excellence, like + Japanese prints, Oriental rugs, and reproductions of + masterpieces. Contact with these, even looking at them (if the + pupil is taught what to look for), will strengthen the powers of + color perception. In schools where the art periods are short and + few, this may be the only method possible. (See p. 13 and chap. + XVI.) For those who intend to use color in creative work a + certain amount of theory is indispensable, as it simplifies the + subject and opens up a few definite lines of research. The word + <span class="tei tei-q">“theory”</span> has become a kind of + academic bugbear, yet Leonardo da Vinci said that the painter who + works without a theory is like the sailor who goes to sea without + a compass. Well-ordered thought is as necessary in art as in any + other field. Theory is a help to clear thinking and gives + direction and purpose to practice. Color, however complicated, + may be reduced to three simple elements:</p> + + <table summary="This is a list." class="tei tei-list" style= + "margin-bottom: 1.00em; margin-top: 1.00em"> + <tbody> + <tr class="tei tei-labelitem"> + <th class="tei tei-label"></th> + + <td class="tei tei-item">HUE,—as yellow, blue-green,</td> + </tr> + + <tr class="tei tei-labelitem"> + <th class="tei tei-label"></th> + + <td class="tei tei-item">NOTAN (or Value),—as dark red, + light red,</td> + </tr> + + <tr class="tei tei-labelitem"> + <th class="tei tei-label"></th> + + <td class="tei tei-item">INTENSITY (or + Bright-to-gray-ness)—as intense blue, dull blue.</td> + </tr> + </tbody> + </table> + + <p class="tei tei-p" style="margin-bottom: 1.00em">Color harmony + depends upon adjustments in this three-fold nature. If a + color-scheme is discordant, the fault may <span class= + "tei tei-pb" id="page101">[pg 101]</span> be discovered in,—wrong + selection of hues or weak values, or ill-matched intensities, or + all three. This simple classification reduces the perplexities + that beset the student, by showing him where to look for the + cause of failure. The words <span class= + "tei tei-q">“Value”</span> and <span class= + "tei tei-q">“Chroma”</span> are used in this connection by Albert + H. Munsell, to whose book <span class="tei tei-q">“A Color + Notation”</span> the reader is referred for a very convincing + exposition of color theory.</p> + + <p class="tei tei-p" style="margin-bottom: 1.00em">Mr. Munsell + has invented a photometer to measure values of light and color, + and has prepared scales, spheres, charts and pigments for school + use. My own experiments in making circles of hues and scales of + notan and intensities, were based upon the old theory—Red, Blue + and Yellow as primaries, Green, Orange and Violet as secondaries, + etc. At that time (1890) the progression from bright to gray was + not recognized as a distinct element of color, but in + art-educational works difference of intensity was confused with + dark-and-light; spectra for school use contained hues in violent + contrast as to brilliancy and value.</p> + + <p class="tei tei-p" style="margin-bottom: 1.00em">Science + determined long since that the fundamental color impressions are + not red, blue and yellow, but Red, Green and Violet-blue. Mr. + Munsell adopts these and two secondaries, Yellow and Purple—five + hues in all—as the basis of all color expression in art. This + seems very simple and quite sufficient for working out all + problems in color scheming. Note. Experiments as outlined below, + are intended only to set the student thinking, in an orderly way, + about the three dimensions of color.</p> + + <div class="tei tei-figure" style="text-align: center"> + <a href="images/colors.jpg"><img src="images/colors.jpg" alt= + "Dimensions of Color" /></a> + </div> + </div> + + <div class="tei tei-div" style= + "margin-bottom: 3.00em; margin-top: 3.00em"> + <h3 class="tei tei-head" style= + "text-align: left; margin-bottom: 2.40em; margin-top: 2.40em"> + <span style="font-size: 120%">EXERCISES</span></h3> + + <p class="tei tei-p" style="margin-bottom: 1.00em">HUE. To judge + of the effect of one hue upon another, arrange the whole five, + Red, Yellow, Green, Blue, Purple, in a circle making them equal + in value and equal in degree of brightness, thus eliminating + notan and intensity. In the centre of the circle (N) paint a note + of middle value, chosen from the scale, p. 88. Then paint the + other divisions R, Y, G, B, P with the five hues. When this is + well done if the circle were photographed upon a color-blind + plate, the result would be a flat tone of middle gray. No pigment + is of the exact quality needed; red that is neither yellow-red + nor purple-red can be mixed from Vermilion and Crimson; Prussian + Blue is greenish, New Blue is reddish; some pigments are too + light, others too dark. This exercise requires study of great + importance to the painter, giving him a better acquaintance with + his materials.</p> + + <p class="tei tei-p" style="margin-bottom: 1.00em">Next, make a + circle of intermediates, No. 63, by mixing adjoining hues; this + gives five more notes—yellow-red, green-yellow, blue-green, + purple-blue, red-purple. Bear in mind that these circles are + <span class="tei tei-pb" id="page102">[pg 102]</span> only + statements of relations, of the same use as a scale. The question + now is of the art-use of them, of composing a harmony with + them.</p> + + <p class="tei tei-p" style="margin-bottom: 1.00em">APPLICATION. + Choose a line-design, and paint the spaces with colors from the + second circle. The effect will be peculiar because there are no + differences of dark-and-light or intensity; the only harmony + possible comes from interplay of hues, a kind of iridescence and + vibration; see opposite page.</p> + + <p class="tei tei-p" style="margin-bottom: 1.00em">Colors that + stand opposite in circle—as blue, yellow-red; or red, + blue-green—will, if placed side by side, increase each other's + power and produce violent contrast. Opposition of Color is + analogous to Opposition of Line (page 21) and Opposition of Notan + (black and white). To unite these extremes of difference, bring + in a third hue related to each, for example,—red, green-yellow, + blue-green; yellow, yellow-red, purple-blue. This is the + principle of Transition (page 22); see also page 82, three + values.</p> + + <p class="tei tei-p" style="margin-bottom: 1.00em">Practice in + composing with few and simple elements, of deciding when + contrasting colors are of equal value, or equal intensity, is of + direct use in art. The landscape painter opposes the whole sky to + the whole ground; he wants a vibration of color in each, without + disturbing the values; the designer in stained glass sometimes + desires to fill a space with iridescent color, perhaps as a + background for figures.</p> + + <p class="tei tei-p" style="margin-bottom: 1.00em">The student + may, if he likes, use black with these colors, producing a very + brilliant effect like a Cairo window; but here the hues are + measured against black, rather than against each other. In No. 63 + are shown two experiments in composing with HUE.</p> + + <p class="tei tei-p" style="margin-bottom: 1.00em">NOTAN of + COLOR. Draw in outline six scales, as shown in the diagram. Paint + N in white, black and three grays (see page 88). In the spaces + marked (a) paint each of the five hues—red, yellow, green, blue + and purple, middle value and equal intensity.</p> + + <div class="tei tei-figure" style="text-align: center"> + <a href="images/colors2.jpg"><img src="images/colors2.jpg" alt= + "Notan of Color" /></a> + </div> + + <p class="tei tei-p" style="margin-bottom: 1.00em">Next, paint a + lighter value (b) and a darker (c) making a notan-scale of each + hue,—light red, middle red, dark red, etc. Observe that intensity + diminishes toward light and dark. If the intermediates, + yellow-red, green-yellow and the rest, are also arranged in this + way from light to dark, you will have a set of notes for + application in composition.</p> + + <p class="tei tei-p" style="margin-bottom: 1.00em">APPLICATION. A + line design may now be colored from one of the scales, say Blue. + Hue and Intensity being eliminated, the whole effort is centred + upon notan of color. This is an exercise in three values (page + 83) using color instead of neutral gray. No. 64, p. + 105.</p><span class="tei tei-pb" id="page103">[pg 103]</span> + + <div class="tei tei-figure" style="text-align: center"> + <a href="images/no_63.jpg"><img src="images/no_63.jpg" alt= + "No. 63. Color Theory, HUE." /></a> + </div><span class="tei tei-pb" id="page104">[pg 104]</span> + + <div class="tei tei-figure" style="text-align: center"> + <a href="images/no_64.jpg"><img src="images/no_64.jpg" alt= + "No. 64. Color Theory, NOTAN of Color." /></a> + </div><span class="tei tei-pb" id="page105">[pg 105]</span> + <span class="tei tei-pb" id="page106">[pg 106]</span> + <span class="tei tei-pb" id="page107">[pg 107]</span> + <span class="tei tei-pb" id="page108">[pg 108]</span> + + <div class="tei tei-figure" style="text-align: center"> + <a href="images/no_65.jpg"><img src="images/no_65.jpg" alt= + "No. 64. Color Theory, INTENSITY, scales and exercises." /></a> + </div><span class="tei tei-pb" id="page109">[pg 109]</span> + + <p class="tei tei-p" style="margin-bottom: 1.00em">More + applications can be made than in the case of Hue; historic art is + full of them. Dutch tiles, Japanese prints and blue towels, + Abruzzi towels, American blue quilts, etc., are examples of + harmony built up with several values of one hue. With two hues + innumerable variations are possible. Japanese prints of the + <span class="tei tei-q">“red and green”</span> period are + compositions in light yellow-red, middle green, black, and white. + Other examples can be easily found in the world's art. The + student should apply the scale-notes to his own designs, not + using, at this stage, more than two hues, with perhaps black and + white.</p> + + <p class="tei tei-p" style="margin-bottom: 1.00em">INTENSITY. + Color varies not only in hue and value, but in intensity,—ranging + from bright to gray. Every painter knows that a brilliant bit of + color, set in grayer tones of the same or neighboring hues, will + illuminate the whole group,—a distinguished and elusive harmony. + The fire opal has a single point of intense scarlet, melting into + pearl; the clear evening sky is like this when from the sunken + sun the red-orange light grades away through yellow and green to + steel-gray.</p> + + <p class="tei tei-p" style="margin-bottom: 1.00em">This rarely + beautiful quality of color can be better understood by isolating + it and testing it in designs (as has been done with each + principle, from Line onward; see page 21).</p> + + <p class="tei tei-p" style="margin-bottom: 1.00em">Paint a scale + with one hue, say Vermilion, keeping each space of the same + value, but grading the intensity down to neutral gray.</p> + + <p class="tei tei-p" style="margin-bottom: 1.00em">APPLICATION. + Arrange these notes in a line design. As Hue and Notan are + eliminated, the only harmony will be that of bright points + floating in grayish tones (No.65). Other hues may be scaled and + tested in like manner. Combine two hues in one design, all values + equal,—adding contrast of hue to contrast of intensity. Examples + abound in painting. To cite a few: the element of intensity gives + breadth and tonal harmonies in stained glass, Persian rugs, + Cazin's foregrounds, the prints of Harunobu, Kiyonaga and + Shunsho.</p> + + <p class="tei tei-p" style="margin-bottom: 1.00em">COMPOSITIONS + in HUE, NOTAN, INTENSITY. In all color-schemes these three will + be found in combination. Analysis of a few compositions will be + worth while; for example, the print, No. 69, p. 124, and the + print and textile, page 13. Note (1) the number of hues; (2) the + number of values of each hue, whether dark, light or medium; (3) + the degrees of intensity of each hue, whether very bright, + bright, medium or dull; (4) the quantity of each color and its + distribution in the design; (5) the amount and effect of black, + white and neutral gray. For a simple exercise in composition the + student might color a line design in several ways, using three + hues, varying the dark-and-light distribution and the quantity of + bright and gray tones. Follow this with other designs in + color.—flower panels, repeating patterns, figures in costume, and + landscape. A little of this kind of work will cultivate good + <span class="tei tei-pb" id="page110">[pg 110]</span> judgment as + to color relations, and will stimulate invention. Color Theory + does not ensure harmony but is a help toward it, as it shows + where balance and adjustment are needed.</p> + + <p class="tei tei-p" style="margin-bottom: 1.00em">Note. It is + next to impossible to reproduce colors with perfect accuracy, and + even if the hues, values and intensities could be exactly copied, + it is doubtful if the inks would remain absolutely unchanged for + a great length of time. The plates of Color Theory here shown are + intended only as statements of the fundamental color-relations. + They are not scientifically accurate, nor do they need to + be,–they are to be used in art, not in science. Their purpose is + to show the pupil how to study color, how to make scales and + apply them in art, rather than to furnish a standard to be + copied.</p> + + <div class="tei tei-figure" style="text-align: center"> + <a href="images/no_65a.jpg"><img src="images/no_65a.jpg" alt= + "“The Gundalow”, study in three values." /></a> + </div><span class="tei tei-pb" id="page111">[pg 111]</span> + <span class="tei tei-pb" id="page112">[pg 112]</span> + + <div class="tei tei-figure" style="text-align: center"> + <a href="images/no_66.jpg"><img src="images/no_66.jpg" alt= + "No. 66. Color derived from NOTAN." /></a> + </div> + </div> + </div> + <hr class="doublepage" /> + + <div class="tei tei-div" style= + "margin-bottom: 4.00em; margin-top: 4.00em"> + <span class="tei tei-pb" id="page113">[pg 113]</span> <a name= + "toc44" id="toc44"></a> <a name="pdf45" id="pdf45"></a> + + <h2 class="tei tei-head" style= + "text-align: left; margin-bottom: 2.88em; margin-top: 2.88em"> + <span style="font-size: 144%">XV.—COLOR DERIVED FROM + NOTAN</span></h2> + + <div class="tei tei-div" style= + "margin-bottom: 3.00em; margin-top: 3.00em"> + <p class="tei tei-p" style="margin-bottom: 1.00em">One approach + to Color may be through Notan, either before or after studying + color theory. By clustering lines tone is produced (page 54); by + tingeing neutral grays Color is produced. In monochrome itself + fine relations of notan will suggest color. Japanese ink painters + enhance the harmonies of tone-composition by mingling slight + quantities of hue with the ink. Faint washes of yellow in + foregrounds, of green in foliage, of blue in sea and sky, of red + and other colors in buildings and costumes, convey impressions of + full color-keys.</p> + + <p class="tei tei-p" style="margin-bottom: 1.00em">Etchers and + lithographers often add a few touches of color not only as a + contrast to the grays, but to cause the beholder to imagine the + whole color-scheme. The effect of modifying neutrals with hue may + be observed in the following</p> + </div> + + <div class="tei tei-div" style= + "margin-bottom: 3.00em; margin-top: 3.00em"> + <h3 class="tei tei-head" style= + "text-align: left; margin-bottom: 2.40em; margin-top: 2.40em"> + <span style="font-size: 120%">EXERCISE</span></h3> + + <p class="tei tei-p" style="margin-bottom: 1.00em">Prepare a set + of three gray washes, light, medium, and dark (page 83) in three + white dishes. Japanese ink will not mix with our water colors; + use Ivory Black with a touch of Burnt Sienna to bring it to + neutrality.</p> + + <p class="tei tei-p" style="margin-bottom: 1.00em">Having settled + upon a color arrangement for some simple design, mix a small + quantity of color into each dish. Suppose the subject to be a + tulip panel in three values:</p> + + <table summary="This is a list." class="tei tei-list" style= + "margin-bottom: 1.00em; margin-top: 1.00em"> + <tbody> + <tr class="tei tei-labelitem"> + <th class="tei tei-label">1.</th> + + <td class="tei tei-item">Leaves—middle yellow-green</td> + </tr> + + <tr class="tei tei-labelitem"> + <th class="tei tei-label">2.</th> + + <td class="tei tei-item">Flower—middle red-yellow</td> + </tr> + + <tr class="tei tei-labelitem"> + <th class="tei tei-label">3.</th> + + <td class="tei tei-item">Background—light yellow</td> + </tr> + </tbody> + </table> + + <p class="tei tei-p" style="margin-bottom: 1.00em">Add to 1st + dish a yellow green (Prussian Blue and Gamboge); to the 2nd + Vermilion and Gamboge; to the 3rd Raw Sienna. Paint these notes + upon the design. (See opposite page.) Make a half dozen tracings + of the same design. As each one is painted add more color to the + washes until the last one has a very small quantity of gray. The + result is a series in which color grows gradually from neutrals. + No. 66. Next, use bright and gray tones of the same hue, an + effect like faded rugs and age-stained Japanese prints. Dulling + colors with gray may not harmonize them. One who appreciates fine + quality is not deceived by those who <span class= + "tei tei-q">“antique”</span> rugs or prints with coffee and + chemicals. A design poor in proportion, weak in notan and harsh + in color cannot be saved by toning—the faults are only a little + less apparent.</p> + </div> + + <div class="tei tei-div" style= + "margin-bottom: 3.00em; margin-top: 3.00em"> + <p class="tei tei-p" style="margin-bottom: 1.00em">ONE HUE and + NEUTRALS. Another approach to color, from notan, is through + substitution of hues for grays. This might (in a short course) + follow exercises in five or more values (page 89.) Referring now + to the scales of five and seven values, for application to a + design, <span class="tei tei-pb" id="page114">[pg 114]</span> + substitute a hue for one of these grays, carefully keeping the + value. If the subject be a variation of a Coptic textile, a warm + red or yellow-green may be chosen; for a flower panel, bright + yellow, yellow-red or emerald green. Excellence in result will + depend upon distribution of the one hue among neutral tones.</p> + + <p class="tei tei-p" style="margin-bottom: 1.00em">Examples are + many; two kinds only need be mentioned now,—American Indian + pottery, and landscapes in black, gray and vermilion red from + Hokusai's <span class="tei tei-q">“Mangwa,”</span> (p. 57.)</p> + + <p class="tei tei-p" style="margin-bottom: 1.00em">ONE HUE in TWO + and THREE VALUES. The next step would be to replace two grays + with two values of one hue, making scales like these:</p> + + <table summary="This is a list." class="tei tei-list" style= + "margin-bottom: 1.00em; margin-top: 1.00em"> + <tbody> + <tr class="tei tei-labelitem"> + <th class="tei tei-label"></th> + + <td class="tei tei-item">White White</td> + </tr> + + <tr class="tei tei-labelitem"> + <th class="tei tei-label"></th> + + <td class="tei tei-item">Light green</td> + </tr> + + <tr class="tei tei-labelitem"> + <th class="tei tei-label"></th> + + <td class="tei tei-item">Middle green</td> + </tr> + + <tr class="tei tei-labelitem"> + <th class="tei tei-label"></th> + + <td class="tei tei-item">Dark gray</td> + </tr> + + <tr class="tei tei-labelitem"> + <th class="tei tei-label"></th> + + <td class="tei tei-item">Black</td> + </tr> + </tbody> + </table> + + <table summary="This is a list." class="tei tei-list" style= + "margin-bottom: 1.00em; margin-top: 1.00em"> + <tbody> + <tr class="tei tei-labelitem"> + <th class="tei tei-label"></th> + + <td class="tei tei-item">White</td> + </tr> + + <tr class="tei tei-labelitem"> + <th class="tei tei-label"></th> + + <td class="tei tei-item">Light purple</td> + </tr> + + <tr class="tei tei-labelitem"> + <th class="tei tei-label"></th> + + <td class="tei tei-item">Middle gray</td> + </tr> + + <tr class="tei tei-labelitem"> + <th class="tei tei-label"></th> + + <td class="tei tei-item">Dark purple</td> + </tr> + + <tr class="tei tei-labelitem"> + <th class="tei tei-label"></th> + + <td class="tei tei-item">Black</td> + </tr> + </tbody> + </table> + + <p class="tei tei-p" style="margin-bottom: 1.00em">Follow by + eliminating all the grays, and the scale might be like this:</p> + + <table summary="This is a list." class="tei tei-list" style= + "margin-bottom: 1.00em; margin-top: 1.00em"> + <tbody> + <tr class="tei tei-labelitem"> + <th class="tei tei-label"></th> + + <td class="tei tei-item">White</td> + </tr> + + <tr class="tei tei-labelitem"> + <th class="tei tei-label"></th> + + <td class="tei tei-item">Light blue-green</td> + </tr> + + <tr class="tei tei-labelitem"> + <th class="tei tei-label"></th> + + <td class="tei tei-item">Middle blue-green</td> + </tr> + + <tr class="tei tei-labelitem"> + <th class="tei tei-label"></th> + + <td class="tei tei-item">Dark blue-green</td> + </tr> + + <tr class="tei tei-labelitem"> + <th class="tei tei-label"></th> + + <td class="tei tei-item">Black</td> + </tr> + </tbody> + </table> + + <p class="tei tei-p" style="margin-bottom: 1.00em">Choice of + color will depend upon the nature of the design. The medium may + be crayon, wash, opaque water color or oil paint.</p> + + <p class="tei tei-p" style="margin-bottom: 1.00em">TWO and THREE + HUES. If two hues are introduced the complexity will be greater, + but there will be more chances for invention and variation. With + at least ten hues to choose from—R, YR, Y, GY, G, BG, B, PB, P, + RP—each one of which might have perhaps four degrees of intensity + (from very bright to dull) the student has material to compose in + any key. Two typical scales are given below:</p> + + <p class="tei tei-p" style="margin-bottom: 1.00em">Two hues—</p> + + <table summary="This is a list." class="tei tei-list" style= + "margin-bottom: 1.00em; margin-top: 1.00em"> + <tbody> + <tr class="tei tei-labelitem"> + <th class="tei tei-label"></th> + + <td class="tei tei-item">White</td> + </tr> + + <tr class="tei tei-labelitem"> + <th class="tei tei-label"></th> + + <td class="tei tei-item">Light yellow</td> + </tr> + + <tr class="tei tei-labelitem"> + <th class="tei tei-label"></th> + + <td class="tei tei-item">Middle gray</td> + </tr> + + <tr class="tei tei-labelitem"> + <th class="tei tei-label"></th> + + <td class="tei tei-item">Dark green</td> + </tr> + + <tr class="tei tei-labelitem"> + <th class="tei tei-label"></th> + + <td class="tei tei-item">Black</td> + </tr> + </tbody> + </table> + + <p class="tei tei-p" style="margin-bottom: 1.00em">Three + hues—</p> + + <table summary="This is a list." class="tei tei-list" style= + "margin-bottom: 1.00em; margin-top: 1.00em"> + <tbody> + <tr class="tei tei-labelitem"> + <th class="tei tei-label"></th> + + <td class="tei tei-item">White</td> + </tr> + + <tr class="tei tei-labelitem"> + <th class="tei tei-label"></th> + + <td class="tei tei-item">Light yellow</td> + </tr> + + <tr class="tei tei-labelitem"> + <th class="tei tei-label"></th> + + <td class="tei tei-item">Middle gray-green</td> + </tr> + + <tr class="tei tei-labelitem"> + <th class="tei tei-label"></th> + + <td class="tei tei-item">Dark gray-purple</td> + </tr> + + <tr class="tei tei-labelitem"> + <th class="tei tei-label"></th> + + <td class="tei tei-item">Black</td> + </tr> + </tbody> + </table> + </div> + + <div class="tei tei-div" style= + "margin-bottom: 3.00em; margin-top: 3.00em"> + <h3 class="tei tei-head" style= + "text-align: left; margin-bottom: 2.40em; margin-top: 2.40em"> + <span style="font-size: 120%">HARMONY</span></h3> + + <p class="tei tei-p" style="margin-bottom: 1.00em">Will the + exercises in the foregoing chapters ensure a harmony? No, they + are only helps to a better understanding of color. Harmony + depends upon (a) good line design, (b) choice of hues, (c) + quantity of each, (d) a dominating color, (e) notan values, (f) + fine relations of intensity, (g) quality of surface, (h) + handling. All these in perfect synthesis will be found in the + works of the greatest masters. It is also true that simple + harmonies are not difficult to realize, as is witnessed by + primitive art and the best work of students.</p> + + <p class="tei tei-p" style="margin-bottom: 1.00em">With practice + in the ways suggested here, two other things are + necessary,—advice from an experienced and appreciative + instructor, and acquaintance with fine examples of + color.</p><span class="tei tei-pb" id="page115">[pg 115]</span> + <span class="tei tei-pb" id="page116">[pg 116]</span> + + <div class="tei tei-figure" style="text-align: center"> + <a href="images/no_67.jpg"><img src="images/no_67.jpg" alt= + "No. 67. Color schemes from Japanese prints—Applications to Design." /></a> + </div> + </div> + </div><span class="tei tei-pb" id="page117">[pg 117]</span> + <hr class="doublepage" /> + + <div class="tei tei-div" style= + "margin-bottom: 4.00em; margin-top: 4.00em"> + <a name="toc46" id="toc46"></a> <a name="pdf47" id="pdf47"></a> + + <h2 class="tei tei-head" style= + "text-align: left; margin-bottom: 2.88em; margin-top: 2.88em"> + <span style="font-size: 144%">XVI.—COLOR SCHEMES FROM JAPANESE + PRINTS AND FROM TEXTILES</span></h2> + + <div class="tei tei-div" style= + "margin-bottom: 3.00em; margin-top: 3.00em"> + <p class="tei tei-p" style="margin-bottom: 1.00em">In the quest + for harmony, what better course could be taken than to copy + harmonies? Nothing so sharpens color perception as contact with + the best examples. The attempt to reach a master's style, + peculiar color-feeling, refinements of tone and methods of + handling, brings both knowledge and appreciation. For ordinary + use Japanese prints are most convenient and inspiring + color-models.</p> + + <p class="tei tei-p" style="margin-bottom: 1.00em">COPYING + JAPANESE PRINTS. In the best of these the color has a peculiar + bloom due to the process of printing from wood blocks. The paper + is pressed upon forms cut on the flat side of a board; the grain + of the wood, the rough surface of the <span class= + "tei tei-q">“baren”</span> with which the paper is rubbed down, + and the fibrous texture of the paper combine to make a luminous + vibrating tone. Particles of color lie upon the tops of silken + filaments, allowing the undertone of the paper to shine + through,—precisely the quality sought by painters in using a + rough canvas and thin washes, or thick color put on with small + brushes. In the print the vibration is not obvious, but the + effect is that of color over which floats a thin golden + envelope.</p> + + <p class="tei tei-p" style="margin-bottom: 1.00em">Ordinary + charcoal paper is good for copies, as it has a roughness that + aids in producing atmospheric tones. Rub a slight quantity of + charcoal over the surface, very lightly; wipe it off with chamois + or cotton rag, leaving little points of black in the hollows of + the paper.</p> + + <p class="tei tei-p" style="margin-bottom: 1.00em">Isolate the + desired color-passage, by cutting an opening in a sheet of white + paper and laying it upon the face of the print. Copy with washes + of water color. If the print is age-stained, tone your charcoal + paper with Raw Sienna and Ivory Black.</p> + + <p class="tei tei-p" style="margin-bottom: 1.00em">AUTHORS. Good + color-schemes can be found anywhere in the range of Japanese + color-printing, from Okumura Masanobu in the middle of the + XVIIIth century to modern days, but the rarity and great value of + early prints puts them out of reach of those who have not access + to museum collections. I can mention here but a few names, with + which the student is most likely to meet:</p> + + <p class="tei tei-p" style="margin-bottom: 1.00em">Torii Kiyonobu + and his fellows of the <span class="tei tei-q">“red-and-green + period”</span> (first half of the XVIIIth century); Harunobu, + Koriusai, Kiyonaga and Shunsho, who worked in sunny yellows and + reds, pearly greens and pale purples, often most cleverly opposed + with transparent black and cool silvery grays; then Utamaro and + Toyokuni I., strong but less fine.</p> + + <p class="tei tei-p" style="margin-bottom: 1.00em">Among XLXth + century men Hiroshige (page 13) and Hokusai are preëminent + <span class="tei tei-pb" id="page118">[pg 118]</span> as + colorists. Both have strongly influenced Occidental painters. + Hiroshige designed series after series of prints,—scenes famous + for their beauty or historic interest; stations on the two great + highways, the Tokaido and the Kisokaido; effects of wind, rain, + snow and twilight; flowers, birds, and a few figures. He would + recompose the same series again and again in different size and + color-scheme. His design is full of delightful surprises; his + artistic power and inventiveness are astonishing. A prodigious + amount of work is signed by his name; some critics hold that + there was a second, and even a third Hiroshige, but Fenollosa + believed in one only, whose manner naturally varied during a long + life (1790—1858).</p> + + <p class="tei tei-p" style="margin-bottom: 1.00em">Hokusai's + color is strange and imaginative; sometimes delicate almost to + neutrality, sometimes startling and daring. His pupils Hokkei, + Hokuju and the rest are more gentle.</p> + + <p class="tei tei-p" style="margin-bottom: 1.00em">The figure + prints most commonly seen are by Kunisada (Toyokuni II), + Kuniyoshi and other pupils of Toyokuni I., and Keisai Yeisen. + Here, as in most Japanese figure prints, color effects are + produced by skilful combinations of patterns upon costumes. Every + kind of color-key is possible, by this means, with infinite + variations;—impressionist painting with wood blocks. The student + is warned that poor prints abound,—impressions from worn-out + blocks, cheap modern reprints, and imitations. Bright, fresh + color, however, need not be taken to mean imitation; some of the + early editions have been kept in albums in store houses, and the + color has not changed. Experience and appreciation are after all + the only safeguards.</p> + + <p class="tei tei-p" style="margin-bottom: 1.00em">APPLICATION. + Having made the copy of the color-scheme, apply the same colors + to several tracings of one design, (No. 67). One of the things + taught by this exercise is that distribution and proportion of + color affect harmonic relations. Colors that harmonize as they + stand in the print may seem discordant when used in different + quantities; they will surely be so if the design is badly spaced. + With a good design, and correct judgment as to hue, notan and + intensity, the chances are that each variation will be + satisfactory.</p> + + <p class="tei tei-p" style="margin-bottom: 1.00em">Copies from + Hiroshige are of special value to the landscape painter. These + may be made in oil as a study of quality and vibration. The + procedure is a little different from the preceding. It is better, + in oil painting, to copy whole prints. Over the surface of a + large rough canvas scrub a thin gray, of the color of the paper + of the print. Draw the design in a few vigorous lines, omitting + all details. Paint in, at arm's length, the principal color + notes, not covering the whole surface or filling in outlines. Mix + colors beforehand, taking time to copy each hue and value + exactly. The painting, with each color ready upon the palette, + should be swift and vigorous. Place the print above the canvas; + stand while painting; make comparisons at a + distance.</p><span class="tei tei-pb" id="page119">[pg + 119]</span> + + <p class="tei tei-p" style="margin-bottom: 1.00em">Copying + Japanese prints is recommended for practice in color; it does not + replace nature-painting or original design, though it will be a + help to both.</p> + + <p class="tei tei-p" style="margin-bottom: 1.00em">COPYING COLOR + from TEXTILES. The exercises described above may be taken with + textiles. Beauty of color in the finest of these is due to good + composition, the softening of dust and age-stain, and the + atmospheric envelope caused by reflection of light from the + minute points of the web. For some kinds of textile the charcoal + paper, as above, may be useful; for others, gray paper and wax + crayons.</p> + + <p class="tei tei-p" style="margin-bottom: 1.00em">The latter are + excellent for copying rugs and can be used in original designs + for rugs.</p> + + <p class="tei tei-p" style="margin-bottom: 1.00em">As to models, + work from originals in museums,—Persian carpets and rugs, Coptic + and Peruvian tapestries, mediaeval tapestries, Italian, Spanish + and French textiles XIIIth to XVIIIth centuries, etc. In the + <span class="tei tei-q">“rag-fairs”</span> of Europe, and in + antique shops, one may find scraps of the woven and printed + stuffs of the best periods. The South Kensington Museum has + published colored reproductions of textiles. Art libraries will + have Fischbach's, Mumford's, the Kelekian Collection and others + in full color.</p> + </div> + </div> + </div> + <hr class="doublepage" /> + + <div class="tei tei-div" style= + "margin-bottom: 5.00em; margin-top: 5.00em"> + <span class="tei tei-pb" id="page120">[pg 120]</span> <a name="toc48" + id="toc48"></a> <a name="pdf49" id="pdf49"></a> + + <h1 class="tei tei-head" style= + "text-align: left; margin-bottom: 3.46em; margin-top: 3.46em"> + <span style="font-size: 173%">COMPOSITION</span></h1> + + <div class="tei tei-div" style= + "margin-bottom: 4.00em; margin-top: 4.00em"> + <a name="toc50" id="toc50"></a> <a name="pdf51" id="pdf51"></a> + + <h2 class="tei tei-head" style= + "text-align: left; margin-bottom: 2.88em; margin-top: 2.88em"> + <span style="font-size: 144%">XVII.—IN DESIGN AND + PAINTING</span></h2> + + <div class="tei tei-div" style= + "margin-bottom: 3.00em; margin-top: 3.00em"> + <p class="tei tei-p" style="margin-bottom: 1.00em">The test of + any system of art-study lies in what you can do with it. + Harmony-building has been the theme of the foregoing pages, with + progressive exercises in structural line, dark-and-light and + color. The product should be power,—power to appreciate, power to + do something worth while. Practice in simple harmonies gives + control of the more complex relations, and enables one to create + with freedom in any field of art. Such training is the best + foundation for work in design, architecture, the crafts, + painting, sculpture and teaching. After this should come special + training; for the designer, architect, craftsman, study of + historic styles, severe drill in drawing (freehand and + mechanical), knowledge of materials; for the painter and + sculptor, long practice in drawing and modelling, acquirement of + technique; for the teacher, drill in drawing, painting, designing + and modelling, study of educational principles, knowledge of + school conditions and public needs, practice teaching. In a word, + first cultivate the mind, set the thoughts in order, utilize the + power within; then the eye and the hand can be trained + effectively, with a definite end in view. The usual way, in our + systems of art-instruction, is to put drill first, leaving + thought and appreciation out of account.</p> + + <p class="tei tei-p" style="margin-bottom: 1.00em">Applications + of structural principles are many; I can mention and illustrate + but a few:</p> + </div> + + <div class="tei tei-div" style= + "margin-bottom: 3.00em; margin-top: 3.00em"> + <h3 class="tei tei-head" style= + "text-align: left; margin-bottom: 2.40em; margin-top: 2.40em"> + <span style="font-size: 120%">WOOD BLOCK PRINTING</span></h3> + + <p class="tei tei-p" style="margin-bottom: 1.00em">FOR STUDY OF + PATTERN AND COLOR. The art of wood block printing has been + practised for ages in Oriental countries. Our word <span class= + "tei tei-q">“calico”</span> is from the name of an Indian town, + Calicut, whence printed patterns were brought to England. The + older Indian designs, now very rare, had great beauty of line and + color. These ancient cotton prints are used by the Japanese for + outer coverings of pieces of precious pottery,—first a silk + brocade bag, then one of Indian calico enveloping a wooden box in + which is the bowl wrapped in plain cotton cloth. The process of + wood block printing is very simple, and in my opinion of special + educational value. After observation of the craft in India in + 1904 I determined to introduce it into art courses—both for + adults and children. The method is outlined below:</p> + + <table summary="This is a list." class="tei tei-list" style= + "margin-bottom: 1.00em; margin-top: 1.00em"> + <tbody> + <tr class="tei tei-labelitem"> + <th class="tei tei-label">1.</th> + + <td class="tei tei-item">Design the pattern in pencil or + ink.</td> + </tr> + + <tr class="tei tei-labelitem"> + <th class="tei tei-label">2.</th> + + <td class="tei tei-item">Draw the unit, with attention to + its shape and proportions and the effect when + repeated.</td> + </tr> + + <tr class="tei tei-labelitem"> + <th class="tei tei-label">3.</th> + + <td class="tei tei-item">Paste this face down upon a wood + block; pine, gum wood, or a hard wood of close grain.</td> + </tr> + + <tr class="tei tei-labelitem"> + <th class="tei tei-label">4.</th> + + <td class="tei tei-item">Cut away the white spaces, + clearing with a gouge. As the block is to be used as a + stamp, the corners and all outside the design, must be + removed.</td> + </tr> + + <tr class="tei tei-labelitem"> + <th class="tei tei-label">5.</th> + + <td class="tei tei-item">Printing. Lay a piece of felt upon + a slate, or upon a glass, pour a few drops of mucilage upon + the felt, and mix with it either common water color, or dry + color. Distribute this evenly with a flat bristle brush. + Make a large pad, say 22 x 28 or 14 x 20, by tacking + cambric upon a drawing board. Under the cambric should be + one thickness of felt.</td> + </tr> + </tbody> + </table> + + <p class="tei tei-p" style="margin-bottom: 1.00em">PRINTING on + PAPER. A slightly rough absorbent surface prints well. Wrapping + paper can be found in many colors, tones and textures, and is + inexpensive. Damp paper will give clear-cut impressions.</p> + + <p class="tei tei-p" style="margin-bottom: 1.00em">Lay the paper + upon the large pad; charge the block upon the small pad, and + stamp the pattern. If the impression is poor, the cause may + be:—(a) Face of block is not level; rub it upon a sheet of fine + sand-paper; (b) large pad is uneven; (c) paper is wrinkled or is + too glossy; (d) color is too thick or too wet. Practice will + overcome these small difficulties.</p> + + <p class="tei tei-p" style="margin-bottom: 1.00em">PRINTING on + CLOTH. The best effects are obtained with dyes, but their + manipulation is not easy, and their permanence is doubtful unless + one has expert knowledge of the processes of dyeing. The most + convenient medium for the student is oil color thinned with + turpentine (to which may be added a very little acetic acid and + oil of wintergreen). This, when dry, is permanent and can be + washed,—but not with hot water or strong soap.</p> + + <p class="tei tei-p" style="margin-bottom: 1.00em">With the + design in fixed form upon the block, effort can be concentrated + upon the make-up of the pattern, and the color-harmony. By + cutting a block for each color the designer may vary the schemes + almost to infinity. Where choices are many and corrections easy, + invention can have free play.</p> + + <p class="tei tei-p" style="margin-bottom: 1.00em">Examples of + students' printing on paper are given on page 121.</p> + + <p class="tei tei-p" style="margin-bottom: 1.00em">PICTURE + PRINTING is a more difficult, but fascinating form of this + art-craft. Here must be gradation, transparent and vibrating + color, atmospheric over-tone binding all together. For these + qualities the Japanese process is best, with its perfected tools + and methods. In theory it is very simple: The outline is drawn in + ink upon thin paper, and the sheet pasted face down upon the flat + side of a board; the block is then engraved with a knife and + gouges, the drawing being left in relief; the paper is removed + from the lines with a damp cloth, and the block charged with ink. + Dry black mixed with mucilage and water, or any black water color + will answer. For charging, the Japanese use a thick short + brush,—a round bristle brush will serve the purpose. When ink is + scrubbed evenly over the whole surface, the block is ready for + printing. A sheet of Japanese paper, slightly <span class= + "tei tei-pb" id="page126">[pg 126]</span> dampened, is laid upon + the block and rubbed gently with a circular pad called a + <span class="tei tei-q">“baren.”</span> This wonderful instrument + draws the ink up into the paper, giving a clear rich soft line. + The baren is made of a leaf of bamboo stretched over a + saucer-like disk of pasteboard, within which is coiled a braided + fibre-mat.</p> + + <p class="tei tei-p" style="margin-bottom: 1.00em">If the block + has been properly cleared, and the baren is moved in level + sweeps, the paper will not be soiled by ink between the lines. + After printing a number of outlines the colors are painted upon + them and color-blocks engraved. It is possible to have several + colors upon the same board, if widely separated. Accurate + registry is obtained by two marks at the top of the board and one + at the side. The paper must be kept of the same degree of + moisture, otherwise it will shrink and the last impressions will + be out of register.</p> + + <p class="tei tei-p" style="margin-bottom: 1.00em">Dry colors + mixed with water and a little mucilage, or better still, common + water colors, may be used. No. 69 is a reproduction of a print + made in the Japanese way. (In 1895 I exhibited at the Boston + Museum of Fine Arts a collection of my wood block prints. + Professor Fenollosa wrote the introduction to the catalogue, + discussing the possibilities, for color and design, of this + method, then new to America. In <span class="tei tei-q">“Modern + Art”</span> for July, 1896, I described the process in full, with + illustrations, one in color.)</p> + + <p class="tei tei-p" style="margin-bottom: 1.00em">STENCILLING, + like wood block printing, invites variation of rhythm and color + combination. Stencilling is often done without sufficient + knowledge of the craft. The student should understand that a + stencil is simply a piece of perforated water proof paper or + metal to be laid upon paper or cloth and scrubbed over with a + thick brush charged with color; long openings must be bridged + with <span class="tei tei-q">“ties,”</span> and all openings must + be so shaped that their edges will remain flat when the brush + passes over them.</p> + + <div class="tei tei-figure" style="text-align: center"> + <a href="images/no_69a.jpg"><img src="images/no_69a.jpg" alt= + "Japanese Stencil." /></a> + </div> + + <p class="tei tei-p" style="margin-bottom: 1.00em">Stencil units + are usually large, offering good opportunities for Subordination + (page 23), Symmetry, and Proportion (page 28). A unit must not + only be complete in itself but must harmonize with itself in + Repetition (pp. 36, 66). Stencils may be cut upon thick manila + paper which is then coated with shellac; or upon oiled paper. If + stencil brushes cannot be obtained one may use a common, round, + house-painter's brush, wound with string to within an inch of the + end.</p> + + <p class="tei tei-p" style="margin-bottom: 1.00em">Colors may + be,—oil thinned with turpentine; dyes; or dry colors ground on a + slab with water and mucilage. Charge the brush with thin, + thoroughly mixed <span class="tei tei-pb" id="page127">[pg + 127]</span> pigment; if there is too much it will scrape off + under the edges of the stencil and spoil the print. Unprinted + wall paper (<span class="tei tei-q">“lining paper”</span>) is + cheap and very satisfactory for stencilling. It should be tinted + with a thin solution of color to which a little mucilage has been + added. Use a large flat brush about four inches wide, applying + the color with rapid vertical and horizontal strokes.</p> + + <p class="tei tei-p" style="margin-bottom: 1.00em">COLORED + CHARCOAL. This is a further development of the method described + in Chapter XIII (see also page 113). Lay in the picture in light + values of charcoal, remembering that the colorwashes will darken + every tone. Too much rubbing with the stump gives muddiness, too + little charcoal may weaken the values and you will have a + <span class="tei tei-q">“washout.”</span> When the notan-scheme + is right, the drawing may be fixed. It can be colored without + fixing if the stump has been used.</p> + + <p class="tei tei-p" style="margin-bottom: 1.00em">Color is + applied in thin washes allowing the charcoal texture to shine + through. Notan plays the larger part, furnishing the structure of + the composition and giving a harmonic basis for the color. If the + hues are well-chosen, the result should be a harmony of + atmospheric depth, with soft but glowing colors.</p> + + <p class="tei tei-p" style="margin-bottom: 1.00em">PAINTING in + FULL COLOR. In a book devoted to the study of art-structure not + much space can be given to comparison of mediums, or to + professional problems of technique in advanced painting. They + will be mentioned to show the unity of the progressive series, to + suggest to the student some lines of research and experiment, and + to help him in choosing his field of art-work.</p> + + <p class="tei tei-p" style="margin-bottom: 1.00em">WATER COLOR. + This medium is used in many different ways: as a thin transparent + stain, like the work of David Cox, Cotman, De Wint; as a + combination of opaque color and wash, with which J. M. W. Turner + painted air, distance, infinity, the play of light over the + world; as flat wash filling in outlines, like the drawings of + Millet and Boutet de Monvel; as the modern Dutch use it, in + opaque pastel-like strokes on gray paper, or scrubbed in with a + bristle brush; as premier coup painting with no outline (both + drawing and painting) like much Japanese work.</p> + + <p class="tei tei-p" style="margin-bottom: 1.00em">In all these, + line is the basis, whether actually drawn, as by Millet and + Rembrandt, or felt, as by the Japanese and Turner. The best + painting has form and character in every brush-touch.</p> + + <p class="tei tei-p" style="margin-bottom: 1.00em">OIL COLOR. + Instruction in oil painting is usually limited to what might be + called drawing in paint. Of course the student must know his + pigments, how to obtain hues and values by mixing, how to use + brushes, how to sketch in, and all the elementary details,—but + this is but a beginning. Expression of an idea or emotion depends + upon appreciation of art structure; the point is not so much + <span class="tei tei-pb" id="page128">[pg 128]</span> how to + paint, as how to paint well. Artists often say that it matters + not how you get an effect, if you only get it. This is + misleading; it does matter,—the greatest painters get their + effects in a fine way.</p> + + <p class="tei tei-p" style="margin-bottom: 1.00em">Methods of + handling oil color may be reduced to two general classes: (a) the + paint is used thin, as a wash, on a prepared canvas, or (b) it is + put on in thick opaque touches. In either case the aim is the + same—to paint for depth, vibration, illusion of light and color. + If brush strokes are to be left intact, each of them must have + shape and meaning,—that is, line; if color is put on in a thin + wash, then its value, gradation, hue and texture are the main + points,—and these belong to structural harmony. Mural painting is + the highest form of the art, demanding perfect mastery of + Composition. The subject takes visible form in terms of Line; + then is added the mystery, the dramatic counter-play of Notan, + and the illumination of Color. The creative spirit moves onward + absorbing in its march all drawing, perspective, anatomy, + principles of design, color theory—everything contributing to + Power.</p> + </div> + </div> + </div> + <hr class="doublepage" /> + + <div class="tei tei-div" style= + "margin-bottom: 5.00em; margin-top: 5.00em"> + <a name="toc52" id="toc52"></a> <a name="pdf53" id="pdf53"></a> + + <h1 class="tei tei-head" style= + "text-align: left; margin-bottom: 3.46em; margin-top: 3.46em"> + <span style="font-size: 173%">CONCLUSION</span></h1> + + <p class="tei tei-p" style="margin-bottom: 1.00em">I have not + attempted to overthrow old systems, but have pointed out their faults + while trying to present a consistent scheme of art study. The + intention has been to reveal the sources of power; to show the + student how to look within for the greatest help; to teach him not to + depend on externals, not to lean too much on anything or anybody. + Each subject has been treated suggestively rather than exhaustively, + pointing out ways of enlargement and wide application. If some + subjects have seemed to receive rather scant attention it is not + because I am indifferent to them, but because I did not wish to + depart from the special theme of the book; some of these will be + considered in future writings. The book will have accomplished its + purpose if I have made clear the character and meaning of art + structure—if the student can see that out of a harmony of two lines + may grow a Parthenon pediment or a Sorbonne hemicycle; out of the + rude dish of the Zuni a Sung tea-bowl, out of the totem-pole a + Michelangelo's <span class="tei tei-q">“Moses”</span>; that anything + in art is possible when freedom is given to the divine gift + APPRECIATION.</p> + + <div class="tei tei-div" style= + "margin-bottom: 4.00em; margin-top: 4.00em"> + <h2 class="tei tei-head" style= + "text-align: left; margin-bottom: 2.88em; margin-top: 2.88em"> + <span style="font-size: 144%">THE END</span></h2> + + <p class="tei tei-p" style="margin-bottom: 1.00em"></p> + </div> + </div> + </div> + +<div>*** END OF THE PROJECT GUTENBERG EBOOK 45410 ***</div> +</body> +</html> + diff --git a/45410-h/45410-h.html b/45410-h/45410-h.html new file mode 100644 index 0000000..8d74d9a --- /dev/null +++ b/45410-h/45410-h.html @@ -0,0 +1,5798 @@ +<?xml version="1.0" encoding="utf-8"?> +<!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN" + "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd"> + +<html xmlns="http://www.w3.org/1999/xhtml" lang="en" xml:lang="en"> +<head> + <meta name="generator" content= + "HTML Tidy for Linux (vers 25 March 2009), see www.w3.org" /> + <meta http-equiv="Content-Type" content="text/html; charset=utf-8" /> + <meta http-equiv="Content-Style-Type" content="text/css" /> + <link rel="schema.DC" href="http://purl.org/dc/elements/1.1/" /> + <meta name="DC.Creator" content="Arthur Dow" /> + <meta name="DC.Title" content="Composition" /> + <meta name="DC.Date" content="April 15, 2014" /> + <meta name="DC.Language" content="English" /> + <meta name="DC.Publisher" content="Project Gutenberg" /> + <meta name="DC.Identifier" content= + "http://www.gutenberg.org/etext/45410" /> + <meta name="DC.Rights" content="This text is in the public domain." /> + + <title>The Project Gutenberg EBook of Composition by Arthur Dow</title> + <style type="text/css"> +/*<![CDATA[*/ + /* + The Gnutenberg Press - default CSS2 stylesheet + + Any generated element will have a class "tei" and a class "tei-elem" + where elem is the element name in TEI. + The order of statements is important !!! 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You may copy it, give it away or re-use + it under the terms of the Project Gutenberg License <a href= + "#pglicense" class="tei tei-ref">included with this eBook</a> or + online at <a href="http://www.gutenberg.org/license" class= + "tei tei-xref">http://www.gutenberg.org/license</a></p> + </div> + <pre class="pre tei tei-div" style= + "margin-bottom: 3.00em; margin-top: 3.00em"> +Title: Composition + +Author: Arthur Dow + +Release Date: April 15, 2014 [Ebook #45410] + +Language: English + +Character set encoding: UTF-8 + + +***START OF THE PROJECT GUTENBERG EBOOK COMPOSITION*** +</pre> + </div> + </div> + + <div class="tei tei-div" style= + "margin-bottom: 5.00em; margin-top: 5.00em"></div> + <hr class="doublepage" /> + + <div class="tei tei-titlePage" style="text-align: center"> + <span class="tei tei-docTitle" style= + "text-align: center"><span class="tei tei-titlePart" style= + "text-align: center"><span style= + "font-size: 144%">Composition</span></span><br /> + <br /> + <span class="tei tei-titlePart" style= + "text-align: center"><span style="font-size: 120%">A series of + exercises in art structure for the use of students and + teachers</span></span></span> + + <div class="tei tei-byline" style="text-align: center"> + <br /> + <br /> + <br /> + <br /> + <br /> + By <span class="tei tei-docAuthor" style= + "text-align: center">Arthur Wesley Dow</span><br /> + Professor of Fine Arts in Teachers College, Columbia University New + York City<br /> + Formerly Instructor in Art at the Pratt Institute<br /> + Author of Theory and Practice of Teaching Art and The Ipswich + Prints<br /> + <br /> + <br /> + </div><span class="tei tei-docEdition" style= + "text-align: center">NINTH EDITION—REVISED AND ENLARGED WITH NEW + ILLUSTRATIONS AND COLOR PLATES</span> + + <div class="tei tei-figure" style="text-align: center"> + <a href="images/synthsis.jpg"><img src="images/synthsis.jpg" alt= + "Synthesis" /></a> + </div><span class="tei tei-docImprint" style= + "text-align: center">Garden City, New York<br /> + DOUBLEDAY, PAGE & COMPANY<br /> + <br /></span> <span class="tei tei-docDate" style= + "text-align: center">1914</span> + </div> + <hr class="doublepage" /> + + <div class="tei tei-div" style= + "margin-bottom: 5.00em; margin-top: 5.00em"> + <a name="pdf1" id="pdf1"></a> + + <h1 class="tei tei-head" style= + "text-align: left; margin-bottom: 3.46em; margin-top: 3.46em"> + <span style="font-size: 173%">Contents</span></h1> + + <ul class="tei tei-index tei-index-toc"> + <li><a href="#toc2">BEGINNINGS</a></li> + + <li><a href="#toc4">THE THREE ELEMENTS</a></li> + + <li style="margin-left: 2em"><a href="#toc6">I. + LINE—NOTAN—COLOR</a></li> + + <li><a href="#toc8">LINE DRAWING</a></li> + + <li style="margin-left: 2em"><a href="#toc10">II.—JAPANESE + MATERIALS AND BRUSH PRACTICE</a></li> + + <li><a href="#toc12">PRINCIPLES OF COMPOSITION</a></li> + + <li style="margin-left: 2em"><a href="#toc14">III.—WAYS OF CREATING + HARMONY</a></li> + + <li><a href="#toc16">LINE</a></li> + + <li style="margin-left: 2em"><a href="#toc18">IV.—COMPOSITION IN + SQUARES AND CIRCLES</a></li> + + <li style="margin-left: 2em"><a href="#toc20">V.—COMPOSITION IN + RECTANGLES—VARIATION</a></li> + + <li style="margin-left: 2em"><a href="#toc22">VI.—LANDSCAPE + COMPOSITION</a></li> + + <li style="margin-left: 2em"><a href="#toc24">VII.—COMPOSITION IN + REPRESENTATION</a></li> + + <li><a href="#toc26">NOTAN</a></li> + + <li style="margin-left: 2em"><a href= + "#toc28">VIII.—HARMONY-BUILDING WITH DARK-AND-LIGHT</a></li> + + <li style="margin-left: 2em"><a href="#toc30">IX.—TWO + VALUES—VARIATIONS—DESIGN</a></li> + + <li style="margin-left: 2em"><a href="#toc32">X.—TWO + VALUES—LANDSCAPE AND PICTURES</a></li> + + <li style="margin-left: 2em"><a href="#toc34">XI.—TWO VALUES—GOTHIC + SCULPTURE JAPANESE DESIGN BOOKS. APPLICATIONS OF TWO + VALUES</a></li> + + <li style="margin-left: 2em"><a href="#toc36">XII.—THREE + VALUES</a></li> + + <li style="margin-left: 2em"><a href="#toc38">XIII.—MORE THAN THREE + VALUES</a></li> + + <li><a href="#toc40">COLOR</a></li> + + <li style="margin-left: 2em"><a href="#toc42">XIV.—COLOR + THEORY</a></li> + + <li style="margin-left: 2em"><a href="#toc44">XV.—COLOR DERIVED + FROM NOTAN</a></li> + + <li style="margin-left: 2em"><a href="#toc46">XVI.—COLOR SCHEMES + FROM JAPANESE PRINTS AND FROM TEXTILES</a></li> + + <li><a href="#toc48">COMPOSITION</a></li> + + <li style="margin-left: 2em"><a href="#toc50">XVII.—IN DESIGN AND + PAINTING</a></li> + + <li><a href="#toc52">CONCLUSION</a></li> + </ul> + </div> + <hr class="doublepage" /> + + <div class="tei tei-div" style= + "margin-bottom: 5.00em; margin-top: 5.00em"> + <h1 class="tei tei-head" style= + "text-align: left; margin-bottom: 3.46em; margin-top: 3.46em"> + <span style="font-size: 173%">ACKNOWLEDGMENTS</span></h1> + + <p class="tei tei-p" style="margin-bottom: 1.00em">Note.—The author + gratefully acknowledges the courtesy of those named below in + according him permission to use photographs of certain paintings and + objects of art as illustrations for this book.</p> + + <table summary="This is a list." class="tei tei-list" style= + "margin-bottom: 1.00em; margin-top: 1.00em"> + <tbody> + <tr class="tei tei-labelitem"> + <th class="tei tei-label"></th> + + <td class="tei tei-item">Museum of Fine Arts, Boston</td> + </tr> + + <tr class="tei tei-labelitem"> + <th class="tei tei-label"></th> + + <td class="tei tei-item">Metropolitan Museum, New York</td> + </tr> + + <tr class="tei tei-labelitem"> + <th class="tei tei-label"></th> + + <td class="tei tei-item">The National Gallery, London</td> + </tr> + + <tr class="tei tei-labelitem"> + <th class="tei tei-label"></th> + + <td class="tei tei-item">Musée de Cluny. Paris (J. Leroy, + photographer)</td> + </tr> + + <tr class="tei tei-labelitem"> + <th class="tei tei-label"></th> + + <td class="tei tei-item">Musée de Sculpture Comparée. + Paris</td> + </tr> + + <tr class="tei tei-labelitem"> + <th class="tei tei-label"></th> + + <td class="tei tei-item">Dr. William Sturgis Bigelow, Boston + (permission to photograph Japanese paintings)</td> + </tr> + + <tr class="tei tei-labelitem"> + <th class="tei tei-label"></th> + + <td class="tei tei-item">Mr. Frederick W. Gookin (use of + photographs from Kenzan and Kano Gyokuraku, made specially for + Mr. Gookin, Boston M. F. A.</td> + </tr> + + <tr class="tei tei-labelitem"> + <th class="tei tei-label"></th> + + <td class="tei tei-item">Giacomo Brogi, Florence</td> + </tr> + + <tr class="tei tei-labelitem"> + <th class="tei tei-label"></th> + + <td class="tei tei-item">Fratelli Alinari. Florence</td> + </tr> + + <tr class="tei tei-labelitem"> + <th class="tei tei-label"></th> + + <td class="tei tei-item">D. Anderson, Rome</td> + </tr> + + <tr class="tei tei-labelitem"> + <th class="tei tei-label"></th> + + <td class="tei tei-item">W. A. Mansell & Co., London</td> + </tr> + + <tr class="tei tei-labelitem"> + <th class="tei tei-label"></th> + + <td class="tei tei-item">F. Rothier, Reims, France, and</td> + </tr> + + <tr class="tei tei-labelitem"> + <th class="tei tei-label"></th> + + <td class="tei tei-item">Kaltenbacher, Amiens, France (the + Ruskin photographer)</td> + </tr> + </tbody> + </table> + + <p class="tei tei-p" style="margin-bottom: 1.00em">License to use + photographs was also obtained from the Autotype Fine Art Company, + Limited, London (the Michelangelo drawing, page 51), and from Baldwin + Coolidge, Boston.</p> + </div> + + <div class="tei tei-figure" style="text-align: center"> + <a href="images/p002.jpg"><img src="images/p002.jpg" alt= + "Landscape After Titlepage" /></a> + </div> + </div> + + <div class="tei tei-body" style= + "margin-bottom: 6.00em; margin-top: 6.00em"> + <hr class="doublepage" /> + + <div class="tei tei-div" style= + "margin-bottom: 5.00em; margin-top: 5.00em"> + <a name="toc2" id="toc2"></a> <a name="pdf3" id="pdf3"></a> + + <h1 class="tei tei-head" style= + "text-align: left; margin-bottom: 3.46em; margin-top: 3.46em"> + <span style="font-size: 173%">BEGINNINGS</span></h1> + + <p class="tei tei-p" style="margin-bottom: 1.00em">In writing this + book my main purpose is to set forth a way of thinking about art. The + most that such a book can do is to direct the thoughts, awaken a + sense of power and point to ways of controlling it.</p> + + <p class="tei tei-p" style="margin-bottom: 1.00em">The principles of + art teaching here outlined might be illustrated in other ways and + with better examples. I hope the reader will see how each chapter can + be developed into many sets of lessons. The progressions can be + varied, materials changed, lessons amplified and different designs + chosen, providing there is no sacrifice of essentials. The book is + based upon my experience in painting and teaching for more than + twenty years. The first edition of Composition was published in 1899. + In this revision I have made many additions and used new + illustrations without departing from theory or principles. + Composition was chosen as a title because that word expresses the + idea upon which the method here presented is founded—the <span class= + "tei tei-q">“putting together”</span> of lines, masses and colors to + make a harmony. Design, understood in its broad sense, is a better + word, but popular usage has restricted it to decoration.</p> + + <p class="tei tei-p" style="margin-bottom: 1.00em">Composition, + building up of harmony, is the fundamental process in all the fine + arts. I hold that art should be approached through composition rather + than through imitative drawing. The many different acts and processes + combined in a work of art may be attacked and mastered one by one, + and thereby a power gained to handle them unconsciously when they + must be used together. If a few elements can be united harmoniously, + a step has been taken toward further creation. Only through the + appreciations does the composer recognize a harmony. Hence the effort + to find art-structure resolves itself into a development of + appreciation. This faculty is a common human possession but may + remain inactive. A way must be found to lay hold upon it and cause it + to grow. A natural method is that of exercises in progressive order, + first building up very simple harmonies, then proceeding on to the + highest forms of composition. Such a method of study includes all + kinds of drawing, design and painting. It offers a means of training + for the creative artist, for the teacher or for one who studies art + for the sake of culture.</p> + + <p class="tei tei-p" style="margin-bottom: 1.00em">This approach to + art through Structure is absolutely opposed to the time-honored + approach through Imitation. For a great while we have been teaching + art through imitation—of nature and the <span class= + "tei tei-q">“historic styles”</span>—leaving structure to take care + of itself; gathering <span class="tei tei-pb" id="page4">[pg + 4]</span> knowledge of facts but acquiring little power to use them. + This is why so much modern painting is but picture-writing; only + story-telling, not art; and so much architecture and decoration only + dead copies of conventional motives. Good drawing results from + trained judgment, not from the making of fac-similes or maps. Train + the judgment, and ability to draw grows naturally. Schools that + follow the imitative or academic way regard drawing as a preparation + for design, whereas the very opposite is the logical order—design a + preparation for drawing.</p> + + <p class="tei tei-p" style="margin-bottom: 1.00em">Soon after the + time of Leonardo da Vinci art education was classified into + Representative (imitative), and Decorative, with separate schools for + each—a serious mistake which has resulted in loss of public + appreciation. Painting, which is essentially a rhythmic harmony of + colored spaces, became sculptural, an imitation of modelling. + Decoration became trivial, a lifeless copying of styles. The true + relation between design and representation was lost.</p> + + <p class="tei tei-p" style="margin-bottom: 1.00em">This error is + long-lived. An infinite amount of time is wasted in misdirected + effort because tradition has a strong hold, and because artists who + have never made a study of education keep to old ruts when they + teach.</p> + + <p class="tei tei-p" style="margin-bottom: 1.00em">This academic + system of art-study ignores fundamental structure, hence the young + pupil understands but few phases of art. Confronted with a Japanese + ink painting, a fresco by Giotto or a Gothic statue he is unable to + recognize their art value. Indeed he may prefer modern clever + nature-imitation to imaginative work of any period.</p> + + <p class="tei tei-p" style="margin-bottom: 1.00em">Study of + composition of Line, Mass and Color leads to appreciation of all + forms of art and of the beauty of nature. Drawing of natural objects + then becomes a language of expression. They are drawn because they + are beautiful or because they are to be used in some art work. + Facility in drawing will come more quickly in this way than by a dull + routine of imitation with no definite end in view.</p> + + <p class="tei tei-p" style="margin-bottom: 1.00em">The history of + this structural system of art teaching may be stated in a few words; + and here I am given the opportunity to express my indebtedness to one + whose voice is now silent. An experience of five years in the French + schools left me thoroughly dissatisfied with academic theory. In a + search for something more vital I began a comparative study of the + art of all nations and epochs. While pursuing an investigation of + Oriental painting and design at the Boston Museum of Fine Arts I met + the late Professor Ernest F. Fenollosa. He was then in charge of the + Japanese collections, a considerable portion of which had been + gathered by him in Japan. He was a philosopher and logician gifted + with a brilliant mind of great analytical power. This, with rare + appreciation, gave him an insight into the nature of fine art such as + few ever attain.</p><span class="tei tei-pb" id="page5">[pg 5]</span> + + <p class="tei tei-p" style="margin-bottom: 1.00em">As imperial art + commissioner for the Japanese government he had exceptional + opportunities for a critical knowledge of both Eastern and Western + art. He at once gave me his cordial support in my quest, for he also + felt the inadequacy of modern art teaching. He vigorously advocated a + radically different idea, based as in music, upon synthetic + principles. He believed music to be, in a sense, the key to the other + fine arts, since its essence is pure beauty; that space art may be + called <span class="tei tei-q">“visual music”</span>, and may be + studied and criticised from this point of view. Convinced that this + new conception was a more reasonable approach to art, I gave much + time to preparing with Professor Fenollosa a progressive series of + synthetic exercises. My first experiment in applying these in + teaching was made in 1889 in my Boston classes, with Professor + Fenollosa as lecturer on the philosophy and history of art. The + results of the work thus begun attracted the attention of some + educators, notably Mr. Frederic B. Pratt, of that great institution + where a father's vision has been given form by the sons. Through his + personal interest and confidence in these structural principles, a + larger opportunity was offered in the art department of Pratt + Institute, Brooklyn. Here during various periods, I had charge of + classes in life drawing, painting, design and normal art; also of a + course for Kindergarten teachers. Professor Fenollosa continued his + lectures during the first year.</p> + + <p class="tei tei-p" style="margin-bottom: 1.00em">The growth of the + work and its influence upon art teaching are now well known.</p> + + <p class="tei tei-p" style="margin-bottom: 1.00em">In 1900 I + established the Summer School at Ipswich, Massachusetts, for the + purpose of obtaining a better knowledge of the relation of art to + handicraft and manual training. Composition of line, mass and color + was applied to design, landscape and very simple hand work in metal, + wood-block printing and textiles. Parts of 1903 and '04 were spent in + Japan, India and Egypt observing the native crafts and gathering + illustrative material.</p> + + <p class="tei tei-p" style="margin-bottom: 1.00em">In 1904 I became + director of fine arts in Teachers College, Columbia University, New + York. The art courses are now arranged in progressive series of + synthetic exercises in line, dark-and-light and color. Composition is + made the basis of all work in drawing, painting, designing and + modelling—of house decoration and industrial arts—of normal courses + and of art training for children, After twenty years' experience in + teaching I find that the principles hold good under varying + conditions, and produce results justifying full confidence. They + bring to the student, whether designer, craftsman, sculptor or + painter an increase of creative power; to the teacher, all this and + an educational theory capable of the widest application. To all whose + loyal support has given impetus and advancement to this work—to the + pupils and friends who have so generously furnished examples for + illustration—I offer most grateful acknowledgments.</p> + + <div class="tei tei-signed" style="text-align: right"> + ARTHUR WESLEY DOW + </div> + + <div class="tei tei-dateline"> + New York, 1912 + </div> + </div><span class="tei tei-pb" id="page6">[pg 6]</span> <span class= + "tei tei-pb" id="page7">[pg 7]</span> + <hr class="doublepage" /> + + <div class="tei tei-div" style= + "margin-bottom: 5.00em; margin-top: 5.00em"> + <a name="toc4" id="toc4"></a> <a name="pdf5" id="pdf5"></a> + + <h1 class="tei tei-head" style= + "text-align: left; margin-bottom: 3.46em; margin-top: 3.46em"> + <span style="font-size: 173%">THE THREE ELEMENTS</span></h1> + + <div class="tei tei-div" style= + "margin-bottom: 4.00em; margin-top: 4.00em"> + <a name="toc6" id="toc6"></a> <a name="pdf7" id="pdf7"></a> + + <h2 class="tei tei-head" style= + "text-align: left; margin-bottom: 2.88em; margin-top: 2.88em"> + <span style="font-size: 144%">I. LINE—NOTAN—COLOR</span></h2> + + <p class="tei tei-p" style="margin-bottom: 1.00em">Architecture, + Sculpture, Painting, Music and Poetry are the principal fine arts. + Of these the first three are called Space arts, and take the + various forms of arranging, building, constructing, designing, + modelling and picture-painting. In the space arts there are three + structural elements with which harmonies may be built up:</p> + + <table summary="This is a list." class="tei tei-list" style= + "margin-bottom: 1.00em; margin-top: 1.00em"> + <tbody> + <tr class="tei tei-labelitem"> + <th class="tei tei-label">1.</th> + + <td class="tei tei-item">LINE. The chief element of beauty in + architecture, sculpture, metal work, etching, line design and + line drawings. Nos. 1, 2, 3, 6, 23, 38.</td> + </tr> + + <tr class="tei tei-labelitem"> + <th class="tei tei-label">2.</th> + + <td class="tei tei-item">NOTAN. The chief element in + illustration, charcoal drawing, mezzotint, Oriental ink + painting and architectural light and shade. Nos. 5, 59, 60, + 61.</td> + </tr> + + <tr class="tei tei-labelitem"> + <th class="tei tei-label">3.</th> + + <td class="tei tei-item">COLOR. The chief element in + painting, Japanese prints, textile design, stained glass, + embroidery, enamelling and pottery decoration. Nos. 8, 9, and + Chap. XIV.</td> + </tr> + </tbody> + </table> + + <div class="tei tei-figure" style="text-align: center"> + <a href="images/no_01.jpg"><img src="images/no_01.jpg" alt= + "No. 1. LINE. Iron, XV Century" /></a> + </div> + + <div class="tei tei-figure" style="text-align: center"> + <a href="images/no_02.jpg"><img src="images/no_02.jpg" alt= + "No. 2. LINE—Flying Buttresses, Chartres Cathedral" /></a> + </div> + + <p class="tei tei-p" style="margin-bottom: 1.00em">The term LINE + refers to boundaries of shapes and the interrelations of lines and + spaces. Line-beauty means harmony of combined lines or the peculiar + quality imparted by special treatment. The term NOTAN, a Japanese + word meaning <span class="tei tei-q">“dark, light”</span>, refers + to the quantity of light reflected, or the massing of tones of + different values. Notan-beauty means the harmony resulting from the + combination of dark and light spaces—whether colored or not—whether + in buildings, in pictures, or in nature.</p><span class= + "tei tei-pb" id="page8">[pg 8]</span> + + <div class="tei tei-figure" style="text-align: center"> + <a href="images/no_03.jpg"><img src="images/no_03.jpg" alt= + "No. 3 LINE. Harmony of rhythmic curves. From book of prints by Okumura Masanobu, Japanese, 18th century." /></a> + + <div class="tei tei-head" style= + "text-align: center; margin-bottom: 1.00em; margin-top: 1.00em"> + No. 3 LINE. Harmony of rhythmic curves. From book of prints by + Okumura Masanobu, Japanese, 18th century. + </div> + </div> + + <p class="tei tei-p" style="margin-bottom: 1.00em">Careful + distinction should be made between NOTAN, an element of universal + beauty, and LIGHT AND SHADOW, a single fact of external nature. The + term COLOR refers to quality of light.</p> + + <p class="tei tei-p" style="margin-bottom: 1.00em">These three + structural elements are intimately related. Good color is dependent + upon good notan, and that in turn is dependent upon good spacing. + It seems reasonable then that a study of art should begin with + line. One should learn to think in terms of line, and be somewhat + familiar with simple spacing before attempting notan or color. + There is danger, however, of losing interest by dwelling upon one + subject too long. Dark-and-light massing will reveal the mistakes + in spacing and stimulate to renewed effort. Color will reveal the + weakness of <span class="tei tei-pb" id="page9">[pg 9]</span> + dark-and-light. Very young pupils should begin with color but the + instructor will take pains to include spacing and notan in each + lesson. In general, however, the best plan is to take up exercises + in each element in turn; then go back to them separately and make + more detailed studies; then combine them, proceeding toward + advanced compositions. Whatever be the choice of progression, there + must be a thorough grounding in the elementary relations of space + cutting and simple massings of dark-and-light. This is essential to + successful work in designing, drawing, modelling, painting, + architecture and the crafts.</p> + + <div class="tei tei-figure" style="text-align: center"> + <a href="images/no_04.jpg"><img src="images/no_04.jpg" alt= + "No. 4. LINE. Priest, from Rheims Cathedral." /></a> + </div> + + <div class="tei tei-figure" style="text-align: center"> + <a href="images/no_05.jpg"><img src="images/no_05.jpg" alt= + "No. 5. Venetian Lace 2 values. Three values. Peruvian, Four values." /></a> + </div><span class="tei tei-pb" id="page10">[pg 10]</span> + <span class="tei tei-pb" id="page11">[pg 11]</span> + + <div class="tei tei-figure" style="text-align: center"> + <a href="images/no_06.jpg"><img src="images/no_06.jpg" alt= + "No. 6. Examples of Line Harmony. Greek Sculpture, Aphrodite. Gothic Sculpture, Mary." /></a> + + <div class="tei tei-head" style= + "text-align: center; margin-bottom: 1.00em; margin-top: 1.00em"> + No. 6. Examples of Line Harmony. Greek Sculpture, Aphrodite. + Gothic Sculpture, Mary. + </div> + </div><span class="tei tei-pb" id="page12">[pg 12]</span> + + <div class="tei tei-figure" style="text-align: center"> + <a href="images/no_07.jpg"><img src="images/no_07.jpg" alt= + "No. 7. Examples of Line and Notan Harmony. Michelangelo. Botticelli. Gothic Finial. Rhodian Ware." /></a> + </div><span class="tei tei-pb" id="page13">[pg 13]</span> + + <div class="tei tei-figure" style="text-align: center"> + <a href="images/no_08.jpg"><img src="images/no_08.jpg" alt= + "No. 8. Examples of Color Harmony. HIROSHIGE. “Taki no gawa at Oji”" /></a> + + <div class="tei tei-head" style= + "text-align: center; margin-bottom: 1.00em; margin-top: 1.00em"> + No. 8. Examples of Color Harmony. HIROSHIGE. <span class= + "tei tei-q" style="text-align: center">“Taki no gawa at + Oji”</span> + </div> + </div> + + <div class="tei tei-figure" style="text-align: center"> + <a href="images/no_09.jpg"><img src="images/no_09.jpg" alt= + "No. 9. Examples of Color Harmony. Persian Woolen, ancient" /></a> + + <div class="tei tei-head" style= + "text-align: center; margin-bottom: 1.00em; margin-top: 1.00em"> + No. 9. Examples of Color Harmony. Persian Woolen, ancient + </div> + </div> + </div> + </div><span class="tei tei-pb" id="page14">[pg 14]</span> <span class= + "tei tei-pb" id="page15">[pg 15]</span> + <hr class="doublepage" /> + + <div class="tei tei-div" style= + "margin-bottom: 5.00em; margin-top: 5.00em"> + <a name="toc8" id="toc8"></a> <a name="pdf9" id="pdf9"></a> + + <h1 class="tei tei-head" style= + "text-align: left; margin-bottom: 3.46em; margin-top: 3.46em"> + <span style="font-size: 173%">LINE DRAWING</span></h1> + + <div class="tei tei-div" style= + "margin-bottom: 4.00em; margin-top: 4.00em"> + <a name="toc10" id="toc10"></a> <a name="pdf11" id="pdf11"></a> + + <h2 class="tei tei-head" style= + "text-align: left; margin-bottom: 2.88em; margin-top: 2.88em"> + <span style="font-size: 144%">II.—JAPANESE MATERIALS AND BRUSH + PRACTICE</span></h2> + + <p class="tei tei-p" style="margin-bottom: 1.00em">Japanese + brushes, ink and paper are to be preferred for exercises in line + drawing, tracing, notan massing and washes in grays. Long brushes + are best for long continuous lines, short brushes for sharp corners + and broken lines. For lettering, clip the point of a long + line-brush, (see p. 55)</p> + + <div class="tei tei-figure" style="text-align: center"> + <a href="images/jbrushes.jpg"><img src="images/jbrushes.jpg" alt= + "Japanese Brushes" /></a> + </div> + + <p class="tei tei-p" style="margin-bottom: 1.00em">Japanese paper + for artists' use is made of the bark of the mulberry tree, and is + prepared with a sizing of glue and alum. Unprinted wall paper + (lining paper) is serviceable for practice work. <span class= + "tei tei-q">“Bogus”</span> paper and cover papers can also be used + for line or mass.</p> + + <p class="tei tei-p" style="margin-bottom: 1.00em">Japanese ink + must be ground upon the ink-stone, a slab of slate. Intense + blackness can be secured immediately by using only a few drops of + water. Dry the ink stick, and wrap in paper; never leave it + soaking. Ink of good quality, and a clean stone are essential. + Tools perfected by ages of practice in line drawing and brush work, + afford the best training for hand and eye. Painting with the + Japanese brush leads directly to oil painting. If Japanese + materials are not to be obtained or are not desired, the exercises + can be carried on with pencil, charcoal, water colors, crayons, and + even oil paint.</p> + + <div class="tei tei-figure" style="text-align: center"> + <a href="images/inkstone.jpg"><img src="images/inkstone.jpg" alt= + "Japanese ink and ink-stone." /></a> + </div><span class="tei tei-pb" id="page16">[pg 16]</span> + + <p class="tei tei-p" style="margin-bottom: 1.00em">For line drawing + the brush is held in a perpendicular position, that it may move + freely in all directions, much like the etcher's needle. The brush + should be well charged with ink, then pressed firmly down upon the + paper till it spreads to the width desired for the line. Draw with + the whole hand and arm in one sweep, not with the fingers. Steady + the hand if necessary by resting the wrist or end of the little + finger on the paper. Draw very slowly. Expressive line is not made + by mere momentum, but by force of will controlling the hand. By + drawing slowly the line can be watched and guided as it grows under + the brush point. Slight waverings are not objectionable; in fact + they often give character to the line.</p> + + <div class="tei tei-figure" style="text-align: center"> + <a href="images/holdbrsh.jpg"><img src="images/holdbrsh.jpg" alt= + "Manner of Holding the Brush." /></a> + </div> + + <div class="tei tei-div" style= + "margin-bottom: 3.00em; margin-top: 3.00em"> + <h3 class="tei tei-head" style= + "text-align: left; margin-bottom: 2.40em; margin-top: 2.40em"> + <span style="font-size: 120%">EXERCISE</span></h3> + + <p class="tei tei-p" style="margin-bottom: 1.00em">Begin with + straight lines, remembering that straightness of direction is the + essential thing, not mere geometric straightness. After some + practice with straight lines, try curves; then irregular lines. + Copy brush drawings from Japanese books, for a study of control + of the hand and quality of touch, No. 11, p. 19. This practice + work can be done upon ordinary paper. The aim of such an exercise + is to put the hand under control of the will, but too much time + should not be given to mere practice, apart from design. Quality + and power of line are illustrated in the drawings of masters, No. + 10 and p. 18. These may be copied later on, for a study of + advanced drawing.</p> + + <div class="tei tei-figure" style="text-align: center"> + <a href="images/pracline.jpg"><img src="images/pracline.jpg" + alt="Practice-lines drawn with Japanese Brush." /></a> + + <div class="tei tei-head" style= + "text-align: center; margin-bottom: 1.00em; margin-top: 1.00em"> + Practice-lines drawn with Japanese Brush. + </div> + </div> + </div> + </div> + </div><span class="tei tei-pb" id="page17">[pg 17]</span> + + <div class="tei tei-figure" style="text-align: center"> + <a href="images/no_10.jpg"><img src="images/no_10.jpg" alt= + "LINE DRAWING II. LINES BY MASTERS. SOGA SHUBUN. RHODIAN PLATES. KENZAN. REMBRANDT." /></a> + </div><span class="tei tei-pb" id="page18">[pg 18]</span> + + <div class="tei tei-figure" style="text-align: center"> + <a href="images/no_10a.jpg"><img src="images/no_10a.jpg" alt= + "LINE DRAWING II. LINES BY MASTERS. Leonardo da Vinci. Michelangelo. Kano Tanyu. Kano Naonobu." /></a> + </div><span class="tei tei-pb" id="page19">[pg 19]</span> + + <div class="tei tei-figure" style="text-align: center"> + <a href="images/no_11.jpg"><img src="images/no_11.jpg" alt= + "LINE DRAWING II. Brush drawings from Japanese Books." /></a> + </div> + + <div class="tei tei-figure" style="text-align: center"> + <a href="images/brshdraw.jpg"><img src="images/brshdraw.jpg" alt= + "Brush Drawing" /></a> + </div><span class="tei tei-pb" id="page20">[pg 20]</span> <span class= + "tei tei-pb" id="page21">[pg 21]</span> + <hr class="doublepage" /> + + <div class="tei tei-div" style= + "margin-bottom: 5.00em; margin-top: 5.00em"> + <a name="toc12" id="toc12"></a> <a name="pdf13" id="pdf13"></a> + + <h1 class="tei tei-head" style= + "text-align: left; margin-bottom: 3.46em; margin-top: 3.46em"> + <span style="font-size: 173%">PRINCIPLES OF COMPOSITION</span></h1> + + <div class="tei tei-div" style= + "margin-bottom: 4.00em; margin-top: 4.00em"> + <a name="toc14" id="toc14"></a> <a name="pdf15" id="pdf15"></a> + + <h2 class="tei tei-head" style= + "text-align: left; margin-bottom: 2.88em; margin-top: 2.88em"> + <span style="font-size: 144%">III.—WAYS OF CREATING + HARMONY</span></h2> + + <p class="tei tei-p" style="margin-bottom: 1.00em">Fine art, by its + very name, implies fine relations. Art study is the attempt to + perceive and to create fine relations of line, mass and color. This + is done by original effort stimulated by the influence of good + examples. As fine relations (that is, harmony, beauty) can be + understood only through the appreciations, the whole fabric of art + education should be based upon a training in appreciation. This + power cannot the imparted like information. Artistic skill cannot + be given by dictation or acquired by reading. It does not come by + merely learning to draw, by imitating nature, or by any process of + storing the mind with facts.</p> + + <p class="tei tei-p" style="margin-bottom: 1.00em">The power is + within—the question is how to reach it and use it.</p> + + <p class="tei tei-p" style="margin-bottom: 1.00em">Increase of + power always comes with exercise. If one uses a little of his + appreciative faculty in simple ways, proceeding on gradually to the + more difficult problems, he is in the line of natural growth. To + put together a few straight lines, creating a harmony of movement + and spacing, calls for exercise of good judgment and appreciation. + Even in this seemingly limited field great things are possible; the + proportions of the Parthenon and Giotto's Tower can be reduced to a + few straight lines finely related and spaced.</p> + + <p class="tei tei-p" style="margin-bottom: 1.00em">Effective + progress in composition depends upon working with an organized and + definite series of exercises, building one experience upon another, + calling for cultivated judgment to discern and decide upon finer + and finer relations. Little can be expressed until lines are + arranged in a Space. Spacing is the very groundwork of Design. Ways + of arranging and spacing I shall call</p> + + <div class="tei tei-div" style= + "margin-bottom: 3.00em; margin-top: 3.00em"> + <h3 class="tei tei-head" style= + "text-align: left; margin-bottom: 2.40em; margin-top: 2.40em"> + <span style="font-size: 120%">PRINCIPLES OF + COMPOSITION</span></h3> + + <p class="tei tei-p" style="margin-bottom: 1.00em">In my + experience these five have been sufficient:</p> + + <table summary="This is a list." class="tei tei-list" style= + "margin-bottom: 1.00em; margin-top: 1.00em"> + <tbody> + <tr class="tei tei-labelitem"> + <th class="tei tei-label">1.</th> + + <td class="tei tei-item">OPPOSITION</td> + </tr> + + <tr class="tei tei-labelitem"> + <th class="tei tei-label">2.</th> + + <td class="tei tei-item">TRANSITION</td> + </tr> + + <tr class="tei tei-labelitem"> + <th class="tei tei-label">3.</th> + + <td class="tei tei-item">SUBORDINATION</td> + </tr> + + <tr class="tei tei-labelitem"> + <th class="tei tei-label">4.</th> + + <td class="tei tei-item">REPETITION</td> + </tr> + + <tr class="tei tei-labelitem"> + <th class="tei tei-label">5.</th> + + <td class="tei tei-item">SYMMETRY</td> + </tr> + </tbody> + </table> + + <p class="tei tei-p" style="margin-bottom: 1.00em">These names + are given to five ways of creating harmony, all being dependent + upon a great general principle, PROPORTION or GOOD SPACING.</p> + + <p class="tei tei-p" style="margin-bottom: 1.00em">1. OPPOSITION. + Two lines meeting form a simple and severe harmony. <span class= + "tei tei-pb" id="page22">[pg 22]</span> Examples will be found in + Greek door-ways, Egyptian temples and early Renaissance + architecture; in plaid design; also in landscape where vertical + lines cut the horizon (see pp. 21, 45, 46.) This principle is + used in the straight line work in squares and rectangles, pp. 32, + 33, 39, and in combination with other principles, pp. 25, 29.</p> + + <div class="tei tei-figure" style="text-align: center"> + <a href="images/no_12.jpg"><img src="images/no_12.jpg" alt= + "No 12. Opposition" /></a> + </div> + + <div class="tei tei-figure" style="text-align: center"> + <a href="images/no_13.jpg"><img src="images/no_13.jpg" alt= + "No 13. Opposition" /></a> + </div> + + <p class="tei tei-p" style="margin-bottom: 1.00em">2. TRANSITION. + The arrangement thus designated involves a step beyond + Opposition. Two straight lines meeting in opposing directions + give an impression of abruptness, severity, or even violence; the + difference of movement being emphasized. If a third line is + added, as in the sketches below, the opposition is softened and + an effect of unity and completeness produced.</p> + + <p class="tei tei-p" style="margin-bottom: 1.00em">This + combination typifies beauty itself which has been defined as + consisting of elements of difference harmonized by elements of + unity.</p> + + <p class="tei tei-p" style="margin-bottom: 1.00em">A very common + example of Transition is the bracket, No. 15. The straight line + is modified into curves and may be elaborated with great + complexity of modelling.</p> + + <div class="tei tei-figure" style="text-align: center"> + <a href="images/no_14.jpg"><img src="images/no_14.jpg" alt= + "No 14. Transition" /></a> + </div> + + <div class="tei tei-figure" style="text-align: center"> + <a href="images/no_15.jpg"><img src="images/no_15.jpg" alt= + "No 15. Transition" /></a> + </div> + + <p class="tei tei-p" style="margin-bottom: 1.00em">Instead of a + drawn line of transition there may be only a suggestion of one, + but the effect is the same; a softening of the corner angle, No. + 14 and pp. 58,60. In pictorial art the vignette, in architecture + the capital, are examples of the transition principle. In design + an effect of Transition may be produced by radiation. + (Illustrations below.) Accidental transitions occur in nature in + the branching of old trees, where the rhythmic lines are thus + unified.</p><span class="tei tei-pb" id="page23">[pg 23]</span> + + <p class="tei tei-p" style="margin-bottom: 1.00em">For + convenience the suggestions for class work are grouped together + in the following</p> + </div> + + <div class="tei tei-div" style= + "margin-bottom: 3.00em; margin-top: 3.00em"> + <h3 class="tei tei-head" style= + "text-align: left; margin-bottom: 2.40em; margin-top: 2.40em"> + <span style="font-size: 120%">EXERCISE</span></h3> + + <p class="tei tei-p" style="margin-bottom: 1.00em">Opposition. + Copy the sketches and illustrations, enlarged. Design + straight-line arrangements of mouldings, plaids and rectangular + panellings, Nos. 13, 18, 24. Find examples in nature, and draw in + line, with brush, pen or pencil without a border.</p> + + <p class="tei tei-p" style="margin-bottom: 1.00em">Transition. + Copy the sketches, as before. Draw a bracket in straight line, + modifying into curved. Design corner ornaments for panels and + book covers; metal work for cabinet. No. 18. Find examples in + nature and draw in line. No. 18.</p> + + <p class="tei tei-p" style="margin-bottom: 1.00em">It is + important in all such work to make a number of sketches from + which the best may be chosen.</p> + + <p class="tei tei-p" style="margin-bottom: 1.00em">3. + SUBORDINATION. Neither of the foregoing principles is often found + alone as the basis of a single work. Transition in particular, + usually serves to harmonize the parts of a composition. The + principle Subordination is a great constructive idea not only in + the space arts but in all the fine arts:</p> + + <p class="tei tei-p" style="margin-bottom: 1.00em">To form a + complete group the parts are attached or related to a single + dominating element which determines the character of the whole. A + tree trunk with its branches is a good type of this kind of + harmony; unity secured through the relation of principal and + subordinate, even down to the veinings of leaves—a multitude of + parts organized into a simple whole. This way of creating beauty + is conspicuous in the perfect spacing and line-rhythm of + Salisbury cathedral, St. Maclou of Rouen and the Taj Mahal; in + Piero della Francesca's <span class= + "tei tei-q">“Resurrection”</span> and Millet's <span class= + "tei tei-q">“Goose-girl”</span>; in some Byzantine design and + Persian rugs (see pp. 58, 65, 98.)</p> + + <div class="tei tei-figure" style="text-align: center"> + <a href="images/no_16.jpg"><img src="images/no_16.jpg" alt= + "No 16. Subordination by Size" /></a> + </div> + + <p class="tei tei-p" style="margin-bottom: 1.00em">It governs the + distribution of masses in Dark-and-Light composition, and of hues + in Color schemes. It appears in poetry (the Odyssey for example) + in the subordination of all parts to the main idea of the + subject. It is used constructively in musical composition. + Whenever unity is to be evolved from complexity, confusion + reduced to order, power felt—through concentration, organization, + leadership—then will be applied the creative principle called + here Subordination.</p> + + <p class="tei tei-p" style="margin-bottom: 1.00em">In Line + Composition the arrangement by principal and subordinate may be + made in three ways, No. 16:</p> + + <table summary="This is a list." class="tei tei-list" style= + "margin-bottom: 1.00em; margin-top: 1.00em"> + <tbody> + <tr class="tei tei-labelitem"> + <th class="tei tei-label">1.</th> + + <td class="tei tei-item">By grouping about an axis, as leaf + relates to stem, branches to trunk.</td> + </tr> + + <tr class="tei tei-labelitem"> + <th class="tei tei-label">2.</th> + + <td class="tei tei-item">By radiation, as in flowers, the + rosette, vault ribs, the anthemion.</td> + </tr> + + <tr class="tei tei-labelitem"> + <th class="tei tei-label">3.</th> + + <td class="tei tei-item">By size, as in a group of mountain + peaks, a cathedral with its spire and pinnacles, tree + clusters, or Oriental rug with centre and border; p. + 65.</td> + </tr> + </tbody> + </table><span class="tei tei-pb" id="page24">[pg 24]</span> + + <p class="tei tei-p" style="margin-bottom: 1.00em">Art-interest + in any of these lies in the fineness of relation. A throwing + together of large and small; mere geometric radiation; or + conventional branching can never be other than commonplace. A + work of fine art constructed upon the principle of Subordination + has all its parts related by delicate adjustments and balance of + proportions, tone and color. A change in one member changes the + whole. No. 22.</p> + + <p class="tei tei-p" style="margin-bottom: 1.00em">To discover + the meaning and the possibility of expression in this form of + corn-position the student may work out a series of problems as + suggested in this</p> + </div> + + <div class="tei tei-div" style= + "margin-bottom: 3.00em; margin-top: 3.00em"> + <h3 class="tei tei-head" style= + "text-align: left; margin-bottom: 2.40em; margin-top: 2.40em"> + <span style="font-size: 120%">EXERCISE</span></h3> + + <p class="tei tei-p" style="margin-bottom: 1.00em">The instructor + draws flower or fruit with stem and leaves. The pupil arranges + this motif in various rectangular spaces (page 25), combining the + 1st and 3rd forms of subordination, and using his critical + judgment in a way that is of great value to the beginner in + composition. The pupil now draws the same or similar subjects + from nature, acquainting himself with their form and character; + then composes them in decorative or pictorial panels—an art-use + of representative drawing as well as exercise in appreciation. + Copy the examples of the 2nd kind of Subordination, and design + original rosettes, anthemions, palmettes, thinking chiefly of the + spacing and rhythm. Find examples in nature; chimneys and roofs, + boats with masts and sails, or tree groups. Draw and arrange in + spaces. Nos. 16, 18, 26, 28, 37, 61.</p> + + <p class="tei tei-p" style="margin-bottom: 1.00em">After choosing + the best out of many trial sketches, draw in line with the + Japanese brush. Then, for further improvement in arrangement, and + refinement of line-quality, trace with brush and ink upon thin + Japanese paper.</p> + + <p class="tei tei-p" style="margin-bottom: 1.00em">4. REPETITION. + This name is give to the opposite of Subordination—the production + of beauty by repeating the same lines in rhythmical order. The + intervals may be equal, as in pattern, or unequal, as in + landscape, see below and No. 20.</p> + + <div class="tei tei-figure" style="text-align: center"> + <a href="images/no_17.jpg"><img src="images/no_17.jpg" alt= + "No 17. Repetition" /></a> + </div> + + <div class="tei tei-figure" style="text-align: center"> + <a href="images/no_18.jpg"><img src="images/no_18.jpg" alt= + "No 18. Opposition, Transition, Opposition and Symmetry, Subordination" /></a> + </div><span class="tei tei-pb" id="page25">[pg 25]</span> + <span class="tei tei-pb" id="page26">[pg 26]</span> + + <p class="tei tei-p" style="margin-bottom: 1.00em">Of all ways of + creating harmony this is the most common, being probably the + oldest form of design. It seems almost instinctive, perhaps + derived from the rhythms of breathing and walking, or the + movement of ripples and rolling waves. Marching is but orderly + walking, and the dance, in its primitive form, is a development + of marching. Children make rows and patterns of sticks or bits of + colored paper, thinking of them as in animated motion. In early + forms of art the figures march or dance around the vases, pots + and baskets.</p> + + <div class="tei tei-figure" style="text-align: center"> + <a href="images/no_19.jpg"><img src="images/no_19.jpg" alt= + "No. 19 Peruvian Tapestry" /></a> + </div> + + <p class="tei tei-p" style="margin-bottom: 1.00em">This principle + of Repetition is the basis of all music and poetry. The sacred + dance of the savage is associated with the drum and other + primitive instruments for marking rhythm; with the chant and + mystic song. From such rude beginnings, from the tomtoms, + trumpets and Pan-pipes of old, music has developed to the + masterpieces of modern times through the building of harmony upon + harmony,—composition.</p> + + <p class="tei tei-p" style="margin-bottom: 1.00em">From the crude + rhythm of the savage, like the Australian song <span class= + "tei tei-q">“Eat; eat; eat,”</span> from the battle cries and + folk poems of barbaric peoples, there has been refinement upon + refinement of word-music ever moving towards the supreme. This + gave the world the verse of Sappho which Swinburne thought the + most beautiful sounds ever produced in language. From the rude + patterns marked with sticks on Indian bowls and pots, or painted + in earth colors on wigwam and belt, or woven on blanket, this + form of space art has grown, through the complexities of Egyptian + and Peruvian textile design to the splendor of Byzantine mosaic, + the jewel patterns of the Moguls, and Gothic sculpture; from + rock-cut pillars of cave temples to the colonnade of the + Parthenon. (For examples of primitive design see the works of + William H. Holmes.)</p> + + <p class="tei tei-p" style="margin-bottom: 1.00em">Repetition, be + it remembered, is only a way of putting lines and spaces + together, and does not in itself produce beauty. A mere row of + things has no art-value. Railroads, fences, blocks of buildings, + and all bad patterns, are, like doggerel rhyme, examples of + repetition without art.</p> + + <p class="tei tei-p" style="margin-bottom: 1.00em">Repetition in + fine spacing, with the intention of creating a harmony, becomes a + builder of art fabric.</p> + </div> + + <div class="tei tei-div" style= + "margin-bottom: 3.00em; margin-top: 3.00em"> + <h3 class="tei tei-head" style= + "text-align: left; margin-bottom: 2.40em; margin-top: 2.40em"> + <span style="font-size: 120%">EXERCISE</span></h3> + + <p class="tei tei-p" style="margin-bottom: 1.00em">1. Borders. + Divide a long space by vertical or oblique lines at regular + intervals. By connecting the ends of these with straight lines, + develope many series of meanders, frets and zigzags. Waves and + scrolls are evolved from these by changing straight to curved + line, No. 20a, and p. 56. 26</p><span class="tei tei-pb" id= + "page27">[pg 27]</span> + + <p class="tei tei-p" style="margin-bottom: 1.00em">2. Surface + pattern. Subdivide a space (freehand) into squares, diamonds or + triangles, determining the size of the unit desired. This will + give a general plan for the distribution of figures. In one of + these spaces compose a simple group in straight lines, line and + dot, or straight and curved, if only geometric pattern be + desired; or a floral form for a sprig pattern. In the composition + of this unit the principle of Subordination will be + remembered.</p> + + <p class="tei tei-p" style="margin-bottom: 1.00em">As soon as the + unit is repeated a new set of relations will be created, + dependent upon the spacing. A secondary pattern forms itself out + of the background spaces. Hence the designer must decide whether + the unit is to fill the skeleton square completely, have a wide + margin, or overrun the square. Repeating the figure in these + various ways will determine the best size. The main effort should + be given to producing a fine relation between one unit and its + neighbors and between pattern and background. All the best work + in Repetition has this refined harmony of spacing. No. 20b below + and pp. 13, 65, 66, 85. Copy the illustrations of Repetition in + this book, and make original variations of them. Copy, in line, + the units of early Italian textiles, Oriental rugs or any of the + best examples to be found in museums or in illustrated art-books. + See <span class="tei tei-q">“Egg and Dart”</span> from the + Parthenon, p. 30, also pp. 67, 121. For anatomy and planning of + pattern, see the works of Lewis F. Day.</p> + + <div class="tei tei-figure" style="text-align: center"> + <a href="images/no_20.jpg"><img src="images/no_20.jpg" alt= + "No 20. Surface Pattern" /></a> + </div><span class="tei tei-pb" id="page28">[pg 28]</span> + + <p class="tei tei-p" style="margin-bottom: 1.00em">SYMMETRY. The + most common and obvious way of satisfying the desire for order is + to place two equal lines or shapes in exact balance, as in a + gable, windows each side of a door, or objects on a shelf. The + term Symmetry applies to three-and four-part groups, or others + where even balance is made, but here it refers mainly to a + two-part arrangement.</p> + + <p class="tei tei-p" style="margin-bottom: 1.00em">Sometimes + construction produces Symmetry, as in the human body; ships; + Greek and Rennaissance architecture; furniture; pottery; books. + Partly from this cause and partly through imitation, Symmetry, + like Repetition, has come to be used in cheap and mean design + where no regard is paid to beauty of form. Japanese art, when + influenced by Zen philosophy, as Okakura Kakuzo tells us in + <span class="tei tei-q">“The Book of Tea”</span>, avoids symmetry + as uninteresting. In Gothic art, the product of richly inventive + and imaginative minds, symmetry was never used in a commonplace + way.</p> + + <p class="tei tei-p" style="margin-bottom: 1.00em">This Principle + of Composition—when united to fine spacing,—produces, in + architecture an effect of repose and completeness; in design a + type of severely beautiful form, as seen in a Greek vase or the + treasures of the Sho-so-in at Nara where so much of the older + Japanese art has been preserved.</p> + + <div class="tei tei-figure" style="text-align: center"> + <a href="images/no_21.jpg"><img src="images/no_21.jpg" alt= + "No 21. Symmetry. Gemini, Amiens Cathedral." /></a> + </div> + + <p class="tei tei-p" style="margin-bottom: 1.00em">A few examples + of Symmetry are given here; the student will readily find others. + Exercises can be easily devised, following the steps suggested + under other principles. See opposite, and Nos. 42, 43.</p> + + <p class="tei tei-p" style="margin-bottom: 1.00em">PROPORTION or + GOOD SPACING. Principles of Composition, I must repeat, are only + ways of arranging lines and shapes; art is not produced by them + unless they are used in combination with this general + principle,—Good Spacing. They are by no means recipes for art, + and their names are of little consequence. Appreciation of + fineness of relations must always govern the method and form of + composition. It is possible to use all the principles here + discussed, and to complete all the exercises, without gaining + much, if any, art experience. The main thing is the striving for + the best, the most harmonious, result that can be obtained. One + way to accomplish this is to compare and choose + continually—making many designs under one subject and selecting + the best. The great general principle of Proportion needs no + special illustration or exercise, because it is so intimate a + part of all other principles and exercises. It may be studied in + every example of supreme art. It is the foundation of all the + finest work in line and mass. The mystery of Spacing will be + revealed to the mind that has developed + Appreciation.</p><span class="tei tei-pb" id="page29">[pg + 29]</span> + + <div class="tei tei-figure" style="text-align: center"> + <a href="images/no_22.jpg"><img src="images/no_22.jpg" alt= + "No. 22. Subordination, Symmetry, Subordination and Repetition, Opposiion and Subordination, Repetition, Repetition and Subordination." /></a> + </div> + + <p class="tei tei-p" style="margin-bottom: 1.00em">SYMMETRY. The + most common and obvious way of satisfying the desire for order is + to place two equal lines or shapes in exact balance, as in a + gable, windows each side of a door, or objects on a shelf. The + term Symmetry applies to three-and four-part groups, or others + where even balance is made, but here it refers mainly to a + two-part arrangement. Sometimes construction produces Symmetry, + as in the human body; ships; Greek and Rennaissance architecture; + furniture; pottery; books. Partly from this cause and partly + through imitation, Symmetry, like Repetition, has come to be used + in cheap and mean design where no regard is paid to beauty of + form. Japanese art, when influenced by Zen philosophy, as Okakura + Kakuzo tells us in <span class="tei tei-q">“The Book of + Tea”</span>, avoids symmetry as uninteresting. In Gothic art, the + product of richly inventive and imaginative minds, symmetry was + never used in a commonplace way.</p><span class="tei tei-pb" id= + "page30">[pg 30]</span> + + <div class="tei tei-figure" style="text-align: center"> + <a href="images/no_23.jpg"><img src="images/no_23.jpg" alt= + "No. 23" /></a> + </div><span class="tei tei-pb" id="page31">[pg 31]</span> + <span class="tei tei-pb" id="page32">[pg 32]</span> + + <div class="tei tei-figure" style="text-align: center"> + <a href="images/no_22a.jpg"><img src="images/no_22a.jpg" alt= + "Geometric, Variations." /></a> + </div> + </div> + </div> + </div> + <hr class="doublepage" /> + + <div class="tei tei-div" style= + "margin-bottom: 5.00em; margin-top: 5.00em"> + <span class="tei tei-pb" id="page33">[pg 33]</span> <a name="toc16" + id="toc16"></a> <a name="pdf17" id="pdf17"></a> + + <h1 class="tei tei-head" style= + "text-align: left; margin-bottom: 3.46em; margin-top: 3.46em"> + <span style="font-size: 173%">LINE</span></h1> + + <div class="tei tei-div" style= + "margin-bottom: 4.00em; margin-top: 4.00em"> + <a name="toc18" id="toc18"></a> <a name="pdf19" id="pdf19"></a> + + <h2 class="tei tei-head" style= + "text-align: left; margin-bottom: 2.88em; margin-top: 2.88em"> + <span style="font-size: 144%">IV.—COMPOSITION IN SQUARES AND + CIRCLES</span></h2> + + <p class="tei tei-p" style="margin-bottom: 1.00em">After working + with the principles long enough to understand their nature, and to + see what can be done with them, the student is ready for problems + in composition. Practice in line arrangement is a preparation for + all kinds of art work, be it design, painting, sculpture or + architecture. Choose an enclosed area of definite and regular + shape, and break it up into a harmonious group of smaller areas by + drawing lines. For these elementary exercises in composition the + square and circle are best because their boundaries are + unchangeable, and attention must be fixed upon interior lines. Take + first the square, using straight lines of equal thickness drawn + with the brush as suggested in chapter II. The result should be a + harmony of well-cut space, a little musical theme in straight lines + and grouped areas. Make many trial arrangements, sketching lightly + with charcoal on <span class="tei tei-q">“bogus”</span> or lining + paper. Select the best, correct them, and draw with brush and ink + over the charcoal lines. From these choose the most satisfactory, + place thin Japanese paper over them and trace in firm black lines, + freehand, with the Japanese brush. Avoid hard wiry lines and all + that savors of rule and compass or laborious pains-taking. Use no + measure <span class="tei tei-pb" id="page34">[pg 34]</span> of any + kind; sizes, shapes and directions must be decided upon without + mechanical aids.</p> + + <div class="tei tei-figure" style="text-align: center"> + <a href="images/no_24.jpg"><img src="images/no_24.jpg" alt= + "No. 24. Composition in Squares and Circles." /></a> + </div> + + <div class="tei tei-figure" style="text-align: center"> + <a href="images/no_25.jpg"><img src="images/no_25.jpg" alt= + "No. 25. Compositions in Squares and Circles" /></a> + </div><span class="tei tei-pb" id="page35">[pg 35]</span> + + <p class="tei tei-p" style="margin-bottom: 1.00em">Never try to + erase an ink line,—if a mistake occurs begin again. Tracing, for + the art-purpose of improving proportions and acquiring an + expressive brush-touch, is a most valuable help to the production + of good work. Architects use tracing-paper for changes in plans. + Japanese artists trace again and again until satisfied with the + quality of touch and strength of drawing. Straight line is chosen + for elementary practice because of its simplicity, and because it + prepares for work with curves. The finest curve is measured by a + series of straight lines in harmonic relations of rhythm and + proportion (p. 42). After some experience with straight line, cut + areas with curved,—geometric, flower, fruit, landscape or + figure.</p> + + <p class="tei tei-p" style="margin-bottom: 1.00em">Equal thickness + of line is advisable now, to fix attention upon direction, touch + and spacing. Variation in width will come later in notan of line + (page 54) and in representative drawing (page 51) where texture and + modelling are to be indicated. The main purpose of this and all + exercises in this book is the creation of harmony, hence if the + result has but a slight degree of line-beauty it can be considered + a first step in Art.</p> + + <p class="tei tei-p" style="margin-bottom: 1.00em">The examples are + chosen from students' work, from Japanese books, from design, craft + and architecture. They illustrate various ways of treating squares + and circles according to principles of composition.</p> + + <table summary="This is a list." class="tei tei-list" style= + "margin-bottom: 1.00em; margin-top: 1.00em"> + <tbody> + <tr class="tei tei-labelitem"> + <th class="tei tei-label">1.</th> + + <td class="tei tei-item">Copy these enlarged, with + brush.</td> + </tr> + + <tr class="tei tei-labelitem"> + <th class="tei tei-label">2.</th> + + <td class="tei tei-item">Select one, as a theme, and make + many variations.</td> + </tr> + + <tr class="tei tei-labelitem"> + <th class="tei tei-label">3.</th> + + <td class="tei tei-item">Originate new line-schemes in + squares and circles.</td> + </tr> + </tbody> + </table> + + <div class="tei tei-figure" style="text-align: center"> + <a href="images/no_26.jpg"><img src="images/no_26.jpg" alt= + "No. 26. Compositions in Squares and Circles." /></a> + </div><span class="tei tei-pb" id="page36">[pg 36]</span> + + <div class="tei tei-figure" style="text-align: center"> + <a href="images/no_27.jpg"><img src="images/no_27.jpg" alt= + "No. 27. Units for wood-block printing, stencilling and hand-coloring." /></a> + </div><span class="tei tei-pb" id="page37">[pg 37]</span> + + <div class="tei tei-div" style= + "margin-bottom: 3.00em; margin-top: 3.00em"> + <h3 class="tei tei-head" style= + "text-align: left; margin-bottom: 2.40em; margin-top: 2.40em"> + <span style="font-size: 120%">APPLICATIONS</span></h3> + + <table summary="This is a list." class="tei tei-list" style= + "margin-bottom: 1.00em; margin-top: 1.00em"> + <tbody> + <tr class="tei tei-labelitem"> + <th class="tei tei-label">1.</th> + + <td class="tei tei-item">Ginghams, plaids, embroidery, + stencil.</td> + </tr> + + <tr class="tei tei-labelitem"> + <th class="tei tei-label">2.</th> + + <td class="tei tei-item">Panelling, window sashes, leading + for glass, inlaid wood, mosaic, enamel on metal.</td> + </tr> + + <tr class="tei tei-labelitem"> + <th class="tei tei-label">3.</th> + + <td class="tei tei-item">Incised lines in wood, clay or + metal, low relief modelling.</td> + </tr> + </tbody> + </table> + + <p class="tei tei-p" style="margin-bottom: 1.00em">Study of the + principle precedes application in all cases. It is true that the + limitations of material must be recognized in making designs for + special purposes. The substance or surface for which the design + is intended will itself suggest the handling; but material + teaches us nothing about the finer relationships. First study the + art of design; develop capacity by exercise of the inventive and + appreciative faculties; then consider the applications in craft + or profession.</p> + + <div class="tei tei-figure" style="text-align: center"> + <a href="images/no_28.jpg"><img src="images/no_28.jpg" alt= + "No. 28. Japanese." /></a> + </div> + </div> + </div><span class="tei tei-pb" id="page38">[pg 38]</span> + <hr class="doublepage" /> + + <div class="tei tei-div" style= + "margin-bottom: 4.00em; margin-top: 4.00em"> + <a name="toc20" id="toc20"></a> <a name="pdf21" id="pdf21"></a> + + <h2 class="tei tei-head" style= + "text-align: left; margin-bottom: 2.88em; margin-top: 2.88em"> + <span style="font-size: 144%">V.—COMPOSITION IN + RECTANGLES—VARIATION</span></h2> + + <div class="tei tei-div" style= + "margin-bottom: 3.00em; margin-top: 3.00em"> + <p class="tei tei-p" style="margin-bottom: 1.00em">In the search + for finer relations there must be every opportunity for choice; + the better the choice, the finer the art. The square and circle + allow choice only as to interior divisions, but the rectangle is + capable of infinite variation in its boundary lines.</p> + + <p class="tei tei-p" style="margin-bottom: 1.00em">The scientific + mind has sought, by analysis of many masterpieces, to discover a + set of perfect proportions, and to reduce them to mathematical + form, for example, 3:5, or 4:7. The secret of spacing in Greek + art has been looked for in the <span class="tei tei-q">“golden + mean”</span>, viz: height is to length as length is to the sum of + height and length. Doubtless such formulae were useful for + ordinary work, but the finest things were certainly the product + of feeling and trained judgment, not of mathematics. Art resists + everything that interferes with free choice and personal + decision; art knows no limits.</p> + + <p class="tei tei-p" style="margin-bottom: 1.00em">Poverty of + ideas is no characteristic of the artist; his mind is ever + striving to express itself in new ways.</p> + + <p class="tei tei-p" style="margin-bottom: 1.00em">The personal + choice of proportions, tones and colors stamps the work with + individuality. A master in art is always intensely individual, + and what he does is an expression of his own peculiar + choices.</p> + + <p class="tei tei-p" style="margin-bottom: 1.00em">The beauty of + proportion in your rectangle is measured by your feeling for fine + relations, not by any formula what ever. No work has art-value + unless it reflects the personality of its author, What everybody + can do easily, or by rule, cannot be art.</p> + + <p class="tei tei-p" style="margin-bottom: 1.00em">The study of + Variation tends to lead the mind away from the conventional and + humdrum, toward original and individual expression. Variation has + no place in academic courses of art teaching, but in composition + it is a most important element.</p> + + <p class="tei tei-p" style="margin-bottom: 1.00em">The masters of + music have shown that infinite possibilities of variation—the + same theme appearing again and again with new beauty, different + quality and complex accompaniment. Even so can lines, masses and + colors be wrought into musical harmonies and endlessly varied. + The Japanese color print exemplifies this, each copy of the same + subject being varied in shade or hue or disposition of masses to + suit the restless inventive energy of its author. In old Italian + textiles the same pattern appears repeatedly, but varied in size, + proportion, dark-and-light and color. In times when art is + decadent, the designers and painters lack inventive power and + merely imitate nature or the creations of others. Then comes + Realism, conventionality, and the death of art.</p><span class= + "tei tei-pb" id="page39">[pg 39]</span> + + <p class="tei tei-p" style="margin-bottom: 1.00em">Some + experience in choice of proportions and the cutting of + rectangular spaces may be gained from the following</p> + + <div class="tei tei-figure" style="text-align: center"> + <a href="images/no_29.jpg"><img src="images/no_29.jpg" alt= + "No. 29. Examples of Rectangular Design." /></a> + </div> + </div> + + <div class="tei tei-div" style= + "margin-bottom: 3.00em; margin-top: 3.00em"> + <h3 class="tei tei-head" style= + "text-align: left; margin-bottom: 2.40em; margin-top: 2.40em"> + <span style="font-size: 120%">EXERCISE</span></h3> + + <table summary="This is a list." class="tei tei-list" style= + "margin-bottom: 1.00em; margin-top: 1.00em"> + <tbody> + <tr class="tei tei-labelitem"> + <th class="tei tei-label">1.</th> + + <td class="tei tei-item">Design some simple theme in + vertical and horizontal lines and arrange it in several + rectangles of the same size, varying the spacing in each, + No. 29a.</td> + </tr> + + <tr class="tei tei-labelitem"> + <th class="tei tei-label">2.</th> + + <td class="tei tei-item">Compose a straight-line theme in + several rectangles of different proportions, No. 29b.</td> + </tr> + + <tr class="tei tei-labelitem"> + <th class="tei tei-label">3.</th> + + <td class="tei tei-item">Choose the best and trace with + brush and ink.</td> + </tr> + </tbody> + </table> + + <p class="tei tei-p" style="margin-bottom: 1.00em">In the first + case there is variation of interior lines only; in the second all + lines are changed. This exercise admits of great expansion, + according to age of pupils and limits of time.</p> + </div> + + <div class="tei tei-div" style= + "margin-bottom: 3.00em; margin-top: 3.00em"> + <h3 class="tei tei-head" style= + "text-align: left; margin-bottom: 2.40em; margin-top: 2.40em"> + <span style="font-size: 120%">EXAMPLES OF RECTANGULAR + DESIGN.</span></h3> + + <p class="tei tei-p" style="margin-bottom: 1.00em">Contact with + the best works of art is an essential part of art education, for + from them comes power and the stimulus to create. The student + hears and reads much that passes for art criticism but is only + talk about the subject of a picture, the derivation and meaning + of a design, or the accuracy of a drawing. These minor points + have their place in discussing the literary and scientific sides + of a masterpiece; they relate to art only superficially, and give + no key to the perception of fine quality.</p> + + <p class="tei tei-p" style="margin-bottom: 1.00em">The most + important fact about a great creative work is that it is + beautiful; and the best way to see this is to study the + art-structure of it,—the way it is built up as Line, Notan, + Color,—the principle of composition which it exemplifies. See + what a master has done with the very problem you are trying to + work out.</p> + + <p class="tei tei-p" style="margin-bottom: 1.00em">This method of + approach will involve a new classification of the world's art, + cutting across the historical, topical and geographical lines of + development. The instructor in composition will illustrate each + step with many examples differing as to time, locality, material + and subject, but alike in art-structure.</p> + + <p class="tei tei-p" style="margin-bottom: 1.00em">Museum + collections might be used for a series of progressive studies + based upon composition; taking up one principle at a time and + seeking illustrations in a group of wide range,—a picture, + sculpture, architecture, Gothic carving, metal work, old textile, + bit of pottery, Japanese print.</p><span class="tei tei-pb" id= + "page40">[pg 40]</span> + + <p class="tei tei-p" style="margin-bottom: 1.00em">The beauty of + simple spacing is found in things great and small, from a + cathedral tower to a cupboard shelf.</p> + + <p class="tei tei-p" style="margin-bottom: 1.00em">The campanile + of the Duomo of Florence (No. 30) designed by that master of + architecture and painting, Giotto, is a rectangular composition + of exceeding beauty. Its charm lies chiefly in its delicately + harmonized proportions on a straight-line scheme. It is visual + music in terms of line and space. The areas are largest at the + top, growing gradually smaller in each of the stories downward. + The graceful mouldings, the window tracery, the many colors of + marble and porphyry are but enrichments of the splendid main + lines.</p> + + <div class="tei tei-figure" style="text-align: center"> + <a href="images/no_30.jpg"><img src="images/no_30.jpg" alt= + "No. 30. Giotto's Tower (traced from a photograph)." /></a> + </div> + + <p class="tei tei-p" style="margin-bottom: 1.00em">The Ca' d'Oro + of Venice (No. 31, A) presents this rectangular beauty in an + entirely different way. First, a vertical line divides the facade + into two unequal but balanced proportions; each of these is again + divided by horizontal lines and by windows and balconies into + smaller spaces, the whole making a perfect harmony—each part + related to, and affected by every other part.</p> + + <p class="tei tei-p" style="margin-bottom: 1.00em">The tokonoma + of a Japanese room (No. 31, B) is arranged in a similar + rectangular scheme. A vertical line, as in the Venetian palace + facade, divides the whole space into two; one of these is divided + again into recesses with shelves or sliding doors; the other is + for pictures (kakemono), not more than three of which a hung at a + time. No. 31, C shows three of these sets of shelves. The + Japanese publish books with hundreds of designs for this little + recess. The fertility of invention combined with feeling for good + spacing, even in such a simple bit of craft, is characteristic of + the Japanese. Their design books, from which I have copied many + examples for this volume, are very useful to the student of + art.</p> + + <p class="tei tei-p" style="margin-bottom: 1.00em">Style, in + furniture, is a matter of good spacing, rather than of period or + person. The best designs are very simple, finely balanced + compositions of a few straight lines (No. 31, D).</p> + + <p class="tei tei-p" style="margin-bottom: 1.00em">Book covers + with their lettering and decorations, and book pages with or + without illustrations are examples of space cutting,—good or + commonplace according to the designer's feeling for line-beauty, + In the early days of printing the two pages of an open book were + consider together as a single rectangular space. Into this the + type was to be set with the utmost care as to proportion and + margin.</p> + </div> + + <div class="tei tei-div" style= + "margin-bottom: 3.00em; margin-top: 3.00em"> + <h3 class="tei tei-head" style= + "text-align: left; margin-bottom: 2.40em; margin-top: 2.40em"> + <span style="font-size: 120%">EXERCISE</span></h3> + + <p class="tei tei-p" style="margin-bottom: 1.00em">The few + examples given here show how varied are the applications of a + single principle. The study of these will suggest a field for + research. If possible the student should work from the objects + themselves or from large photographs; and from the original + Japanese design books. These <span class="tei tei-pb" id= + "page41">[pg 41]</span></p> + + <div class="tei tei-figure" style="text-align: center"> + <a href="images/no_31.jpg"><img src="images/no_31.jpg" alt= + "No. 31. Compositions in Rectangles." /></a> + </div> + + <p class="tei tei-p" style="margin-bottom: 1.00em"><span class= + "tei tei-pb" id="page42">[pg 42]</span> tracings are given for + purposes of comparison.</p> + + <table summary="This is a list." class="tei tei-list" style= + "margin-bottom: 1.00em; margin-top: 1.00em"> + <tbody> + <tr class="tei tei-labelitem"> + <th class="tei tei-label">1.</th> + + <td class="tei tei-item">Copy the examples, without + measuring. An attempt to copy brings the pupil's mind into + contact with that of a superior, and lets him see how + difficult it is to reach the master's perfection. Copying + as a means of improving one's style is the opposite of + copying as a substitute for original work.</td> + </tr> + + <tr class="tei tei-labelitem"> + <th class="tei tei-label">2.</th> + + <td class="tei tei-item">After making the best possible + copies, invent original variations of these themes,—keeping + the same general plan but changing the sizes.</td> + </tr> + </tbody> + </table> + </div> + + <div class="tei tei-div" style= + "margin-bottom: 3.00em; margin-top: 3.00em"> + <p class="tei tei-p" style="margin-bottom: 1.00em">COMPOSITION OF + POTTERY FORMS. Makers of modern commercial ware usually leave + beauty of line out of account, thinking only of utility,—of the + piece of pottery as a feeding-dish, or as a costly and showy + object. The glaring white glaze, harsh colors and clumsy shapes + of common table-ware must be endured until there is sufficient + public appreciation to demand something better; yet even this is + less offensive than the kind that pretends to be art,—bad in line + and glittering with false decoration.</p> + + <p class="tei tei-p" style="margin-bottom: 1.00em">Pottery, like + other craft-products, is truly useful when it represents the best + workmanship, combined with feeling for shape, tone, texture and + color,—in a word, fine art.</p> + + <p class="tei tei-p" style="margin-bottom: 1.00em">Such quality + is found, to mention only a few cases, in some of the + <span class="tei tei-q">“peasant wares”</span>; in the best + Japanese pottery, ancient and modern; in Chinese, especially of + the Sung period (A. D. 960-1280) in Moorish, Persian, Rhodian and + Greek. When each maker tried to improve up older models, and had + the taste and inventive genius to do it, the art grew to supreme + excellence; even fragments such handicraft are now precious. The + difference between the contours a really great piece of pottery + and ordinary one may seem very slight, but in just this little + difference lies the art.</p> + </div> + + <div class="tei tei-div" style= + "margin-bottom: 3.00em; margin-top: 3.00em"> + <h3 class="tei tei-head" style= + "text-align: left; margin-bottom: 2.40em; margin-top: 2.40em"> + <span style="font-size: 120%">EXERCISE</span></h3> + + <p class="tei tei-p" style="margin-bottom: 1.00em">One good way + to stimulate invention in composing pottery shapes is to evolve + them from rectangles. In the straight line there is strength; a + curve is measured by a series of straight lines connected in + rhythm. No. 32a. This principle is recognized in blocking out a + freehand drawing,—a process often misunderstood and + exaggerated.</p> + + <p class="tei tei-p" style="margin-bottom: 1.00em">Curved + profiles are only variations of rectangular forms, for example + the bowl in No. 32b.</p> + + <div class="tei tei-figure" style="text-align: center"> + <a href="images/no_32.jpg"><img src="images/no_32.jpg" alt= + "No. 32. Pottery Forms." /></a> + </div> + + <p class="tei tei-p" style="margin-bottom: 1.00em">Change the + height and a series of new shapes will result. As the top and + bottom lines remain the same we have to compare the curved sides + only. Another effect (c) comes from varying <span class= + "tei tei-pb" id="page43">[pg 43]</span> the width; and still + another (d) by changing both height and width. In No. 33 are + students' drawings of pottery profiles evolved from rectangles. + For brushwork, in this exercise, it is well to indicate the lines + of the rectangle in pale red, the pottery in black. Make many + sketches, select the best profiles, improve them by tracing in + ink, and compare with historic pieces. Drawing from the finest + examples of pottery, and making original variations of the forms, + will aid in drawing from the cast or the nude, because of the + intimate study of the character of curves.</p> + + <div class="tei tei-figure" style="text-align: center"> + <a href="images/no_33.jpg"><img src="images/no_33.jpg" alt= + "No 33. Pottery Forms Derived from Rectangles." /></a> + </div> + </div> + + <div class="tei tei-div" style= + "margin-bottom: 3.00em; margin-top: 3.00em"> + <p class="tei tei-p" style="margin-bottom: 1.00em">FLOWERS and + other forms as LINE-MOTIVES. The rectangular space may be + subdivided, as was the square, by a simple line-motif,—flower, + fruit, still life, animal or figure,—following some Principle of + Composition. In chapter III, under Subordination, an exercise was + suggested and illustrated; it could be taken up again at this + point, with new subjects, for a study of Variation. As + rectangular compositions will be found under Notan and Color, it + is not necessary to consider them further here as pure line, + except in the case of Landscape, to which a special chapter is + given.</p> + </div> + </div><span class="tei tei-pb" id="page44">[pg 44]</span> + <hr class="doublepage" /> + + <div class="tei tei-div" style= + "margin-bottom: 4.00em; margin-top: 4.00em"> + <a name="toc22" id="toc22"></a> <a name="pdf23" id="pdf23"></a> + + <h2 class="tei tei-head" style= + "text-align: left; margin-bottom: 2.88em; margin-top: 2.88em"> + <span style="font-size: 144%">VI.—LANDSCAPE COMPOSITION</span></h2> + + <p class="tei tei-p" style="margin-bottom: 1.00em">The modern + arbitrary division of Painting into Representative and Decorative + has put composition into the background and brought forward + nature-imitation as a substitute. The picture-painter is led to + think of likeness to nature as to the most desirable quality for + his work, and the designer talks of <span class= + "tei tei-q">“conventionalizing”</span>; both judging their art by a + standard of Realism rather than of Beauty.</p> + + <p class="tei tei-p" style="margin-bottom: 1.00em">In the world's + art epochs there was no such division. Every work of space-art was + regarded as primarily an arrangement, with Beauty as its raison + d'etre. Even a portrait was first of all a composition, with the + facts and the truth subordinate to the greater idea of aesthetic + structure. Training in the fundamental principles of Composition + gave the artists a wide field—they were at once architects, + sculptors, decorators and picture-painters.</p> + + <p class="tei tei-p" style="margin-bottom: 1.00em">Following this + thought of the oneness of art, we find that the picture, the plan, + and the pattern are alike in the sense that each is a group of + synthetically related spaces. Abstract design is, as it were, the + primer of painting, in which principles of Composition appear in a + clear and definite form. In the picture they are not so obvious, + being found in complex interrelations and concealed under + detail.</p> + + <p class="tei tei-p" style="margin-bottom: 1.00em">The designer and + picture-painter start in the same way. Each has before him a blank + space on which he sketches out the main lines of his composition. + This may be called his Line-idea, and on it hinges the excellence + of the whole, for no delicacy of tone, or harmony of color can + remedy a bad proportion. A picture, then, may be said to be in its + beginning actually a pattern of lines. Could the art student have + this fact in view at the outset, it would save him much time and + anxiety. Nature will not teach him composition. The sphinx is not + more silent than she on this point. He must learn the secret as + Giotto and della Francesca and Kanawoka and Turner learned it, by + the study of art itself in the works of the masters, and by + continual creative effort. If students could have a thorough + training in the elements of their profession they would not fall + into the error of supposing that such a universal idea as Beauty of + Line could be compressed into a few cases like the <span class= + "tei tei-q">“triangle,”</span> <span class= + "tei tei-q">“bird's-wing,”</span> <span class="tei tei-q">“line of + beauty,”</span> or <span class="tei tei-q">“scroll + ornament,”</span> nor would they take these notions as a kind of + receipt for composing the lines of pictures.</p> + + <p class="tei tei-p" style="margin-bottom: 1.00em">Insistence upon + the placing of Composition above Representation must not be + considered as any undervaluation of the latter. The art student + must learn to <span class="tei tei-pb" id="page45">[pg 45]</span> + represent nature's forms, colors and effects; must know the + properties of pigments and how to handle brushes and materials. He + may have to study the sciences of perspective and anatomy. More or + less of this knowledge and skill will be required in his career, + but they are only helps to art, not substitutes for it, and I + believe that if he begins with Composition, that is, with a study + of art itself, he will acquire these naturally, as he feels the + need of them.</p> + + <p class="tei tei-p" style="margin-bottom: 1.00em">Returning now to + the thought that the picture and the abstract design are much alike + in structure, let us see how some of the simple spacings may be + illustrated by landscape.</p> + + <p class="tei tei-p" style="margin-bottom: 1.00em">Looking out from + a grove we notice that the trees, vertical straight lines, cut + horizontal lines,—an arrangement in Opposition and Repetition + making a pattern in rectangular spaces. Compare the gingham and + landscape on page 22. This is a common effect in nature, to be + translated into terms of art as suggested in the following + exercise.</p> + + <div class="tei tei-figure" style="text-align: center"> + <a href="images/no_34.jpg"><img src="images/no_34.jpg" alt= + "No. 34. Landscape Reduced to its Main Lines." /></a> + </div> + + <div class="tei tei-div" style= + "margin-bottom: 3.00em; margin-top: 3.00em"> + <h3 class="tei tei-head" style= + "text-align: left; margin-bottom: 2.40em; margin-top: 2.40em"> + <span style="font-size: 120%">EXERCISE</span></h3> + + <p class="tei tei-p" style="margin-bottom: 1.00em">No. 34 is a + landscape reduced to its main lines, all detail being + omitted.</p> + + <p class="tei tei-p" style="margin-bottom: 1.00em">Make an + enlarged copy of this, or design a similar one. Then, in the + attempt to find the best proportion and the best way of setting + the subject upon canvas or paper, arrange this in rectangles of + varying shape, some nearly square, others tall, others long and + narrow horizontally as in No. 35. To bring the whole landscape + into all these will not, of course, be possible, but in each the + essential lines must be retained.</p> + + <div class="tei tei-figure" style="text-align: center"> + <a href="images/no_35.jpg"><img src="images/no_35.jpg" alt= + "No. 35. Landscape in Rectangles of Various Shape." /></a> + </div> + + <p class="tei tei-p" style="margin-bottom: 1.00em">Draw in ink + after preliminary studies with pencil or charcoal, correcting + errors by tracing.</p> + + <p class="tei tei-p" style="margin-bottom: 1.00em">Then find in + nature other similar subjects; sketch and vary in the same + way.</p> + </div> + + <div class="tei tei-div" style= + "margin-bottom: 3.00em; margin-top: 3.00em"> + <span class="tei tei-pb" id="page46">[pg 46]</span> + + <div class="tei tei-figure" style="text-align: center"> + <a href="images/no_36.jpg"><img src="images/no_36.jpg" alt= + "No. 36. Pictures on Rectangular Lines." /></a> + </div><span class="tei tei-pb" id="page47">[pg 47]</span> + + <p class="tei tei-p" style="margin-bottom: 1.00em">The art of + landscape painting is a special subject, not to be treated at + length here, but I believe that the true way to approach it is + through these or similar exercises.</p> + + <p class="tei tei-p" style="margin-bottom: 1.00em">First study + the art, then apply it, whether to landscape or any other kind of + expression.</p> + </div> + + <div class="tei tei-div" style= + "margin-bottom: 3.00em; margin-top: 3.00em"> + <h3 class="tei tei-head" style= + "text-align: left; margin-bottom: 2.40em; margin-top: 2.40em"> + <span style="font-size: 120%">PICTURES COMPOSED ON RECTANGULAR + LINES.</span></h3> + + <p class="tei tei-p" style="margin-bottom: 1.00em">Great + architects and designers were not the only ones to use this + simple line-idea; the masters of pictorial art have based upon it + some of their best work; (opposite page).</p> + + <p class="tei tei-p" style="margin-bottom: 1.00em">These tracings + from a variety of compositions, old and new (No. 36), show that + this combination was chosen either to express certain qualities + and emotions,—majesty, solemnity, peace, repose, (Puvis de + Chavannes)—or because such a space division was suited to + tone-effects (Whistler's Battersea Bridge), or to color schemes + (Hiroshige). These should be copied exactly in pencil, then drawn + enlarged. Find other examples in museums, illustrated books, or + photographs, and draw in the same way.</p> + + <p class="tei tei-p" style="margin-bottom: 1.00em">The student + must, however, be warned against mistaking a mere geometric + combination of lines for an aesthetic combination. There is no + special virtue in a rectangular scheme or any other in itself; it + is the treatment of it that makes it art or not art. Many a + commonplace architect has designed a tower similar to Giotto's, + and many a dauber of oil paint has constructed a wood interior on + a line-plan resembling that of Puvis. So the mere doing of the + work recommended here will be of little value if the only thought + is to get over the ground, or if the mind is intent upon names + rather than principles. The doing of it well, with an artistic + purpose in mind, is the true way to develop the creative + faculties.</p> + </div> + + <div class="tei tei-div" style= + "margin-bottom: 3.00em; margin-top: 3.00em"> + <h3 class="tei tei-head" style= + "text-align: left; margin-bottom: 2.40em; margin-top: 2.40em"> + <span style="font-size: 120%">LANDSCAPE + ARRANGEMENT,—VARIATION.</span></h3> + + <p class="tei tei-p" style="margin-bottom: 1.00em">Leaving now + the rectangular scheme, take any landscape that has good + elements, reduce it to a few main lines and strive to present it + in the most beautiful way—for example one from No. 61, or one + drawn by the instructor, or even a tracing from a photograph. + Remember that the aim is not to represent a place, nor to get + good drawing now; put those thoughts out of the mind and try only + to cut a space finely by landscape shapes; the various lines in + your subject combine to enclose spaces, and the art in your + composition will lie in placing these spaces in good relations to + each other. Here must come in the personal influence of the + instructor, which is, after all, the very core of all art + teaching. He can bring the pupils up to the height of his own + appreciation, and perhaps no farther. The best of systems is + valueless without this personal artistic guidance.</p> + + <p class="tei tei-p" style="margin-bottom: 1.00em">At this stage + of landscape composition, the idea of Grouping (Subordination) + can <span class="tei tei-pb" id="page48">[pg 48]</span> be + brought in, as a help in arranging sizes and shapes. There is a + certain beauty in a contrast of large and small. It is the + opposite of Monotony. For instance, compare a street where there + is variety in the sizes of buildings and trees, with another of + rows of dull ugly blocks. Ranges of hills, spires and pinnacles, + clumps of large and small trees, clusters of haystacks, + illustrate this idea in landscape.</p> + + <div class="tei tei-figure" style="text-align: center"> + <a href="images/no_37.jpg"><img src="images/no_37.jpg" alt= + "No. 37. A Landscape in Three Proportions." /></a> + </div> + </div> + + <div class="tei tei-div" style= + "margin-bottom: 3.00em; margin-top: 3.00em"> + <h3 class="tei tei-head" style= + "text-align: left; margin-bottom: 2.40em; margin-top: 2.40em"> + <span style="font-size: 120%">EXERCISE</span></h3> + + <p class="tei tei-p" style="margin-bottom: 1.00em">To discover + the best arrangement, and to get the utmost experience in line + and space composition, the landscape should be set into several + boundaries of differing proportions, as in Chapter V, and as + shown in the examples, keeping the essential lines of the + subject, but varying them to fit the boundary. For instance, a + tree may be made taller in a high vertical space than in a low + horizontal space, (No. 37 below). After working out this exercise + the pupil may draw a landscape from nature and treat it in the + same way. Let him rigorously exclude detail, drawing only the + outlines of objects.</p> + </div> + </div><span class="tei tei-pb" id="page49">[pg 49]</span> + <hr class="doublepage" /> + + <div class="tei tei-div" style= + "margin-bottom: 4.00em; margin-top: 4.00em"> + <a name="toc24" id="toc24"></a> <a name="pdf25" id="pdf25"></a> + + <h2 class="tei tei-head" style= + "text-align: left; margin-bottom: 2.88em; margin-top: 2.88em"> + <span style="font-size: 144%">VII.—COMPOSITION IN + REPRESENTATION</span></h2> + + <p class="tei tei-p" style="margin-bottom: 1.00em">In academic art + teaching representation is the starting-point. This means that one + must first of all <span class="tei tei-q">“learn to draw”</span>, + as power in art is thought to be based upon ability to represent + accurately and truthfully either nature's facts or historic + ornament. I use the word <span class="tei tei-q">“academic”</span> + to define all teaching founded upon representation. The theory may + be summed up in two points:</p> + + <table summary="This is a list." class="tei tei-list" style= + "margin-bottom: 1.00em; margin-top: 1.00em"> + <tbody> + <tr class="tei tei-labelitem"> + <th class="tei tei-label">1.</th> + + <td class="tei tei-item">Store the mind with facts, to be + used in creative work later on.</td> + </tr> + + <tr class="tei tei-labelitem"> + <th class="tei tei-label">2.</th> + + <td class="tei tei-item">Technique is best acquired by the + practice of object and figure drawing. The first is a purely + scientific process, a gathering up of data, with no thought + of harmony or originality; hence drawing with such an end in + view is not strictly art-work. Nor does the artist need to + lumber up his mind; nature is his storehouse of facts. The + second point has more reason, but when the aim is for mere + accuracy, only a limited amount of skill is acquired and that + often hardly more than nice workmanship—not art-skill. The + powerful drawing of the masters is largely derived from other + masters, not from copying nature. It is an interpretation + with the purpose of attaining a high standard. Such drawing + aims to express character and quality in an individual way—a + thing quite different from fact-statement.</td> + </tr> + </tbody> + </table> + + <p class="tei tei-p" style="margin-bottom: 1.00em">Nature-drawing, + wrongly placed and misunderstood, has become a fetich in our modern + teaching. Our art critics talk of <span class= + "tei tei-q">“just”</span> rendering, <span class= + "tei tei-q">“true”</span> values, <span class= + "tei tei-q">“conscientious”</span> painting and the like; terms + that belong to morals, not art, and could not be applied to + Architecture, Music or Poetry. These stock-phrases are a part of + that tradition of the elders—that eighteenth century academism + still lingering. Representation has but a small place in the art of + the world. This is roughly shown in the two lists below:</p> + + <div class="tei tei-div" style= + "margin-bottom: 3.00em; margin-top: 3.00em"> + <h3 class="tei tei-head" style= + "text-align: left; margin-bottom: 2.40em; margin-top: 2.40em"> + <span style="font-size: 120%">NON-REPRESENTATIVE</span></h3> + + <table summary="This is a list." class="tei tei-list" style= + "margin-bottom: 1.00em; margin-top: 1.00em"> + <tbody> + <tr class="tei tei-labelitem"> + <th class="tei tei-label"></th> + + <td class="tei tei-item">Architecture—Furniture.</td> + </tr> + + <tr class="tei tei-labelitem"> + <th class="tei tei-label"></th> + + <td class="tei tei-item">Wood carving.</td> + </tr> + + <tr class="tei tei-labelitem"> + <th class="tei tei-label"></th> + + <td class="tei tei-item">Pottery.</td> + </tr> + + <tr class="tei tei-labelitem"> + <th class="tei tei-label"></th> + + <td class="tei tei-item">Modelling,—mouldings and + pattern.</td> + </tr> + + <tr class="tei tei-labelitem"> + <th class="tei tei-label"></th> + + <td class="tei tei-item">Metal work.</td> + </tr> + + <tr class="tei tei-labelitem"> + <th class="tei tei-label"></th> + + <td class="tei tei-item">Inlay,—mosaic, etc.</td> + </tr> + + <tr class="tei tei-labelitem"> + <th class="tei tei-label"></th> + + <td class="tei tei-item">Geometric design, including + Egyptian, Peruvian and Savage.</td> + </tr> + + <tr class="tei tei-labelitem"> + <th class="tei tei-label"></th> + + <td class="tei tei-item">Ginghams, plaids and much textile + pattern.</td> + </tr> + + <tr class="tei tei-labelitem"> + <th class="tei tei-label"></th> + + <td class="tei tei-item">Mohammedan art (one great + division) etc.</td> + </tr> + </tbody> + </table> + </div> + + <div class="tei tei-div" style= + "margin-bottom: 3.00em; margin-top: 3.00em"> + <h3 class="tei tei-head" style= + "text-align: left; margin-bottom: 2.40em; margin-top: 2.40em"> + <span style="font-size: 120%">REPRESENTATIVE</span></h3> + + <table summary="This is a list." class="tei tei-list" style= + "margin-bottom: 1.00em; margin-top: 1.00em"> + <tbody> + <tr class="tei tei-labelitem"> + <th class="tei tei-label"></th> + + <td class="tei tei-item">Painting and Sculpture of Figures, + Portraits, Animals, Flowers, Still Life, Landscape + Painting.</td> + </tr> + </tbody> + </table> + </div><span class="tei tei-pb" id="page50">[pg 50]</span> + + <div class="tei tei-div" style= + "margin-bottom: 3.00em; margin-top: 3.00em"> + <p class="tei tei-p" style="margin-bottom: 1.00em">The + nature-imitators hold that accurate representation is a virtue of + highest order and to be attained in the beginning. It is + undeniably serviceable, but to start with it is to begin at the + wrong end. It is not the province of the landscape painter, for + example, to represent so much topography, but to express an + emotion; and this he must do by art. His art will be manifest in + his composition; in his placing of his trees, hills and houses in + synthetic relations to each other and to the space-boundary. Here + is the strength of George Inness; to this he gave his chief + effort. He omits detail, and rarely does more than indicate + forms.</p> + + <p class="tei tei-p" style="margin-bottom: 1.00em">This relation + among the parts of a composition is what we call Beauty, and it + begins to exist with the first few lines drawn. Even the student + may express a little of it as he feels it, and the attempt to + embody it in lines on paper will surely lead to a desire to know + more fully the character and shapes of things, to seek a + knowledge of drawing with enthusiasm and pleasure.</p> + + <p class="tei tei-p" style="margin-bottom: 1.00em">These things + are said, not against nature-drawing—I should advise more rather + than less—but against putting it in the wrong place.</p> + + <p class="tei tei-p" style="margin-bottom: 1.00em">The main + difference between Academic and Structural (Analytic and + Synthetic) is not in the things done, but in the reason for doing + them, and the time for them. All processes are good in their + proper places.</p> + + <p class="tei tei-p" style="margin-bottom: 1.00em">The relation + of representative drawing to a synthetic scheme is this: One uses + the facts of nature to express an idea or emotion. The figures, + animals, flowers or objects are chosen for the sake of presenting + some great historical or religious thought as in della + Francesca's Annunciation (No. 36), for decoration of an + architectural space (Reims capital, No. 38), because the + landscape has special beauty as in Hiroshige's print (No. 8), or + because the objects have form and color suggesting a high order + of harmony, as in Chinese and Japanese paintings of flowers, or + Leonardo's drawings of insects and reptiles.</p> + + <p class="tei tei-p" style="margin-bottom: 1.00em">Another reason + for drawing is found in the use of the shapes or hues in design. + Desire to express an idea awakens interest in the means. + Observation is keen, close application is an easy task, every + sense is alert to accomplish the undertaking. This is quite + different from drawing anything and everything for practice + only.</p> + + <p class="tei tei-p" style="margin-bottom: 1.00em">Mere accuracy + has no art-value whatever. Some of the most pathetic things in + the world are the pictures or statues whose only virtue is + accuracy. The bare truth may be a deadly commonplace. Pupils + should look for character; that includes all truth and all + beauty. It leads one to seek for the best handling and to value + power in expression above success in drawing.</p> + + <p class="tei tei-p" style="margin-bottom: 1.00em">Composition is + the greatest aid to representation because it cultivates judgment + as to relations of space and mass. Composition does not invite + departure from nature's truth, or encourage inaccuracies of any + kind—it helps one to draw in a finer way.</p> + </div> + </div> + </div><span class="tei tei-pb" id="page51">[pg 51]</span> + + <div class="tei tei-figure" style="text-align: center"> + <a href="images/no_38.jpg"><img src="images/no_38.jpg" alt= + "No. 38. Notan Plan, Rhythm of Line, Representation Composed into a Space." /></a> + </div><span class="tei tei-pb" id="page52">[pg 52]</span> + + <div class="tei tei-figure" style="text-align: center"> + <a href="images/no_39.jpg"><img src="images/no_39.jpg" alt= + "No. 39. Notan VIII. Dark and Light Harmonies from the Masters." /></a> + </div> + <hr class="doublepage" /> + + <div class="tei tei-div" style= + "margin-bottom: 5.00em; margin-top: 5.00em"> + <a name="toc26" id="toc26"></a> <a name="pdf27" id="pdf27"></a> + + <h1 class="tei tei-head" style= + "text-align: left; margin-bottom: 3.46em; margin-top: 3.46em"> + <span style="font-size: 173%">NOTAN</span></h1> + + <div class="tei tei-div" style= + "margin-bottom: 4.00em; margin-top: 4.00em"> + <span class="tei tei-pb" id="page53">[pg 53]</span> <a name="toc28" + id="toc28"></a> <a name="pdf29" id="pdf29"></a> + + <h2 class="tei tei-head" style= + "text-align: left; margin-bottom: 2.88em; margin-top: 2.88em"> + <span style="font-size: 144%">VIII.—HARMONY-BUILDING WITH + DARK-AND-LIGHT</span></h2> + + <p class="tei tei-p" style="margin-bottom: 1.00em">As there is no + one word in English to express the idea contained in the phrase + <span class="tei tei-q">“dark-and-light,”</span> I have adopted the + Japanese word <span class="tei tei-q">“no-tan”</span> (dark, + light). It seems fitting that we should borrow this art-term from a + people who have revealed to us so much of this kind of beauty. + <span class="tei tei-q">“Chiaroscuro”</span> has a similar but more + limited meaning. Still narrower are the ordinary studio terms + <span class="tei tei-q">“light-and-shade,”</span> <span class= + "tei tei-q">“shading,”</span> <span class= + "tei tei-q">“spotting,”</span> <span class= + "tei tei-q">“effect”</span> that convey little idea of special + harmony-building, but refer usually to representation.</p> + + <p class="tei tei-p" style="margin-bottom: 1.00em">Notan, while + including all that these words connote, has a fuller meaning as a + name for a great universal manifestation of beauty.</p> + + <p class="tei tei-p" style="margin-bottom: 1.00em">Darks and lights + in harmonic relations—this is Notan the second structural element + of space-art; p. 7.</p> + + <p class="tei tei-p" style="margin-bottom: 1.00em">The Orientals + rarely represent shadows; they seem to regard them as of slight + interest—mere fleeting effects or accidents. They prefer to model + by line rather than by shading. They recognize notan as a vital and + distinct element of the art of painting.</p> + + <p class="tei tei-p" style="margin-bottom: 1.00em">The Buddhist + priest-painters of the Zen sect discarded color, and for ages + painted in ink, so mastering tone-relations as to attract the + admiration and profoundly influence the art of the western + world.</p> + + <p class="tei tei-p" style="margin-bottom: 1.00em">Our etching and + book illustration have long felt the effect of contact with + Japanese classic painting, though the influence came indirectly + through the Ukiyoye color prints and books. Such names as Kakei, + Chinese of the Sung dynasty (p. 96), Soga Shubun, the Chinese who + founded a school in Japan in the fifteenth century (p. 17), Sesshu, + one of the greatest painters of all time (p. 97), Sotan, Soami, + Motonobu, Tanyu are now placed with Titian, Giorgione (p. 51), + Rembrandt, Turner, Corot and Whistler. The works of Oriental + masters who felt the power and mystery of Notan are becoming known + through the reproductions that the Japanese are publishing, and + through precious examples in our own museums and collections. This + in one of the forces tending to uproot our traditional scientific + art teaching which does not recognize Dark-and-Light as worthy of + special attention.</p> + + <p class="tei tei-p" style="margin-bottom: 1.00em">Appreciation of + Notan and power to create with it can be gained, as in the case of + Line, by definite study through progressive exercises. At the + outset a fundamental fact must be understood, that synthetically + related masses of dark and light convey an impression of beauty + entirely independent of meaning,—for example, geometric patterns or + blotty ink sketches by Dutch and Japanese.</p><span class= + "tei tei-pb" id="page54">[pg 54]</span> + + <p class="tei tei-p" style="margin-bottom: 1.00em">When this occurs + accidentally in nature,—say a grove of dark trees on a light + hillside, or a pile of buildings against the morning sky,—we at + once feel the charm and call the effect <span class= + "tei tei-q">“picturesque.”</span> The quality which makes the + natural scene a good subject for a picture is like musical harmony. + It is the <span class="tei tei-q">“visual music”</span> that the + Japanese so love in the rough ink paintings of their masters where + there is but a hint of facts (pp. 97, 99)—a classic style which is + the outward expression of a fine appreciation, and whose origin and + practice are admirably set forth in <span class="tei tei-q">“The + Book of Tea.”</span> Recognition of Notan as an individual element + will simplify the difficulties of tone-composition and open the way + for growth in power.</p> + + <p class="tei tei-p" style="margin-bottom: 1.00em">NOTAN OF LINE. + As long as the lines of a design are kept of uniform width, the + beauty is limited to proportion of areas and quality of touch, but + widen some of the lines, and at once appears a new grace, + Dark-and-Light. The textile designers who are restricted to + straight lines, have recourse to this principle. They widen lines, + vary their depth of tone, glorify them with color, and show that + what seems a narrow field is really one of wide range.</p> + + <div class="tei tei-figure" style="text-align: center"> + <a href="images/no_40.jpg"><img src="images/no_40.jpg" alt= + "No. 40. Notan of Line." /></a> + </div> + + <div class="tei tei-div" style= + "margin-bottom: 3.00em; margin-top: 3.00em"> + <h3 class="tei tei-head" style= + "text-align: left; margin-bottom: 2.40em; margin-top: 2.40em"> + <span style="font-size: 120%">EXERCISE</span></h3> + + <p class="tei tei-p" style="margin-bottom: 1.00em">Choose some of + the previous geometric line patterns, and widen certain of the + lines, as illustrated in the plate. Incidentally this will give + good brush practice, as the lines are to be drawn at one stroke. + Push the point of the brush down to the required width, then draw + the line. Try a large number of arrangements, set them up in a + row and pick out the best. In choosing and criticising, remember + that every part of a work of art has something to say. If one + part is made so prominent that the others have no reason for + being there, the art is gone. So in this case; if one line + asserts itself to the detriment of the others, there is discord. + There may be many or few lines, but each must have its part in + the whole. In a word, wholeness is essential to beauty; it + distinguishes Music from Noise.</p> + </div> + + <div class="tei tei-div" style= + "margin-bottom: 3.00em; margin-top: 3.00em"> + <span class="tei tei-pb" id="page55">[pg 55]</span> + + <p class="tei tei-p" style="margin-bottom: 1.00em">LETTERING. + When forming part of an artistic composition, in books, posters, + manuscripts, illuminations, etc., lettering should be classed as + Notan of Line. Obviously the spacing of masses of letters has + first consideration, and is usually a simple problem in + rectangular composition. The effect is a tone or group of tones + more or less complicated according to sizes of letters, thickness + of their lines and width of spaces between and around them. I + have found the reed-pen and the Japanese brush (clipped) the best + implements for students' lettering (see below). Having suggested + that Lettering, including Printing, as an art, is a problem in + composition of line and notan, it seems hardly worth while to + introduce special exercises here. Johnston has treated this + subject exhaustively; the reader is referred to his book + <span class="tei tei-q">“Writing, Illuminating and + Lettering,”</span> to Walter Crane's and other good books on + lettering. Compare fine printing, old and new, Japanese, Chinese + and Arabic writing, and ancient manuscripts and + inscriptions—Egyptian, Greek, and Mediaeval.</p> + + <div class="tei tei-figure" style="text-align: center"> + <a href="images/no_41.jpg"><img src="images/no_41.jpg" alt= + "No. 41. Japanese brushes clipped for lettering." /></a> + </div> + </div> + </div><span class="tei tei-pb" id="page56">[pg 56]</span> + + <div class="tei tei-figure" style="text-align: center"> + <a href="images/notan2.jpg"><img src="images/notan2.jpg" alt= + "Notan VIII. Repetition and variation in two values." /></a> + </div><span class="tei tei-pb" id="page57">[pg 57]</span> + + <div class="tei tei-figure" style="text-align: center"> + <a href="images/notan3.jpg"><img src="images/notan3.jpg" alt= + "Notan VII. Landscape compositions by HOKUSAI, three values." /></a> + </div><span class="tei tei-pb" id="page58">[pg 58]</span> + + <div class="tei tei-figure" style="text-align: center"> + <a href="images/no_42.jpg"><img src="images/no_42.jpg" alt= + "Notan IX. Two Values, Historic Examples." /></a> + </div><span class="tei tei-pb" id="page59">[pg 59]</span> + <hr class="doublepage" /> + + <div class="tei tei-div" style= + "margin-bottom: 4.00em; margin-top: 4.00em"> + <a name="toc30" id="toc30"></a> <a name="pdf31" id="pdf31"></a> + + <h2 class="tei tei-head" style= + "text-align: left; margin-bottom: 2.88em; margin-top: 2.88em"> + <span style="font-size: 144%">IX.—TWO + VALUES—VARIATIONS—DESIGN</span></h2> + + <div class="tei tei-div" style= + "margin-bottom: 3.00em; margin-top: 3.00em"> + <p class="tei tei-p" style="margin-bottom: 1.00em">Dark-and-light + has not been considered in school curricula, except in its + limited application to representation. The study of <span class= + "tei tei-q">“light and shade”</span> has for its aim, not the + creation of a beautiful idea in terms of contrasting masses of + light and dark, but merely the accurate rendering of certain + facts of nature,—hence is a scientific rather than an artistic + exercise. The pupil who begins in this way will be embarrassed in + advanced work by lack of experience in arranging and + differentiating tones. Worse than that, it tends to cut him off + from the appreciation of one whole class of great works of art. + As in the case of Line, so again in this is manifest the + narrowness and weakness of the scheme of nature-imitating as a + foundation for art education. The Realistic standard always tends + to the decay of art. The student in an academic school, feeling + the necessity for a knowledge of Dark-and-Light when he begins to + make original compositions, has usually but one resource, that of + sketching the <span class="tei tei-q">“spotting”</span> as he + calls it, of good designs and pictures—an excellent practice if + followed intelligently. His difficulties may be overcome (1) by + seeing that Notan is an element distinct from Line or Color; (2) + by attempting its mastery in progressive stages leading to + appreciation.</p> + </div> + + <div class="tei tei-div" style= + "margin-bottom: 3.00em; margin-top: 3.00em"> + <h3 class="tei tei-head" style= + "text-align: left; margin-bottom: 2.40em; margin-top: 2.40em"> + <span style="font-size: 120%">METHOD OF STUDY.</span></h3> + + <p class="tei tei-p" style="margin-bottom: 1.00em">Line melts + into Tone through the clustering of many lines. Direct study of + tone-intervals begins with composition in two values—the simplest + form of Notan. There may be several starting-points; one might + begin by blotting ink or charcoal upon paper, by copying the + darks and lights from photographs of masterpieces, or by making + scales. Experience has shown that the straight-line design and + the flat black ink wash are most satisfactory for earlier + exercises in two values. Instead of black and white, or black and + gray, one might use two grays of different values, or two values + of one color (say light blue and dark blue) according to need. + The aim being to understand Notan as something by which harmony + may be created, it is best to avoid Representation at first. + Notan must not be confounded with Light and Shade, Modelling or + anything that refers to imitation of natural objects.</p> + + <p class="tei tei-p" style="margin-bottom: 1.00em">The beginner + may imagine that not much can be done with flat black against + flat white, but let him examine the decorative design of the + world. He will find the black and white check and patterns + derived from it, in old velvets of Japan, in the woven and + printed textiles of all nations, in marble floors, inlaid boxes + and architectural <span class="tei tei-pb" id="page60">[pg + 60]</span></p> + + <div class="tei tei-figure" style="text-align: center"> + <a href="images/no_43.jpg"><img src="images/no_43.jpg" alt= + "NOTAN IX. No. 43." /></a> + </div> + + <p class="tei tei-p" style="margin-bottom: 1.00em"><span class= + "tei tei-pb" id="page61">[pg 61]</span> ornament. The use of + these two simple tones is as universal as Art itself. They appear + in the black vine on the white marble floor of the Church of the + Miracoli at Venice; on the wall of the Arabian Mosque, and the + frieze of the Chinese temple. They have come into favor on book + covers and page borders. Aubrey Beardsley went scarcely beyond + them. R. Anning Bell and other artists have boldly carried them + into pictorial work in the illustration of children's books.</p> + + <p class="tei tei-p" style="margin-bottom: 1.00em">These facts + will show the beginner that no terms are too simple for artistic + genius to use. Moreover a limited field often stimulates to + greater inventive activity.</p> + + <div class="tei tei-figure" style="text-align: center"> + <a href="images/no_44.jpg"><img src="images/no_44.jpg" alt= + "No. 44." /></a> + </div> + </div> + + <div class="tei tei-div" style= + "margin-bottom: 3.00em; margin-top: 3.00em"> + <h3 class="tei tei-head" style= + "text-align: left; margin-bottom: 2.40em; margin-top: 2.40em"> + <span style="font-size: 120%">EXERCISE</span></h3> + + <p class="tei tei-p" style="margin-bottom: 1.00em">Choose a + simple line-design fine in proportion, and add to it this new + kind of beauty,—as much of it as can be expressed by the extremes + of Notan, black against white. It is apparent that we cannot + reduce Dark-and-Light to simpler terms than these two values. The + principle of Variation comes into this exercise with special + force, for each line-design admits of several Notan arrangements. + The student should be given at first a subject with few lines. + Let him use one of his own (chapter V), or draw one from the + instructor's sketch, but the essential point is to have his + design as good as possible in space-proportion before adding the + ink.</p> + + <p class="tei tei-p" style="margin-bottom: 1.00em">Make several + tracings, then darken certain spaces with black. A round Japanese + brush, short and thick, is best for this work. Nos. 43 and 44. + Pupils should be warned against mistaking mere inventive action + for art. The teacher must guide the young mind to perceive the + difference between creating beautiful patterns, and mere + fantastic play.</p> + </div> + + <div class="tei tei-div" style= + "margin-bottom: 3.00em; margin-top: 3.00em"> + <p class="tei tei-p" style="margin-bottom: 1.00em">Those gifted + with little aesthetic perception may go far astray in following + the two-tone idea. It is very easy and somewhat fascinating to + darken parts of designs with black ink. The late poster craze + showed to what depth of vulgarity this can be carried. The pupil + must be taught that all two-tone arrangements are not fine, and + that the very purpose of this exercise is so to develop his + appreciation that he may be able to tell the difference between + the good, the commonplace, and the ugly. His only guides must be + his own innate taste, and his instructor's + experience.</p><span class="tei tei-pb" id="page62">[pg + 62]</span> + </div> + + <div class="tei tei-div" style= + "margin-bottom: 3.00em; margin-top: 3.00em"> + <h3 class="tei tei-head" style= + "text-align: left; margin-bottom: 2.40em; margin-top: 2.40em"> + <span style="font-size: 120%">FLOWER COMPOSITIONS TWO + VALUES</span></h3> + + <div class="tei tei-figure" style="text-align: center"> + <a href="images/no_44a.jpg"><img src="images/no_44a.jpg" alt= + "Japanese design for “ramma” (frieze) Fret-saw work." /></a> + </div> + + <p class="tei tei-p" style="margin-bottom: 1.00em">Flowers, + having great variety of line and proportion, are valuable, as + well as convenient subjects for elementary composition. Their + forms and colors have furnished themes for painters and sculptors + since the beginning of Art, and the treatment has ranged from + abstractions to extreme realism; from refinements of + lotus-derived friezes to poppy and rose wall papers of the + present time. In the exercise here suggested, there is no + intention of making a design to apply to anything as decoration, + hence there need be no question as to the amount of nature's + truth to be introduced. The flower may be rendered realistically, + as in some Japanese design, or reduced to an abstraction as in + the Greek, without in the least affecting the purpose in view, + namely, the setting of floral lines into a space in a fine + way—forming a line-scheme on which may be played many + notan-variations.</p> + + <p class="tei tei-p" style="margin-bottom: 1.00em">It is + essential that the space should be cut by the main lines. + (Subordination, page 23.) A small spray in the middle of a big + oblong, or disconnected groups of flowers, cannot be called + compositions all the lines and areas must be related one to + another by connections and placings, so as to form a beautiful + whole. Not a picture of a flower is sought,—that can be left to + the botanist—but rather an irregular pattern of lines and spaces, + something far beyond the mere drawing of of a flower from nature, + and laying an oblong over it, or vice versa.</p> + </div> + + <div class="tei tei-div" style= + "margin-bottom: 3.00em; margin-top: 3.00em"> + <h3 class="tei tei-head" style= + "text-align: left; margin-bottom: 2.40em; margin-top: 2.40em"> + <span style="font-size: 120%">EXERCISE</span></h3> + + <p class="tei tei-p" style="margin-bottom: 1.00em">The instructor + chooses one of the best flower compositions done under Line, or + draws a flower in large firm outlines on the blackboard, avoiding + confusing detail, and giving the character as simply as possible. + The pupil first copies the instructor's drawing, then he decides + upon the shape into which to compose this subject—a square or + rectangle will be best for the beginner. He makes several trial + arrangements roughly, with pencil or charcoal. Having chosen the + best of these, he improves and refines them, first on his trial + paper, and later by tracing with brush and ink on thin Japanese + <span class="tei tei-pb" id="page63">[pg 63]</span> paper. Effort + must be concentrated on the arrangement, not on botanical + correctness.</p> + + <div class="tei tei-figure" style="text-align: center"> + <a href="images/no_45a.jpg"><img src="images/no_45a.jpg" alt= + "Flower Compositions." /></a> + </div> + + <p class="tei tei-p" style="margin-bottom: 1.00em">Many line + compositions can be derived from one flower subject, but each of + these can in turn be made the source of a great variety of + designs by carrying the exercise farther, into the field of + Dark-and-Light. Paint certain of the areas black, and at once a + whole new series suggests itself, from a single line design. To + the beauty of the line is added the beauty of opposing and + intermingling masses of black and white; see below and p. 64.</p> + + <p class="tei tei-p" style="margin-bottom: 1.00em">In this part + of the exercise the arrangement of shapes of light with shapes of + dark, occupies the attention, rather than shading, or the + rendering of shadows. Hence the flowers and leaves and stems, or + parts of them, may be black or white, according to the feeling of + the student. Let him choose out of his several drawings those + which he considers best. The instructor can then criticise, + pointing out the best and the worst, and explaining why they are + so. A mere aimless or mechanical blackening of paper, without + effort to arrange, will result in nothing of importance.</p> + + <p class="tei tei-p" style="margin-bottom: 1.00em">The examples + show the variety of effects produced by flowers of different + shapes, and the beauty resulting from schemes of Dark-and-Light + in two values.</p> + + <div class="tei tei-figure" style="text-align: center"> + <a href="images/no_45.jpg"><img src="images/no_45.jpg" alt= + "Flower Compositions." /></a> + </div><span class="tei tei-pb" id="page64">[pg 64]</span> + <span class="tei tei-pb" id="page65">[pg 65]</span> + + <div class="tei tei-figure" style="text-align: center"> + <a href="images/no_45b.jpg"><img src="images/no_45b.jpg" alt= + "Notan variations on lines of fine old textiles. Rug designs in two values." /></a> + </div><span class="tei tei-pb" id="page66">[pg 66]</span> + + <div class="tei tei-figure" style="text-align: center"> + <a href="images/no_46.jpg"><img src="images/no_46.jpg" alt= + "NOTAN IX." /></a> + </div><span class="tei tei-pb" id="page67">[pg 67]</span> + </div> + + <div class="tei tei-div" style= + "margin-bottom: 3.00em; margin-top: 3.00em"> + <h3 class="tei tei-head" style= + "text-align: left; margin-bottom: 2.40em; margin-top: 2.40em"> + <span style="font-size: 120%">TEXTILE PATTERNS AND RUGS TWO + VALUES</span></h3> + + <p class="tei tei-p" style="margin-bottom: 1.00em">A line-scheme + underlies every notan composition, and a notan-scheme underlies + every color composition. The three elements have the closest + relation one to another. For purposes of study, however, it is + necessary to isolate each element, and even the separate + principles of each.</p> + + <p class="tei tei-p" style="margin-bottom: 1.00em">In the present + instance, Notan can be separated from Line by taking a + line-design of acknowledged excellence and making many Notan + variations of it; being sure of beauty of line, the only problem + is to create beauty of tone. As this brings in historic art, let + me note that the works of the past are best used, in teaching, as + illustrations of composition, (p. 40).</p> + + <p class="tei tei-p" style="margin-bottom: 1.00em">While the + knowledge of a <span class="tei tei-q">“style”</span> may have a + commercial value, it has no art-value unless the designer can + make original and fine variations of it, not imitations.</p> + + <p class="tei tei-p" style="margin-bottom: 1.00em">The first + essential is to appreciate the quality of historic examples, + hence the student should work from the objects themselves, from + photographic copies, from tracings, or from casts. The + commonplace lithographic plates and rude wood cuts in some books + of design are useless for our purpose. They give no hint of the + original. If the actual painting on an Egyptian mummy case is + compared with a page of one of these books, the poor quality of + the latter is instantly apparent. Chinese and Japanese + <span class="tei tei-q">“ornament”</span> in most of such books + is of a flamboyant and decadent sort. The facsimile copies of + Greek vases usually belong in this same category.</p> + </div> + + <div class="tei tei-div" style= + "margin-bottom: 3.00em; margin-top: 3.00em"> + <h3 class="tei tei-head" style= + "text-align: left; margin-bottom: 2.40em; margin-top: 2.40em"> + <span style="font-size: 120%">EXERCISE</span></h3> + + <p class="tei tei-p" style="margin-bottom: 1.00em">Choose a + textile of the best period, say Italian of the XVth or XVIth + century; copy or trace the line and play upon this several + notan-schemes of two values. You will at once discover how superb + the spacing is in these designs, but your main thought is the + creation of new dark-and-light ideas upon the fine old pattern; + p. 65.</p> + + <p class="tei tei-p" style="margin-bottom: 1.00em">The Oriental + rug affords an excellent line-scheme for practice in notan. As + composition it is a combination of two principles: Subordination + and Repetition. Copying a part or the whole of some good rug—in + line and color—is the best way to become aquainted with the + spacing, motives and quality. Then design a rug with border and + centre, the shapes to be pure inventions or symbols. Border and + centre must differ, and there are many ways of doing this even in + two values, for instance: Border: Black figures on white ground. + Centre: White figures on black ground. Border: White figures on + black ground. Centre: Black figures on white ground. Border: + Small figures. Centre: One large figure. The illustrations, pp. + 65, 66, give some idea of the possibilities of tone-composition + in textiles and rugs. The exercise points to one good way of + using museum collections and art books.</p> + </div> + </div><span class="tei tei-pb" id="page68">[pg 68]</span> + + <div class="tei tei-figure" style="text-align: center"> + <a href="images/no_47.jpg"><img src="images/no_47.jpg" alt= + "No. 47." /></a> + </div><span class="tei tei-pb" id="page69">[pg 69]</span> + <hr class="doublepage" /> + + <div class="tei tei-div" style= + "margin-bottom: 4.00em; margin-top: 4.00em"> + <a name="toc32" id="toc32"></a> <a name="pdf33" id="pdf33"></a> + + <h2 class="tei tei-head" style= + "text-align: left; margin-bottom: 2.88em; margin-top: 2.88em"> + <span style="font-size: 144%">X.—TWO VALUES—LANDSCAPE AND + PICTURES</span></h2> + + <div class="tei tei-div" style= + "margin-bottom: 3.00em; margin-top: 3.00em"> + <p class="tei tei-p" style="margin-bottom: 1.00em">Landscape is a + good subject for notan-composition, to be treated at first as a + design, afterward as a picture. Its irregular spacings contrast + well with the symmetries of pattern, and when tones are played + over them the effects are new and strange, stimulating to further + research into the mysteries of tone. Such an exercise leads to + the appreciation of landscape pictures, and is an introduction to + pencil and charcoal sketching from nature, to monotypes and + etching.</p> + + <p class="tei tei-p" style="margin-bottom: 1.00em">Notan in + landscape, a harmony of tone-relations, must not be mistaken for + light-and-shadow which is only one effect or accident. Like all + other facts of external nature, light-and-shadow must be + expressed in art-form. The student under the spell of the + academic dictum <span class="tei tei-q">“Paint what you see and + as you see it”</span> feels that he must put down every + accidental shadow <span class="tei tei-q">“just as it is in + nature”</span> or be false to himself and false to art. He finds + later that accurate record is good and right in studies or + sketches but may be wrong in a picture or illustration. No + accidents enter into pictures, but every line, light, and dark + must be part of a deliberate design.</p> + + <p class="tei tei-p" style="margin-bottom: 1.00em"> + Light-and-shade is a term referring to modelling or imitation of + solidity; the study of it by drawing white casts and still life + tends to put attention upon facts rather than upon experience in + structure. It does not help one to appreciate tone-values in + pictures. Such drawing is worth while as pure representation and + the discipline of it contributes to mastery of technique, but it + is absurd to prescribe this or life drawing as a training for the + landscape painter. Its influence is only indirect, for modeling + is of secondary importance in Painting, the art of two + dimensions.</p> + + <p class="tei tei-p" style="margin-bottom: 1.00em">When a painter + works for roundness and solidity he enters the province of his + brother the sculptor. In typical paintings, like Giotto's + frescoes at Assisi, Masaccio's <span class="tei tei-q">“Tribute + Money,”</span> Piero della Francesca's work at Arezzo, the + compositions of the Vivarini, the Bellini and Titian, and even + the Strozzi portrait by Raphael, the modelling is subordinate to + the greater elements of proportion and dark-and-light.</p> + + <p class="tei tei-p" style="margin-bottom: 1.00em">In a mural + painting extreme roundness is a fatal defect, as illustrated in + the Pantheon at Paris, where Puvis de Chavannes and his + contemporaries have put pictorial designs upon the walls. Puvis + created a mosaic of colored spaces intended to beautify the wall; + charm of color and tone, poetry and illusion of landscape possess + the beholder long before he even thinks of the special subjects. + The <span class="tei tei-pb" id="page70">[pg 70]</span> other + painters made their figures stand out in solid modelling, + replacing composition with sculpturesque realities. From these + you turn away unsatisfied. I am not arguing for the entire + omission of shadows and modelling—they have their place—but am + insisting that flat relations of tone and color are of first + importance; they are the structural frame, while gradation and + shading are the finish. To begin with rounding up forms in light + and shade, especially in landscape, is to reverse the natural + order, ignore structure, and confuse the mind. The academic + system has adopted the word <span class= + "tei tei-q">“decorate”</span> for flat tone relations and + non-sculpturesque effects, as if everything not standing out in + full relief must belong to decoration. This use of the word is + misleading to the student; we do not speak of music and poetry as + <span class="tei tei-q">“decorative”</span>. Lines, tones and + colors may be used to decorate something, but they may be simply + beautiful in themselves, in which case they are no more + decorative than music. This word should be dropped from the art + vocabulary.</p> + </div> + + <div class="tei tei-div" style= + "margin-bottom: 3.00em; margin-top: 3.00em"> + <h3 class="tei tei-head" style= + "text-align: left; margin-bottom: 2.40em; margin-top: 2.40em"> + <span style="font-size: 120%">EXERCISE</span></h3> + + <p class="tei tei-p" style="margin-bottom: 1.00em">Choose a + landscape with a variety of large and small spaces.</p> + + <p class="tei tei-p" style="margin-bottom: 1.00em">1. Compose + this within a border (see Chap. VI.) and when the spacing is good + trace with the brush on several sheets of Japanese paper.</p> + + <p class="tei tei-p" style="margin-bottom: 1.00em">Next try the + effect of painting certain spaces black, or dark gray, or some + dark color like blue. The other spaces may be left white, or + painted light gray or with light color. Landscapes are capable of + a great many two-value arrangements but not all such will be + fine. Strive for harmony rather than number, variety or + strangeness. Compare your set and select the best.</p> + + <p class="tei tei-p" style="margin-bottom: 1.00em">2. Compose the + landscape into borders of different proportions; then vary each + of these in two values. The illustrations, No. 47, make clear + these two ways of working. The student may use the examples given + here, then sketch his own subjects from nature.</p> + </div> + + <div class="tei tei-div" style= + "margin-bottom: 3.00em; margin-top: 3.00em"> + <h3 class="tei tei-head" style= + "text-align: left; margin-bottom: 2.40em; margin-top: 2.40em"> + <span style="font-size: 120%">SPOTTING,—NOTAN OF + PICTURES.</span></h3> + + <p class="tei tei-p" style="margin-bottom: 1.00em">When the art + student sketches the masses of dark-and-light in pictures, the + <span class="tei tei-q">“Spotting”</span> as he calls it, he is + studying Notan of two values, but in an aimless way. He is + hunting for some rule or secret scheme of shading,—an + <span class="tei tei-q">“ornament,”</span> <span class= + "tei tei-q">“bird's wing,”</span> a <span class= + "tei tei-q">“line;”</span> vain search, for no two works can have + the same plan, each has its own individual line and tone.</p> + + <p class="tei tei-p" style="margin-bottom: 1.00em">On the other + hand much can be learned by studying the masters' plans of + composition,—not to imitate but to appreciate the harmony. One + good way to accomplish this is to sketch in the massing, in two + values. Choose a number of masterpieces, ancient and modern, and + blot in the darks in broad flat tones. This will reveal the + general notan-scheme of each picture (pp. 71, 72).</p> + </div> + + <div class="tei tei-div" style= + "margin-bottom: 3.00em; margin-top: 3.00em"> + <h3 class="tei tei-head" style= + "text-align: left; margin-bottom: 2.40em; margin-top: 2.40em"> + <span style="font-size: 120%">ORIGINAL PICTORIAL COMPOSITION IN + TWO VALUES.</span></h3> + + <p class="tei tei-p" style="margin-bottom: 1.00em">The student is + now ready for original <span class="tei tei-pb" id="page71">[pg + 71]</span></p> + + <div class="tei tei-figure" style="text-align: center"> + <a href="images/no_47a.jpg"><img src="images/no_47a.jpg" alt= + "NOTAN X. Compositions by various masters, reduced to two tones. “Spotting.”" /></a> + </div> + + <p class="tei tei-p" style="margin-bottom: 1.00em"><span class= + "tei tei-pb" id="page72">[pg 72]</span> work with landscape, + still life or figures. Sketching from nature with brush and ink + is a means of interpreting subjects in a very broad way, obliging + one to select and reject, to keep only the essentials. It + cultivates appreciation of texture and character and brings out + the power of doing much with little,—of making a few vigorous + strokes convey impressions of form and complexity. It leads to + oil painting where the brush-touch must be charged with meaning; + it is of direct practical value in illustration as such sketches + are effective and easily reproduced. It is almost the only method + for painting on pottery, as the absorbent glaze admits of no + gradation, emendation or erasure; the touch must be decisive and + characterful. Examples of brush-sketching from nature are given + in No. 48 on opposite page.</p> + + <div class="tei tei-figure" style="text-align: center"> + <a href="images/no_47b.jpg"><img src="images/no_47b.jpg" alt= + "Massing in two values, from Corot, Daubigny and Hokusai." /></a> + </div><span class="tei tei-pb" id="page73">[pg 73]</span> + + <div class="tei tei-figure" style="text-align: center"> + <a href="images/no_48.jpg"><img src="images/no_48.jpg" alt= + "No. 48. Sketches from nature in two values." /></a> + </div><span class="tei tei-pb" id="page74">[pg 74]</span> + + <div class="tei tei-figure" style="text-align: center"> + <a href="images/no_49.jpg"><img src="images/no_49.jpg" alt= + "Notan, two values, variations of a motif. Subordination and Repetition." /></a> + </div> + </div> + </div> + <hr class="doublepage" /> + + <div class="tei tei-div" style= + "margin-bottom: 4.00em; margin-top: 4.00em"> + <span class="tei tei-pb" id="page75">[pg 75]</span> <a name="toc34" + id="toc34"></a> <a name="pdf35" id="pdf35"></a> + + <h2 class="tei tei-head" style= + "text-align: left; margin-bottom: 2.88em; margin-top: 2.88em"> + <span style="font-size: 144%">XI.—TWO VALUES—GOTHIC SCULPTURE + JAPANESE DESIGN BOOKS. APPLICATIONS OF TWO VALUES</span></h2> + + <div class="tei tei-div" style= + "margin-bottom: 3.00em; margin-top: 3.00em"> + <p class="tei tei-p" style="margin-bottom: 1.00em">Sculpture, a + line-art, when designed to enrich architectural spaces, may have + the aid of notan in the form of relief and shadow. The range of + tone is narrow and the field seems limited, but the masters have + shown that the creative imagination knows no bounds. They have + expressed every emotion-divine calm, serenity, excitement, fury, + horror; and effects of light, atmosphere, distance.</p> + + <p class="tei tei-p" style="margin-bottom: 1.00em">The pediment + and metopes of the Greek temple owed as much to notan as to line; + we can infer from the restorations what the original scheme was. + Greek architecture, however, did not admit of extensive + enrichment with sculpture; there were few spaces to fill, and + those not advantageous as to position, shape or lighting. As the + temple evolved into the Christian church, the new forms of + building and the new story to tell called for sculpture. Through + Byzantine and Romanesque it took a fresh start, pushing upward + and outward until it flowered abundantly in Gothic. Although the + church selected the themes, the sculptor might interpret form and + facial expression as his imagination directed, and compose his + groups as he chose. Old conventions were abandoned; the artist + might now seek motifs in his own mind or in nature. The result of + this liberation of individual creative power was great art. The + Gothic designer used notan with dramatic invention and magical + strangeness. The French cathedrals of the best period (XI to XIV + century) notably Paris, Chartres, Amiens and Reims, show how + sculptural traditions were boldly broken and the most daring + effects accomplished without forgetting the character of stone or + the architectural requirements. The stone-cutter was an artist as + long as his restraint was self-imposed—as long as he held to + unity of the whole composition and kept details in their own + place—as long as he carved harmonies, not mere stories; pp. 8, + 11, 29, 51, 52.</p> + + <p class="tei tei-p" style="margin-bottom: 1.00em">The + masterpieces of Gothic sculpture may be studied from photographs + and from reproductions published by the Musée de Sculpture + Comparée, Paris. Sketch in the masses with brush and ink in two + values. Draw freely, at arm's length, on gray or low-toned paper, + observing the character of shapes of dark; No. 49, opposite. New + avenues of tone-thought will now open, through appreciation of + the power and beauty of the stone cutter's art of the + middle-ages.</p><span class="tei tei-pb" id="page76">[pg + 76]</span> + + <div class="tei tei-div" style= + "margin-bottom: 2.00em; margin-top: 2.00em"> + <h3 class="tei tei-head" style= + "text-align: center; margin-bottom: 2.00em; margin-top: 2.00em"> + JAPANESE DESIGN BOOKS</h3> + + <div class="tei tei-figure" style="text-align: center"> + <a href="images/no_49a.jpg"><img src="images/no_49a.jpg" alt= + "Japanese Ramma, Fret-saw work." /></a> + </div> + + <p class="tei tei-p" style="margin-bottom: 1.00em">If time had + preserved for us the sketches of Pheidias, of the architect of + St. Mark's, of the great designers of the early ages, we should + know how these creators planned the line and mass, the simple + structural schemes of their immortal works. In later days when + paper was common, artists' drawings were in a less perishable + form and many can now be seen in our museums. Some have been + published and are fairly within reach, though often in costly + editions. But Japanese art comes to the aid of the student of + composition with abundant material—sketch books, design books, + drawings and color prints. The learner should seek for genuine + works of the best periods, avoiding modern bad reproductions, + imitations, carelessly re-cut blocks, crude colors, and all the + hasty and commonplace stuff prepared by dealers for the foreign + market.</p> + + <p class="tei tei-p" style="margin-bottom: 1.00em">The Japanese + knew no division into Representative and Decorative; they + thought of painting as the art of two dimensions, the art of + rhythm and harmony, in which modelling and nature-imitation are + subordinate. As in pre-Renaissance times in Europe, the + education of the Japanese artist was founded upon composition. + Thorough grounding in fundamental principles of spacing, rhythm + and notan, gave him the utmost freedom in design. He loved + nature and went to her for his subjects, not to imitate. The + winding brook with wild iris (above) the wave and spray, the + landscape, No. 51, were to him themes for art to be translated + into terms of line or dark-and-light or color. They are so much + material out of which may be fashioned a harmonious line-system + or a sparkling web of black and white.</p> + </div> + </div> + + <div class="tei tei-div" style= + "margin-bottom: 3.00em; margin-top: 3.00em"> + <p class="tei tei-p" style="margin-bottom: 1.00em">The Japanese + books of most value to the student of composition are those with + collections of designs for lacquer, wood, metal and pottery, the + Ukiyo-ye books of figures, birds, flowers and landscape, and the + books by Kano artists, with brush-sketches of compositions by + masters. It was a common practice with the Japanese to divide a + page into sections of equal size and place a different design in + each section, p. 55. This is of great <span class="tei tei-pb" + id="page77">[pg 77]</span> <span class="tei tei-pb" id= + "page78">[pg 78]</span> <span class="tei tei-pb" id="page79">[pg + 79]</span> <span class="tei tei-pb" id="page80">[pg 80]</span> + importance to the student for it illustrates at once the + principles of space-filling and notan, and gives an idea of the + infinite possibilities of artistic invention. I have reproduced + examples from the three classes of books mentioned above, + selected in this case for their brilliancy of notan. Let the + student copy them enlarged, then make original designs of similar + motives. Good reproductions of many Japanese design books can now + be obtained at low prices. They are very stimulating, for they + point to the best way of studying nature and of translating her + beauty into the language of art; pp. 57, 62, 64, 76—79.</p> + + <div class="tei tei-figure" style="text-align: center"> + <a href="images/no_50.jpg"><img src="images/no_50.jpg" alt= + "No. 50. Japanese Ramma Fret-saw Work. Japanese design for embroidered kimono." /></a> + </div> + + <div class="tei tei-figure" style="text-align: center"> + <a href="images/no_51.jpg"><img src="images/no_51.jpg" alt= + "No. 51. Japanese landscape compositions for color printing." /></a> + </div> + + <div class="tei tei-figure" style="text-align: center"> + <a href="images/no_52.jpg"><img src="images/no_52.jpg" alt= + "No. 52. Japanese botanical work. Each page a composition in two values." /></a> + </div> + </div> + + <div class="tei tei-div" style= + "margin-bottom: 3.00em; margin-top: 3.00em"> + <h3 class="tei tei-head" style= + "text-align: left; margin-bottom: 2.40em; margin-top: 2.40em"> + <span style="font-size: 120%">APPLICATIONS of NOTAN of TWO + VALUES</span></h3> + + <p class="tei tei-p" style="margin-bottom: 1.00em">The Structural + method of art study places principle before application. Much + appreciation of notan could be gained from any one of the + subjects just considered,—for example, textiles,—but the tendency + would be to think of tone as belonging specially to textiles. The + same can be said of Line as it appears in casts, the human form, + or historic ornament. Attention is centred upon the particular + case, and the larger view is lost. It is better to gain a + knowledge of line, mass and color as the material out of which to + create; and to become acquainted with principles of + harmony-building, before undertaking definite applications. This + gives fuller control, and enhances the worker's powers of + invention. Applications of two values are numberless; I will + mention a few of them to give the student some clues for original + research and experiment.</p> + + <p class="tei tei-p" style="margin-bottom: 1.00em">PRINTING. + Florets, seals, initial letters, page ornaments, illustrations, + posters, end papers,—drawn in black, gray or one color.</p> + + <p class="tei tei-p" style="margin-bottom: 1.00em">TEXTILES. Blue + and white towels, quilts, etc., woven or printed, lace, + embroidery, rugs,—pages 9, 65, 66.</p> + + <p class="tei tei-p" style="margin-bottom: 1.00em">KERAMICS. One + color on a ground of different value, as blue and white, No. 54; + or black on gray.</p> + + <p class="tei tei-p" style="margin-bottom: 1.00em">METAL. + Perforated sheet metal; metal for corners, fixtures, etc., pp. + 25, 58.</p> + + <p class="tei tei-p" style="margin-bottom: 1.00em">WOOD. Fret saw + work, inlay; pp. 62, 76, 77.</p> + + <p class="tei tei-p" style="margin-bottom: 1.00em">Examples of + applications are given below, No. 53, and on opposite page.</p> + + <div class="tei tei-figure" style="text-align: center"> + <a href="images/no_53.jpg"><img src="images/no_53.jpg" alt= + "No. 53." /></a> + </div><span class="tei tei-pb" id="page81">[pg 81]</span> + + <div class="tei tei-figure" style="text-align: center"> + <a href="images/no_54.jpg"><img src="images/no_54.jpg" alt= + "No. 54." /></a> + </div> + </div> + </div> + <hr class="doublepage" /> + + <div class="tei tei-div" style= + "margin-bottom: 4.00em; margin-top: 4.00em"> + <span class="tei tei-pb" id="page82">[pg 82]</span> <a name="toc36" + id="toc36"></a> <a name="pdf37" id="pdf37"></a> + + <h2 class="tei tei-head" style= + "text-align: left; margin-bottom: 2.88em; margin-top: 2.88em"> + <span style="font-size: 144%">XII.—THREE VALUES</span></h2> + + <div class="tei tei-div" style= + "margin-bottom: 3.00em; margin-top: 3.00em"> + <p class="tei tei-p" style="margin-bottom: 1.00em">Clear black + against clear white is a strong contrast; even the best of such + work has some harshness, despite a sparkling brilliancy. A tone + of gray, midway between these two extremes, changes their + relations and opens up a whole new field for creative activity. + Now we must think of different degrees of Notan,—the <span class= + "tei tei-q">“value”</span> of one tone against another. This + simple set of three notes is the basis of the mezzotint, + aquatint, charcoal sketch and wash drawing. The old masters drew + on gray paper with black and white.</p> + + <p class="tei tei-p" style="margin-bottom: 1.00em">From three, it + is an easy step to many values, and in these refinements of Notan + lies the true meaning of the word <span class= + "tei tei-q">“values.”</span> That property of painted shapes, + whereby they <span class="tei tei-q">“take their places”</span> + one beyond another in a picture, is aerial perspective, not + values. It is a desirable quality of Representation, and often + becomes a kind of deception most agreeable to the mind + unappreciative of art. Those who have little perception of + harmonies of tone and color, wish to see objects <span class= + "tei tei-q">“stand out”</span> in the picture <span class= + "tei tei-q">“as if they were real.”</span></p> + + <p class="tei tei-p" style="margin-bottom: 1.00em">Whistler + protested against this, holding that the portrait painter is not + an artist unless he can give the opposite effect; that a portrait + that stands out beyond its frame is bad.</p> + + <p class="tei tei-p" style="margin-bottom: 1.00em">The word + <span class="tei tei-q">“values”</span> refers to harmony of + tone-structure; the value of a mass is its degree of light or + dark in relation to its neighbors.</p> + </div> + + <div class="tei tei-div" style= + "margin-bottom: 3.00em; margin-top: 3.00em"> + <h3 class="tei tei-head" style= + "text-align: left; margin-bottom: 2.40em; margin-top: 2.40em"> + <span style="font-size: 120%">EXERCISE</span></h3> + + <p class="tei tei-p" style="margin-bottom: 1.00em">The student + comes now to a new exercise of judgment in determining the middle + value between black and white, or between light and dark gray. He + has to mix this tone, and decide when it is of the right depth; + here, for the first time, he begins to paint.</p> + + <p class="tei tei-p" style="margin-bottom: 1.00em">For this + painting-exercise will be needed white dishes in which to mix the + ink tones, and flat Japanese (ha-ke) brushes. The best paper is + Japanese, well sized. The thin coating of glue keeps the edge of + the wash from drying before the brush can take it up.</p> + + <p class="tei tei-p" style="margin-bottom: 1.00em">The first + difficulty is the laying of a flat wash; this requires dexterity + and much practice. Paper must be stretched or thumb-tacked + perfectly smooth; ink-stone, dishes and brushes must be clean. + For a beginning take a simple line pattern; decide which parts + shall be white; then wash a middle tone of gray over the rest. + When dry, paint in the black spaces.</p> + + <p class="tei tei-p" style="margin-bottom: 1.00em">The reason for + keeping a tone flat is that the value of a whole space can be + judged better; if it is sloppy and uneven it loses force and + interest. In beginners' work, <span class="tei tei-pb" id= + "page83">[pg 83]</span> and in design, flatness is necessary, but + in picture-painting purely flat tones would rarely be used.</p> + </div> + + <div class="tei tei-div" style= + "margin-bottom: 3.00em; margin-top: 3.00em"> + <h3 class="tei tei-head" style= + "text-align: left; margin-bottom: 2.40em; margin-top: 2.40em"> + <span style="font-size: 120%">THREE GRAYS, A SCALE</span></h3> + + <p class="tei tei-p" style="margin-bottom: 1.00em">The next step + is to mix three values, light, medium and dark, in three white + dishes. The intervals can be tested by painting the spaces of a + simple scale. This need not have an outline, as three + brush-strokes will suffice. Apply these tones to a design; make + several arrangements, for the effect, and to discover the + possibilities in three values. The subjects might be the same as + in notan of two values, pages 63—68. The examples below + illustrate the method and results. See scale, p. 88, also p. 9. + In addition to original composition, the student should copy from + masterpieces of design and pictorial art, translating them into + three values.</p> + + <div class="tei tei-figure" style="text-align: center"> + <a href="images/threegra.jpg"><img src="images/threegra.jpg" + alt="White. Middle Gray. Black." /></a> + </div> + </div> + + <div class="tei tei-div" style= + "margin-bottom: 3.00em; margin-top: 3.00em"> + <h3 class="tei tei-head" style= + "text-align: left; margin-bottom: 2.40em; margin-top: 2.40em"> + <span style="font-size: 120%">LANDSCAPE AND PICTURES</span></h3> + + <p class="tei tei-p" style="margin-bottom: 1.00em">For + three-value studies one may use ink, charcoal or oil paint. The + two latter are particularly suitable for landscape designs and + illustrative work. Charcoal should be used lightly and very + freely. It gives effects of vibration, atmosphere, envelope and + light, but the handling requires special study and much + practice.</p> + + <p class="tei tei-p" style="margin-bottom: 1.00em">The first few + exercises in charcoal landscape may be in flat tones (see No. 55, + page 85), and the student may find it well to make a scale of + three values in this medium; he must learn however to feel + outlines without drawing them, and to handle charcoal firmly but + loosely.</p> + + <p class="tei tei-p" style="margin-bottom: 1.00em">Cover the + paper with a very sketchy tone of soft charcoal; pass over it + lightly with a paper stump or piece of cotton cloth. Be careful + not to grind the black into the paper, making an opaque smoky + tone. Charcoal paper is made rough, to let the <span class= + "tei tei-pb" id="page84">[pg 84]</span> warm white shine between + the little particles of black that lie upon the points of the + surface.</p> + + <div class="tei tei-figure" style="text-align: center"> + <a href="images/no_54a.jpg"><img src="images/no_54a.jpg" alt= + "Flower design." /></a> + </div> + + <p class="tei tei-p" style="margin-bottom: 1.00em">When a + luminous middle-gray is obtained, sketch in the darks with soft + charcoal and take out the lights with bread or rubber; this + effect is like a mezzotint, Nos. 55, 57, and p. 57. After the + principle of three values has been demonstrated, and the student + can appreciate definite intervals of tone, the instructor should + allow great freedom in execution, not even limiting to three + notes but adding one or two others if necessary to good + expression.</p> + + <p class="tei tei-p" style="margin-bottom: 1.00em">For oil + painting, mix the three tones in quantity sufficient to paint + several studies. Ivory Black and Burnt Sienna will give a good + neutral gray. For the color of blue china or the Abruzzi towels, + use Prussian Blue, Black and White. Opinions differ as to the use + of diluting mediums, and sizes of brushes, for oil painting. I + should advise thinning the color with linseed oil and turpentine + (half and half), and using large flat bristle brushes. Canvas + should be fairly rough in texture. If the surface to be painted + on is smooth,—either wood, pasteboard, or canvas,—prepare a + ground with thick paint, leaving brush-marks.</p> + </div> + + <div class="tei tei-div" style= + "margin-bottom: 3.00em; margin-top: 3.00em"> + <h3 class="tei tei-head" style= + "text-align: left; margin-bottom: 2.40em; margin-top: 2.40em"> + <span style="font-size: 120%">APPLICATIONS, THREE + VALUES</span></h3> + + <p class="tei tei-p" style="margin-bottom: 1.00em">Use of the + principle of three values in out-door sketching and in + illustration, has been explained above. There is one application, + among others, that should be made by the student at this + point—composition of a book-page.</p> + + <p class="tei tei-p" style="margin-bottom: 1.00em">The usual + illustrated page is an arrangement in three tones,—white paper, + gray type, dark picture. The value to the publisher depends quite + as much upon the picturesque effect of the illustration as upon + its drawing. Size and placing, disposition of type, amount of + margin, are matters of Line Composition; but choice of type, and + the tone of the illustration belong to Notan Composition. Hence + the student will gain much from designing pages, in ink, charcoal + or oil, using as pictures the copies from masters, or original + studies. Picture, title, initial letter, and body of type must be + so composed that the result will be effective and harmonious, No. + 58.</p> + + <p class="tei tei-p" style="margin-bottom: 1.00em">Reference + should be made to examples of early printing, to the works of + William Morris, and to the best modern printing.</p> + + <div class="tei tei-figure" style="text-align: center"> + <a href="images/no_54b.jpg"><img src="images/no_54b.jpg" alt= + "Japanese drawing, effect of three values." /></a> + </div> + </div><span class="tei tei-pb" id="page85">[pg 85]</span> + + <div class="tei tei-figure" style="text-align: center"> + <a href="images/no_55.jpg"><img src="images/no_55.jpg" alt= + "No 55." /></a> + </div><span class="tei tei-pb" id="page86">[pg 86]</span> + + <div class="tei tei-figure" style="text-align: center"> + <a href="images/no_57.jpg"><img src="images/no_57.jpg" alt= + "“The World Afloat” by John Sell Cotman. “St. John's River” by William Morris Hunt." /></a> + </div><span class="tei tei-pb" id="page87">[pg 87]</span> + <span class="tei tei-pb" id="page88">[pg 88]</span> + + <div class="tei tei-figure" style="text-align: center"> + <a href="images/scale57.jpg"><img src="images/scale57.jpg" alt= + "No 55." /></a> + </div> + </div><span class="tei tei-pb" id="page89">[pg 89]</span> + <hr class="doublepage" /> + + <div class="tei tei-div" style= + "margin-bottom: 4.00em; margin-top: 4.00em"> + <a name="toc38" id="toc38"></a> <a name="pdf39" id="pdf39"></a> + + <h2 class="tei tei-head" style= + "text-align: left; margin-bottom: 2.88em; margin-top: 2.88em"> + <span style="font-size: 144%">XIII.—MORE THAN THREE + VALUES</span></h2> + + <div class="tei tei-div" style= + "margin-bottom: 3.00em; margin-top: 3.00em"> + <p class="tei tei-p" style="margin-bottom: 1.00em">Line, Notan, + Color—the elements by which the whole visible world is + apprehended,—may or may not be used as the language of art. Like + speech, this three-fold language may voice noble emotions in + poetic style, or may subserve the vulgar and the humdrum. + Art-language must be in art-form; a number of facts, or an + incident, accurately described in paint and color may have no + more connection with art than a similar set of written statements + just plain prose. There is no art unless the statements are bound + together in certain subtle relations which we call beauty. When + beauty enters, the parts cease to have separate existence, but + are melted together in a unit.</p> + + <p class="tei tei-p" style="margin-bottom: 1.00em">Advanced + composition is only a working out of simple elements into more + complex and difficult interrelations. If the picture has figures + and landscape, the lines of each run in such directions, + intersect and interweave in such ways as to form a musical + movement. The tones and colors are arranged to enrich one + another. A noble subject requires noble pictorial style.</p> + + <p class="tei tei-p" style="margin-bottom: 1.00em">Experience of + tone-harmony in two and three values brings appreciation of + no-tan-structure and lays a solid foundation for advanced + work.</p> + + <p class="tei tei-p" style="margin-bottom: 1.00em">SCALE. At this + point construct a scale introducing more delicate relations of + tone, and involving finer judgment as to intervals.</p> + + <p class="tei tei-p" style="margin-bottom: 1.00em">A scale of + white, black and three grays</p> + + <table summary="This is a list." class="tei tei-list" style= + "margin-bottom: 1.00em; margin-top: 1.00em"> + <tbody> + <tr class="tei tei-labelitem"> + <th class="tei tei-label">(a)</th> + + <td class="tei tei-item">will be best for beginning, to be + followed by a scale of seven values</td> + </tr> + + <tr class="tei tei-labelitem"> + <th class="tei tei-label">(b).</th> + + <td class="tei tei-item">See page 88. These may be made + with Japanese ink, water color, charcoal or oil; but not + with pencil as it has not depth enough.</td> + </tr> + </tbody> + </table> + + <p class="tei tei-p" style="margin-bottom: 1.00em">The values + here are only approximate; perfect accuracy cannot be obtained by + the half-tone process.</p> + </div> + + <div class="tei tei-div" style= + "margin-bottom: 3.00em; margin-top: 3.00em"> + <h3 class="tei tei-head" style= + "text-align: left; margin-bottom: 2.40em; margin-top: 2.40em"> + <span style="font-size: 120%">EXERCISE</span></h3> + + <p class="tei tei-p" style="margin-bottom: 1.00em">Choose a + textile, or any design with a variety of spaces, and try + notan-effects with tones from the scale. The object is to + discover a fine notan-scheme of values, and by using the scale + one is assured of definite intervals. If the notes are mixed in + quantity, they may be tried upon a half-dozen tracings at once, + from which the best should be chosen. Remember that the + scale-work is only an exercise to help toward clarity of tone, + and to encourage invention. Harmony of dark-and-light does not + depend upon fixed intervals, nor will the composer adhere to any + scale in his original creative work.</p> + + <p class="tei tei-p" style="margin-bottom: 1.00em">Some results + of this exercise are shown in No. 58, page 91.</p> + </div> + + <div class="tei tei-div" style= + "margin-bottom: 3.00em; margin-top: 3.00em"> + <span class="tei tei-pb" id="page90">[pg 90]</span> + + <h3 class="tei tei-head" style= + "text-align: left; margin-bottom: 2.40em; margin-top: 2.40em"> + <span style="font-size: 120%">ILLUSTRATION</span></h3> + + <p class="tei tei-p" style="margin-bottom: 1.00em">After some + experience in handling five or seven tones, the student can + undertake original composition. For a beginning pure landscape + may be best, taking some of the subjects previously used.</p> + + <p class="tei tei-p" style="margin-bottom: 1.00em">Follow this + with landscape and figures; groups of figures with landscape + background; figures in interiors; and portrait sketches.</p> + + <p class="tei tei-p" style="margin-bottom: 1.00em">Compose for a + book-page, using one light gray value to represent the effect of + type, as in No. 58, opposite. Paint very freely, without too much + thought of scales and intervals. Let gradations enter where + needed for finer effect. Study the work of the best illustrators, + noting the tone-scheme and the placing upon the page.</p> + </div> + + <div class="tei tei-div" style= + "margin-bottom: 3.00em; margin-top: 3.00em"> + <h3 class="tei tei-head" style= + "text-align: left; margin-bottom: 2.40em; margin-top: 2.40em"> + <span style="font-size: 120%">ETCHING</span></h3> + + <p class="tei tei-p" style="margin-bottom: 1.00em">Etching, pen + drawing and pencil sketching are line-arts. The needle, pen and + lead pencil are tools for drawing lines, and there is much reason + in Whistler's contention that tone and shading should not be + attempted with them. The tool always gives character to work, and + the best results are obtained when the possibilities of tools and + materials are fully appreciated. If a sharp point is used in + drawing, it will produce pure line, whose quality may reach any + degree of excellence. Whistler, in his etchings, worked for the + highest type of line-beauty; shadows and tones were felt, but not + expressed. On the other hand the artist is not subject to + restrictions and fixed laws. He cannot allow even a master to + interfere with his freedom; there is no <span class= + "tei tei-q">“thou shalt”</span> and <span class="tei tei-q">“thou + shalt not”</span> in art. Admitting the value of all the + arguments for restricting the use of the needle to line only, the + artist observes that clustering of lines inevitably produces tone + and suggests massing (notan of line, page 54) that this effect is + developed in rich gradations by wiping the etching-plate in the + process of printing. Etchers are thus tempted to use tone, and + many masters, from Rembrandt down, have worked in tone more often + than in line.</p> + </div> + + <div class="tei tei-div" style= + "margin-bottom: 3.00em; margin-top: 3.00em"> + <h3 class="tei tei-head" style= + "text-align: left; margin-bottom: 2.40em; margin-top: 2.40em"> + <span style="font-size: 120%">PEN DRAWING</span></h3> + + <p class="tei tei-p" style="margin-bottom: 1.00em">is a dry, hard + process but one of great value in modern illustration owing to + the ease with which it may be reproduced. It need not be as + inartistic as it usually appears; observation of pen work will + show that, aside from faults in composition, failure in interest + lies largely in the handling. Perhaps one pen only is used, and + all textures treated alike, whereas every texture should have its + own characteristic handling; cross hatching or any uniform system + of shading with the pen is deadly. Study the rendering; suggest + surface-quality rather than imitate or elaborate; use a variety + of pens. Johnston has shown with what art the reed pen may be + employed in lettering and illuminating. In comparison with the + Japanese brush, the ordinary pen is a clumsy tool, but + nevertheless it is capable of much more than is usually gotten + with <span class="tei tei-pb" id="page91">[pg 91]</span></p> + + <div class="tei tei-figure" style="text-align: center"> + <a href="images/no_58.jpg"><img src="images/no_58.jpg" alt= + "No 58. Three, Four, Five values." /></a> + </div> + + <p class="tei tei-p" style="margin-bottom: 1.00em"><span class= + "tei tei-pb" id="page92">[pg 92]</span></p> + + <div class="tei tei-figure" style="text-align: center"> + <a href="images/no_58a.jpg"><img src="images/no_58a.jpg" alt= + "Compositions in more than three values. Pratt Institute, Brooklyn, New York." /></a> + </div> + + <p class="tei tei-p" style="margin-bottom: 1.00em"><span class= + "tei tei-pb" id="page93">[pg 93]</span></p> + + <div class="tei tei-figure" style="text-align: center"> + <a href="images/no_59.jpg"><img src="images/no_59.jpg" alt= + "“The Pirate Ship”, Composition in four values, Teachers College, New York. “Harry Mayne's House”, from nature, five values, Ipswich Summer School of Art" /></a> + </div> + + <p class="tei tei-p" style="margin-bottom: 1.00em"><span class= + "tei tei-pb" id="page94">[pg 94]</span></p> + + <div class="tei tei-figure" style="text-align: center"> + <a href="images/no_60.jpg"><img src="images/no_60.jpg" alt= + "No. 60." /></a> + </div> + + <p class="tei tei-p" style="margin-bottom: 1.00em"><span class= + "tei tei-pb" id="page95">[pg 95]</span> it; and the reed pen + closely approaches the brush as a line-implement. The brush may + be used as a pen, values and massing being obtained by blots and + clustering of lines. Two examples are given below; see also pp. + 7, 9, 19.</p> + + <div class="tei tei-figure" style="text-align: center"> + <a href="images/no_60a.jpg"><img src="images/no_60a.jpg" alt= + "Old house on Brook St. Ipswich. Harry Mayne ye Pyrate hys house Ipswich." /></a> + </div> + </div> + + <div class="tei tei-div" style= + "margin-bottom: 3.00em; margin-top: 3.00em"> + <h3 class="tei tei-head" style= + "text-align: left; margin-bottom: 2.40em; margin-top: 2.40em"> + <span style="font-size: 120%">PENCIL SKETCHING</span></h3> + + <p class="tei tei-p" style="margin-bottom: 1.00em">Much that has + been said of etching and pen drawing is equally true of the hard + lead pencil; but the soft pencil has many of the qualities of + charcoal. It may even be made to resemble the ink wash. The most + successful pencil work is that in which line is the main thing, + shading being only suggested. These darks, whether meant for + shadows, local tone, or color, will form a <span class= + "tei tei-q">“spotting”</span> to which is largely due the + interest of the sketch.</p> + + <p class="tei tei-p" style="margin-bottom: 1.00em">If shading is + attempted, the tones, whether gray or dark, are made by laying + lines side by side, not by cross-hatching or going over twice. A + pencil sketch must be off-hand, premier coup, brilliant and + characterful. Two examples are given as hints for handling, No. + 60. It is not possible here to discuss pencil, pen or etching, at + length; they are only touched upon in their relation to + composition of line and notan.</p> + </div> + + <div class="tei tei-div" style= + "margin-bottom: 3.00em; margin-top: 3.00em"> + <span class="tei tei-pb" id="page96">[pg 96]</span> + + <h3 class="tei tei-head" style= + "text-align: left; margin-bottom: 2.40em; margin-top: 2.40em"> + <span style="font-size: 120%">INK PAINTING</span></h3> + + <p class="tei tei-p" style="margin-bottom: 1.00em">Supreme + excellence in the use of ink was attained by the Chinese and + Japanese masters. Impressionism is by no means a modern art + (except as to color-vibrations) for suggestiveness was highly + prized in China a thousand years ago. The painter expected the + beholder to create with him, in a sense, therefore he put upon + paper the fewest possible lines and tones; just enough to cause + form, texture and effect to be felt. Every brush-touch must be + full-charged with meaning, and useless detail eliminated. Put + together all the good points in such a method, and you have the + qualities of the highest art; for what more do we require of the + master than simplicity, unity, powerful handling, and that + mysterious force that lays hold upon the imagination. Why the + Buddhist priests of the Zen sect became painters, and why they + chose monochrome are questions involving a knowledge of the + doctrines of Buddhism and of the Zen philosophy. It is sufficient + to say here that contemplation of the powers and existences of + external nature, with a spiritual interpretation of them, was the + main occupation of Zen thought. Nature's lessons could be learned + by bringing the soul to her, and letting it behold itself as in a + mirror; the teaching could be passed on to others by means of + art—mainly the art of landscape painting. Religious emotion was + the spring of art-power in the East, as it was in the West. + Landscape painting as religious art, has its parallel in Greek + and Gothic sculpture, in Italian painting of the world-story, of + the Nativity, the Passion, and the joys of heaven. Some of these + priest-artists of the Zen, Mokkei, Kakei, Bayen in China; Shubun, + Sesshu in Japan, rank with the great painters of all time. They, + and such pupils as Sesson, Soami, Motonobu and Tanyu, were + classic leaders who have given us the purest types of the art of + ink-painting. To them we look for the truly artistic + interpretation of nature; for dramatic, mysterious, elusive + tone-harmony; for supreme skill in brush-work.</p> + + <div class="tei tei-figure" style="text-align: center"> + <a href="images/no_60b.jpg"><img src="images/no_60b.jpg" alt= + "Japanese sketch of the massing in a painting by an old master" /></a> + </div> + + <p class="tei tei-p" style="margin-bottom: 1.00em">Ink-painting + is both an art and a craft; it has refinements and possibilities + that can be realized only by working with a Japanese artist. He + starts with a paper of low tone—it may be its natural state, or + he may wash it over with thin ink <span class="tei tei-pb" id= + "page97">[pg 97]</span></p> + + <div class="tei tei-figure" style="text-align: center"> + <a href="images/no_61.jpg"><img src="images/no_61.jpg" alt= + "No. 61. Painting and detail of painting by SESSHU." /></a> + </div> + + <p class="tei tei-p" style="margin-bottom: 1.00em"><span class= + "tei tei-pb" id="page98">[pg 98]</span></p> + + <div class="tei tei-figure" style="text-align: center"> + <a href="images/no_62.jpg"><img src="images/no_62.jpg" alt= + "No 62. An Ipswich Hill." /></a> + </div> + + <p class="tei tei-p" style="margin-bottom: 1.00em"><span class= + "tei tei-pb" id="page99">[pg 99]</span> and color. Into this + atmospheric undertone he plays gradations, sharp-edged strokes, + drops of black, and vibrating washes,—only touching upon forms, + but clearly marking planes of aerial perspective. No. 61.</p> + + <div class="tei tei-figure" style="text-align: center"> + <a href="images/no_62a.jpg"><img src="images/no_62a.jpg" alt= + "Sketch from a XVIIth century Japanese book" /></a> + </div> + + <p class="tei tei-p" style="margin-bottom: 1.00em">For + experiments in ink-painting I recommend the Japanese paper called + <span class="tei tei-q">“toshi.”</span></p> + + <p class="tei tei-p" style="margin-bottom: 1.00em">If this is not + within reach, a good substitute may be made by sizing manila + paper with a thin solution of alum. Japanese paper should be wet, + and pasted, by the edges, upon a board. Manila paper, after + wetting, may be tacked upon a stretcher. Japanese ink and + ink-stone, (Chapter II) round and flat brushes, soft charcoal, + and a set of white dishes will be needed. Sketch in the subject + lightly with the charcoal, dust it off and draw the main lines + with pale thin vermilion water color. Wash in the broad masses, + relying upon strengthening by many overtones. Put in the darks + last, being very careful that they are not too sharp-edged. No. + 62.</p> + + <p class="tei tei-p" style="margin-bottom: 1.00em">It is not + possible for us to attain perfect mastery of Japanese materials + and methods, but the study will train in appreciation of + tone-composition, and in better handling of our own water color + and oil. Good photogravures may now be obtained; in some cases + the student may copy from originals in our museums.</p> + + <div class="tei tei-figure" style="text-align: center"> + <a href="images/no_62b.jpg"><img src="images/no_62b.jpg" alt= + "Sketch from a XVIIth century Japanese book" /></a> + </div> + </div> + </div> + </div> + <hr class="doublepage" /> + + <div class="tei tei-div" style= + "margin-bottom: 5.00em; margin-top: 5.00em"> + <span class="tei tei-pb" id="page100">[pg 100]</span> <a name="toc40" + id="toc40"></a> <a name="pdf41" id="pdf41"></a> + + <h1 class="tei tei-head" style= + "text-align: left; margin-bottom: 3.46em; margin-top: 3.46em"> + <span style="font-size: 173%">COLOR</span></h1> + + <div class="tei tei-div" style= + "margin-bottom: 4.00em; margin-top: 4.00em"> + <a name="toc42" id="toc42"></a> <a name="pdf43" id="pdf43"></a> + + <h2 class="tei tei-head" style= + "text-align: left; margin-bottom: 2.88em; margin-top: 2.88em"> + <span style="font-size: 144%">XIV.—COLOR THEORY</span></h2> + + <div class="tei tei-div" style= + "margin-bottom: 3.00em; margin-top: 3.00em"> + <p class="tei tei-p" style="margin-bottom: 1.00em">Color, with + its infinity of relations, is baffling; its finer harmonies, like + those of music, can be grasped by the appreciations only, not by + reasoning or analysis. Color, in art, is a subject not well + understood as yet, and there are violent differences of opinion + among artists, teachers and critics, as to what constitutes good + color-instruction. The most that I can do here is to outline a + simple method of study. The usual advice of the academic painter + to <span class="tei tei-q">“keep trying,”</span> is discouraging + to the beginner and increases his confusion; it is not in accord + with good sense either, for the other arts are not attacked + through timid and aimless experiment. An artist may say that a + certain group of colors is a harmony; the pupil cannot see it, + but he takes the master's word for it. The artist is not teaching + successfully unless he points the way to appreciation, however + hard or long it may be.</p> + + <p class="tei tei-p" style="margin-bottom: 1.00em">A systematic + study of line and tone is very profitable, as we have seen; I + believe that color may be approached in like manner, and I shall + attempt now to relate the treatment of the color-element (chapter + I) to that of the other two, and to give some results of personal + experience.</p> + + <p class="tei tei-p" style="margin-bottom: 1.00em">Those who have + but little time for work in color, can spend it best in copying, + under guidance, examples of acknowledged excellence, like + Japanese prints, Oriental rugs, and reproductions of + masterpieces. Contact with these, even looking at them (if the + pupil is taught what to look for), will strengthen the powers of + color perception. In schools where the art periods are short and + few, this may be the only method possible. (See p. 13 and chap. + XVI.) For those who intend to use color in creative work a + certain amount of theory is indispensable, as it simplifies the + subject and opens up a few definite lines of research. The word + <span class="tei tei-q">“theory”</span> has become a kind of + academic bugbear, yet Leonardo da Vinci said that the painter who + works without a theory is like the sailor who goes to sea without + a compass. Well-ordered thought is as necessary in art as in any + other field. Theory is a help to clear thinking and gives + direction and purpose to practice. Color, however complicated, + may be reduced to three simple elements:</p> + + <table summary="This is a list." class="tei tei-list" style= + "margin-bottom: 1.00em; margin-top: 1.00em"> + <tbody> + <tr class="tei tei-labelitem"> + <th class="tei tei-label"></th> + + <td class="tei tei-item">HUE,—as yellow, blue-green,</td> + </tr> + + <tr class="tei tei-labelitem"> + <th class="tei tei-label"></th> + + <td class="tei tei-item">NOTAN (or Value),—as dark red, + light red,</td> + </tr> + + <tr class="tei tei-labelitem"> + <th class="tei tei-label"></th> + + <td class="tei tei-item">INTENSITY (or + Bright-to-gray-ness)—as intense blue, dull blue.</td> + </tr> + </tbody> + </table> + + <p class="tei tei-p" style="margin-bottom: 1.00em">Color harmony + depends upon adjustments in this three-fold nature. If a + color-scheme is discordant, the fault may <span class= + "tei tei-pb" id="page101">[pg 101]</span> be discovered in,—wrong + selection of hues or weak values, or ill-matched intensities, or + all three. This simple classification reduces the perplexities + that beset the student, by showing him where to look for the + cause of failure. The words <span class= + "tei tei-q">“Value”</span> and <span class= + "tei tei-q">“Chroma”</span> are used in this connection by Albert + H. Munsell, to whose book <span class="tei tei-q">“A Color + Notation”</span> the reader is referred for a very convincing + exposition of color theory.</p> + + <p class="tei tei-p" style="margin-bottom: 1.00em">Mr. Munsell + has invented a photometer to measure values of light and color, + and has prepared scales, spheres, charts and pigments for school + use. My own experiments in making circles of hues and scales of + notan and intensities, were based upon the old theory—Red, Blue + and Yellow as primaries, Green, Orange and Violet as secondaries, + etc. At that time (1890) the progression from bright to gray was + not recognized as a distinct element of color, but in + art-educational works difference of intensity was confused with + dark-and-light; spectra for school use contained hues in violent + contrast as to brilliancy and value.</p> + + <p class="tei tei-p" style="margin-bottom: 1.00em">Science + determined long since that the fundamental color impressions are + not red, blue and yellow, but Red, Green and Violet-blue. Mr. + Munsell adopts these and two secondaries, Yellow and Purple—five + hues in all—as the basis of all color expression in art. This + seems very simple and quite sufficient for working out all + problems in color scheming. Note. Experiments as outlined below, + are intended only to set the student thinking, in an orderly way, + about the three dimensions of color.</p> + + <div class="tei tei-figure" style="text-align: center"> + <a href="images/colors.jpg"><img src="images/colors.jpg" alt= + "Dimensions of Color" /></a> + </div> + </div> + + <div class="tei tei-div" style= + "margin-bottom: 3.00em; margin-top: 3.00em"> + <h3 class="tei tei-head" style= + "text-align: left; margin-bottom: 2.40em; margin-top: 2.40em"> + <span style="font-size: 120%">EXERCISES</span></h3> + + <p class="tei tei-p" style="margin-bottom: 1.00em">HUE. To judge + of the effect of one hue upon another, arrange the whole five, + Red, Yellow, Green, Blue, Purple, in a circle making them equal + in value and equal in degree of brightness, thus eliminating + notan and intensity. In the centre of the circle (N) paint a note + of middle value, chosen from the scale, p. 88. Then paint the + other divisions R, Y, G, B, P with the five hues. When this is + well done if the circle were photographed upon a color-blind + plate, the result would be a flat tone of middle gray. No pigment + is of the exact quality needed; red that is neither yellow-red + nor purple-red can be mixed from Vermilion and Crimson; Prussian + Blue is greenish, New Blue is reddish; some pigments are too + light, others too dark. This exercise requires study of great + importance to the painter, giving him a better acquaintance with + his materials.</p> + + <p class="tei tei-p" style="margin-bottom: 1.00em">Next, make a + circle of intermediates, No. 63, by mixing adjoining hues; this + gives five more notes—yellow-red, green-yellow, blue-green, + purple-blue, red-purple. Bear in mind that these circles are + <span class="tei tei-pb" id="page102">[pg 102]</span> only + statements of relations, of the same use as a scale. The question + now is of the art-use of them, of composing a harmony with + them.</p> + + <p class="tei tei-p" style="margin-bottom: 1.00em">APPLICATION. + Choose a line-design, and paint the spaces with colors from the + second circle. The effect will be peculiar because there are no + differences of dark-and-light or intensity; the only harmony + possible comes from interplay of hues, a kind of iridescence and + vibration; see opposite page.</p> + + <p class="tei tei-p" style="margin-bottom: 1.00em">Colors that + stand opposite in circle—as blue, yellow-red; or red, + blue-green—will, if placed side by side, increase each other's + power and produce violent contrast. Opposition of Color is + analogous to Opposition of Line (page 21) and Opposition of Notan + (black and white). To unite these extremes of difference, bring + in a third hue related to each, for example,—red, green-yellow, + blue-green; yellow, yellow-red, purple-blue. This is the + principle of Transition (page 22); see also page 82, three + values.</p> + + <p class="tei tei-p" style="margin-bottom: 1.00em">Practice in + composing with few and simple elements, of deciding when + contrasting colors are of equal value, or equal intensity, is of + direct use in art. The landscape painter opposes the whole sky to + the whole ground; he wants a vibration of color in each, without + disturbing the values; the designer in stained glass sometimes + desires to fill a space with iridescent color, perhaps as a + background for figures.</p> + + <p class="tei tei-p" style="margin-bottom: 1.00em">The student + may, if he likes, use black with these colors, producing a very + brilliant effect like a Cairo window; but here the hues are + measured against black, rather than against each other. In No. 63 + are shown two experiments in composing with HUE.</p> + + <p class="tei tei-p" style="margin-bottom: 1.00em">NOTAN of + COLOR. Draw in outline six scales, as shown in the diagram. Paint + N in white, black and three grays (see page 88). In the spaces + marked (a) paint each of the five hues—red, yellow, green, blue + and purple, middle value and equal intensity.</p> + + <div class="tei tei-figure" style="text-align: center"> + <a href="images/colors2.jpg"><img src="images/colors2.jpg" alt= + "Notan of Color" /></a> + </div> + + <p class="tei tei-p" style="margin-bottom: 1.00em">Next, paint a + lighter value (b) and a darker (c) making a notan-scale of each + hue,—light red, middle red, dark red, etc. Observe that intensity + diminishes toward light and dark. If the intermediates, + yellow-red, green-yellow and the rest, are also arranged in this + way from light to dark, you will have a set of notes for + application in composition.</p> + + <p class="tei tei-p" style="margin-bottom: 1.00em">APPLICATION. A + line design may now be colored from one of the scales, say Blue. + Hue and Intensity being eliminated, the whole effort is centred + upon notan of color. This is an exercise in three values (page + 83) using color instead of neutral gray. No. 64, p. + 105.</p><span class="tei tei-pb" id="page103">[pg 103]</span> + + <div class="tei tei-figure" style="text-align: center"> + <a href="images/no_63.jpg"><img src="images/no_63.jpg" alt= + "No. 63. Color Theory, HUE." /></a> + </div><span class="tei tei-pb" id="page104">[pg 104]</span> + + <div class="tei tei-figure" style="text-align: center"> + <a href="images/no_64.jpg"><img src="images/no_64.jpg" alt= + "No. 64. Color Theory, NOTAN of Color." /></a> + </div><span class="tei tei-pb" id="page105">[pg 105]</span> + <span class="tei tei-pb" id="page106">[pg 106]</span> + <span class="tei tei-pb" id="page107">[pg 107]</span> + <span class="tei tei-pb" id="page108">[pg 108]</span> + + <div class="tei tei-figure" style="text-align: center"> + <a href="images/no_65.jpg"><img src="images/no_65.jpg" alt= + "No. 64. Color Theory, INTENSITY, scales and exercises." /></a> + </div><span class="tei tei-pb" id="page109">[pg 109]</span> + + <p class="tei tei-p" style="margin-bottom: 1.00em">More + applications can be made than in the case of Hue; historic art is + full of them. Dutch tiles, Japanese prints and blue towels, + Abruzzi towels, American blue quilts, etc., are examples of + harmony built up with several values of one hue. With two hues + innumerable variations are possible. Japanese prints of the + <span class="tei tei-q">“red and green”</span> period are + compositions in light yellow-red, middle green, black, and white. + Other examples can be easily found in the world's art. The + student should apply the scale-notes to his own designs, not + using, at this stage, more than two hues, with perhaps black and + white.</p> + + <p class="tei tei-p" style="margin-bottom: 1.00em">INTENSITY. + Color varies not only in hue and value, but in intensity,—ranging + from bright to gray. Every painter knows that a brilliant bit of + color, set in grayer tones of the same or neighboring hues, will + illuminate the whole group,—a distinguished and elusive harmony. + The fire opal has a single point of intense scarlet, melting into + pearl; the clear evening sky is like this when from the sunken + sun the red-orange light grades away through yellow and green to + steel-gray.</p> + + <p class="tei tei-p" style="margin-bottom: 1.00em">This rarely + beautiful quality of color can be better understood by isolating + it and testing it in designs (as has been done with each + principle, from Line onward; see page 21).</p> + + <p class="tei tei-p" style="margin-bottom: 1.00em">Paint a scale + with one hue, say Vermilion, keeping each space of the same + value, but grading the intensity down to neutral gray.</p> + + <p class="tei tei-p" style="margin-bottom: 1.00em">APPLICATION. + Arrange these notes in a line design. As Hue and Notan are + eliminated, the only harmony will be that of bright points + floating in grayish tones (No.65). Other hues may be scaled and + tested in like manner. Combine two hues in one design, all values + equal,—adding contrast of hue to contrast of intensity. Examples + abound in painting. To cite a few: the element of intensity gives + breadth and tonal harmonies in stained glass, Persian rugs, + Cazin's foregrounds, the prints of Harunobu, Kiyonaga and + Shunsho.</p> + + <p class="tei tei-p" style="margin-bottom: 1.00em">COMPOSITIONS + in HUE, NOTAN, INTENSITY. In all color-schemes these three will + be found in combination. Analysis of a few compositions will be + worth while; for example, the print, No. 69, p. 124, and the + print and textile, page 13. Note (1) the number of hues; (2) the + number of values of each hue, whether dark, light or medium; (3) + the degrees of intensity of each hue, whether very bright, + bright, medium or dull; (4) the quantity of each color and its + distribution in the design; (5) the amount and effect of black, + white and neutral gray. For a simple exercise in composition the + student might color a line design in several ways, using three + hues, varying the dark-and-light distribution and the quantity of + bright and gray tones. Follow this with other designs in + color.—flower panels, repeating patterns, figures in costume, and + landscape. A little of this kind of work will cultivate good + <span class="tei tei-pb" id="page110">[pg 110]</span> judgment as + to color relations, and will stimulate invention. Color Theory + does not ensure harmony but is a help toward it, as it shows + where balance and adjustment are needed.</p> + + <p class="tei tei-p" style="margin-bottom: 1.00em">Note. It is + next to impossible to reproduce colors with perfect accuracy, and + even if the hues, values and intensities could be exactly copied, + it is doubtful if the inks would remain absolutely unchanged for + a great length of time. The plates of Color Theory here shown are + intended only as statements of the fundamental color-relations. + They are not scientifically accurate, nor do they need to + be,–they are to be used in art, not in science. Their purpose is + to show the pupil how to study color, how to make scales and + apply them in art, rather than to furnish a standard to be + copied.</p> + + <div class="tei tei-figure" style="text-align: center"> + <a href="images/no_65a.jpg"><img src="images/no_65a.jpg" alt= + "“The Gundalow”, study in three values." /></a> + </div><span class="tei tei-pb" id="page111">[pg 111]</span> + <span class="tei tei-pb" id="page112">[pg 112]</span> + + <div class="tei tei-figure" style="text-align: center"> + <a href="images/no_66.jpg"><img src="images/no_66.jpg" alt= + "No. 66. Color derived from NOTAN." /></a> + </div> + </div> + </div> + <hr class="doublepage" /> + + <div class="tei tei-div" style= + "margin-bottom: 4.00em; margin-top: 4.00em"> + <span class="tei tei-pb" id="page113">[pg 113]</span> <a name= + "toc44" id="toc44"></a> <a name="pdf45" id="pdf45"></a> + + <h2 class="tei tei-head" style= + "text-align: left; margin-bottom: 2.88em; margin-top: 2.88em"> + <span style="font-size: 144%">XV.—COLOR DERIVED FROM + NOTAN</span></h2> + + <div class="tei tei-div" style= + "margin-bottom: 3.00em; margin-top: 3.00em"> + <p class="tei tei-p" style="margin-bottom: 1.00em">One approach + to Color may be through Notan, either before or after studying + color theory. By clustering lines tone is produced (page 54); by + tingeing neutral grays Color is produced. In monochrome itself + fine relations of notan will suggest color. Japanese ink painters + enhance the harmonies of tone-composition by mingling slight + quantities of hue with the ink. Faint washes of yellow in + foregrounds, of green in foliage, of blue in sea and sky, of red + and other colors in buildings and costumes, convey impressions of + full color-keys.</p> + + <p class="tei tei-p" style="margin-bottom: 1.00em">Etchers and + lithographers often add a few touches of color not only as a + contrast to the grays, but to cause the beholder to imagine the + whole color-scheme. The effect of modifying neutrals with hue may + be observed in the following</p> + </div> + + <div class="tei tei-div" style= + "margin-bottom: 3.00em; margin-top: 3.00em"> + <h3 class="tei tei-head" style= + "text-align: left; margin-bottom: 2.40em; margin-top: 2.40em"> + <span style="font-size: 120%">EXERCISE</span></h3> + + <p class="tei tei-p" style="margin-bottom: 1.00em">Prepare a set + of three gray washes, light, medium, and dark (page 83) in three + white dishes. Japanese ink will not mix with our water colors; + use Ivory Black with a touch of Burnt Sienna to bring it to + neutrality.</p> + + <p class="tei tei-p" style="margin-bottom: 1.00em">Having settled + upon a color arrangement for some simple design, mix a small + quantity of color into each dish. Suppose the subject to be a + tulip panel in three values:</p> + + <table summary="This is a list." class="tei tei-list" style= + "margin-bottom: 1.00em; margin-top: 1.00em"> + <tbody> + <tr class="tei tei-labelitem"> + <th class="tei tei-label">1.</th> + + <td class="tei tei-item">Leaves—middle yellow-green</td> + </tr> + + <tr class="tei tei-labelitem"> + <th class="tei tei-label">2.</th> + + <td class="tei tei-item">Flower—middle red-yellow</td> + </tr> + + <tr class="tei tei-labelitem"> + <th class="tei tei-label">3.</th> + + <td class="tei tei-item">Background—light yellow</td> + </tr> + </tbody> + </table> + + <p class="tei tei-p" style="margin-bottom: 1.00em">Add to 1st + dish a yellow green (Prussian Blue and Gamboge); to the 2nd + Vermilion and Gamboge; to the 3rd Raw Sienna. Paint these notes + upon the design. (See opposite page.) Make a half dozen tracings + of the same design. As each one is painted add more color to the + washes until the last one has a very small quantity of gray. The + result is a series in which color grows gradually from neutrals. + No. 66. Next, use bright and gray tones of the same hue, an + effect like faded rugs and age-stained Japanese prints. Dulling + colors with gray may not harmonize them. One who appreciates fine + quality is not deceived by those who <span class= + "tei tei-q">“antique”</span> rugs or prints with coffee and + chemicals. A design poor in proportion, weak in notan and harsh + in color cannot be saved by toning—the faults are only a little + less apparent.</p> + </div> + + <div class="tei tei-div" style= + "margin-bottom: 3.00em; margin-top: 3.00em"> + <p class="tei tei-p" style="margin-bottom: 1.00em">ONE HUE and + NEUTRALS. Another approach to color, from notan, is through + substitution of hues for grays. This might (in a short course) + follow exercises in five or more values (page 89.) Referring now + to the scales of five and seven values, for application to a + design, <span class="tei tei-pb" id="page114">[pg 114]</span> + substitute a hue for one of these grays, carefully keeping the + value. If the subject be a variation of a Coptic textile, a warm + red or yellow-green may be chosen; for a flower panel, bright + yellow, yellow-red or emerald green. Excellence in result will + depend upon distribution of the one hue among neutral tones.</p> + + <p class="tei tei-p" style="margin-bottom: 1.00em">Examples are + many; two kinds only need be mentioned now,—American Indian + pottery, and landscapes in black, gray and vermilion red from + Hokusai's <span class="tei tei-q">“Mangwa,”</span> (p. 57.)</p> + + <p class="tei tei-p" style="margin-bottom: 1.00em">ONE HUE in TWO + and THREE VALUES. The next step would be to replace two grays + with two values of one hue, making scales like these:</p> + + <table summary="This is a list." class="tei tei-list" style= + "margin-bottom: 1.00em; margin-top: 1.00em"> + <tbody> + <tr class="tei tei-labelitem"> + <th class="tei tei-label"></th> + + <td class="tei tei-item">White White</td> + </tr> + + <tr class="tei tei-labelitem"> + <th class="tei tei-label"></th> + + <td class="tei tei-item">Light green</td> + </tr> + + <tr class="tei tei-labelitem"> + <th class="tei tei-label"></th> + + <td class="tei tei-item">Middle green</td> + </tr> + + <tr class="tei tei-labelitem"> + <th class="tei tei-label"></th> + + <td class="tei tei-item">Dark gray</td> + </tr> + + <tr class="tei tei-labelitem"> + <th class="tei tei-label"></th> + + <td class="tei tei-item">Black</td> + </tr> + </tbody> + </table> + + <table summary="This is a list." class="tei tei-list" style= + "margin-bottom: 1.00em; margin-top: 1.00em"> + <tbody> + <tr class="tei tei-labelitem"> + <th class="tei tei-label"></th> + + <td class="tei tei-item">White</td> + </tr> + + <tr class="tei tei-labelitem"> + <th class="tei tei-label"></th> + + <td class="tei tei-item">Light purple</td> + </tr> + + <tr class="tei tei-labelitem"> + <th class="tei tei-label"></th> + + <td class="tei tei-item">Middle gray</td> + </tr> + + <tr class="tei tei-labelitem"> + <th class="tei tei-label"></th> + + <td class="tei tei-item">Dark purple</td> + </tr> + + <tr class="tei tei-labelitem"> + <th class="tei tei-label"></th> + + <td class="tei tei-item">Black</td> + </tr> + </tbody> + </table> + + <p class="tei tei-p" style="margin-bottom: 1.00em">Follow by + eliminating all the grays, and the scale might be like this:</p> + + <table summary="This is a list." class="tei tei-list" style= + "margin-bottom: 1.00em; margin-top: 1.00em"> + <tbody> + <tr class="tei tei-labelitem"> + <th class="tei tei-label"></th> + + <td class="tei tei-item">White</td> + </tr> + + <tr class="tei tei-labelitem"> + <th class="tei tei-label"></th> + + <td class="tei tei-item">Light blue-green</td> + </tr> + + <tr class="tei tei-labelitem"> + <th class="tei tei-label"></th> + + <td class="tei tei-item">Middle blue-green</td> + </tr> + + <tr class="tei tei-labelitem"> + <th class="tei tei-label"></th> + + <td class="tei tei-item">Dark blue-green</td> + </tr> + + <tr class="tei tei-labelitem"> + <th class="tei tei-label"></th> + + <td class="tei tei-item">Black</td> + </tr> + </tbody> + </table> + + <p class="tei tei-p" style="margin-bottom: 1.00em">Choice of + color will depend upon the nature of the design. The medium may + be crayon, wash, opaque water color or oil paint.</p> + + <p class="tei tei-p" style="margin-bottom: 1.00em">TWO and THREE + HUES. If two hues are introduced the complexity will be greater, + but there will be more chances for invention and variation. With + at least ten hues to choose from—R, YR, Y, GY, G, BG, B, PB, P, + RP—each one of which might have perhaps four degrees of intensity + (from very bright to dull) the student has material to compose in + any key. Two typical scales are given below:</p> + + <p class="tei tei-p" style="margin-bottom: 1.00em">Two hues—</p> + + <table summary="This is a list." class="tei tei-list" style= + "margin-bottom: 1.00em; margin-top: 1.00em"> + <tbody> + <tr class="tei tei-labelitem"> + <th class="tei tei-label"></th> + + <td class="tei tei-item">White</td> + </tr> + + <tr class="tei tei-labelitem"> + <th class="tei tei-label"></th> + + <td class="tei tei-item">Light yellow</td> + </tr> + + <tr class="tei tei-labelitem"> + <th class="tei tei-label"></th> + + <td class="tei tei-item">Middle gray</td> + </tr> + + <tr class="tei tei-labelitem"> + <th class="tei tei-label"></th> + + <td class="tei tei-item">Dark green</td> + </tr> + + <tr class="tei tei-labelitem"> + <th class="tei tei-label"></th> + + <td class="tei tei-item">Black</td> + </tr> + </tbody> + </table> + + <p class="tei tei-p" style="margin-bottom: 1.00em">Three + hues—</p> + + <table summary="This is a list." class="tei tei-list" style= + "margin-bottom: 1.00em; margin-top: 1.00em"> + <tbody> + <tr class="tei tei-labelitem"> + <th class="tei tei-label"></th> + + <td class="tei tei-item">White</td> + </tr> + + <tr class="tei tei-labelitem"> + <th class="tei tei-label"></th> + + <td class="tei tei-item">Light yellow</td> + </tr> + + <tr class="tei tei-labelitem"> + <th class="tei tei-label"></th> + + <td class="tei tei-item">Middle gray-green</td> + </tr> + + <tr class="tei tei-labelitem"> + <th class="tei tei-label"></th> + + <td class="tei tei-item">Dark gray-purple</td> + </tr> + + <tr class="tei tei-labelitem"> + <th class="tei tei-label"></th> + + <td class="tei tei-item">Black</td> + </tr> + </tbody> + </table> + </div> + + <div class="tei tei-div" style= + "margin-bottom: 3.00em; margin-top: 3.00em"> + <h3 class="tei tei-head" style= + "text-align: left; margin-bottom: 2.40em; margin-top: 2.40em"> + <span style="font-size: 120%">HARMONY</span></h3> + + <p class="tei tei-p" style="margin-bottom: 1.00em">Will the + exercises in the foregoing chapters ensure a harmony? No, they + are only helps to a better understanding of color. Harmony + depends upon (a) good line design, (b) choice of hues, (c) + quantity of each, (d) a dominating color, (e) notan values, (f) + fine relations of intensity, (g) quality of surface, (h) + handling. All these in perfect synthesis will be found in the + works of the greatest masters. It is also true that simple + harmonies are not difficult to realize, as is witnessed by + primitive art and the best work of students.</p> + + <p class="tei tei-p" style="margin-bottom: 1.00em">With practice + in the ways suggested here, two other things are + necessary,—advice from an experienced and appreciative + instructor, and acquaintance with fine examples of + color.</p><span class="tei tei-pb" id="page115">[pg 115]</span> + <span class="tei tei-pb" id="page116">[pg 116]</span> + + <div class="tei tei-figure" style="text-align: center"> + <a href="images/no_67.jpg"><img src="images/no_67.jpg" alt= + "No. 67. Color schemes from Japanese prints—Applications to Design." /></a> + </div> + </div> + </div><span class="tei tei-pb" id="page117">[pg 117]</span> + <hr class="doublepage" /> + + <div class="tei tei-div" style= + "margin-bottom: 4.00em; margin-top: 4.00em"> + <a name="toc46" id="toc46"></a> <a name="pdf47" id="pdf47"></a> + + <h2 class="tei tei-head" style= + "text-align: left; margin-bottom: 2.88em; margin-top: 2.88em"> + <span style="font-size: 144%">XVI.—COLOR SCHEMES FROM JAPANESE + PRINTS AND FROM TEXTILES</span></h2> + + <div class="tei tei-div" style= + "margin-bottom: 3.00em; margin-top: 3.00em"> + <p class="tei tei-p" style="margin-bottom: 1.00em">In the quest + for harmony, what better course could be taken than to copy + harmonies? Nothing so sharpens color perception as contact with + the best examples. The attempt to reach a master's style, + peculiar color-feeling, refinements of tone and methods of + handling, brings both knowledge and appreciation. For ordinary + use Japanese prints are most convenient and inspiring + color-models.</p> + + <p class="tei tei-p" style="margin-bottom: 1.00em">COPYING + JAPANESE PRINTS. In the best of these the color has a peculiar + bloom due to the process of printing from wood blocks. The paper + is pressed upon forms cut on the flat side of a board; the grain + of the wood, the rough surface of the <span class= + "tei tei-q">“baren”</span> with which the paper is rubbed down, + and the fibrous texture of the paper combine to make a luminous + vibrating tone. Particles of color lie upon the tops of silken + filaments, allowing the undertone of the paper to shine + through,—precisely the quality sought by painters in using a + rough canvas and thin washes, or thick color put on with small + brushes. In the print the vibration is not obvious, but the + effect is that of color over which floats a thin golden + envelope.</p> + + <p class="tei tei-p" style="margin-bottom: 1.00em">Ordinary + charcoal paper is good for copies, as it has a roughness that + aids in producing atmospheric tones. Rub a slight quantity of + charcoal over the surface, very lightly; wipe it off with chamois + or cotton rag, leaving little points of black in the hollows of + the paper.</p> + + <p class="tei tei-p" style="margin-bottom: 1.00em">Isolate the + desired color-passage, by cutting an opening in a sheet of white + paper and laying it upon the face of the print. Copy with washes + of water color. If the print is age-stained, tone your charcoal + paper with Raw Sienna and Ivory Black.</p> + + <p class="tei tei-p" style="margin-bottom: 1.00em">AUTHORS. Good + color-schemes can be found anywhere in the range of Japanese + color-printing, from Okumura Masanobu in the middle of the + XVIIIth century to modern days, but the rarity and great value of + early prints puts them out of reach of those who have not access + to museum collections. I can mention here but a few names, with + which the student is most likely to meet:</p> + + <p class="tei tei-p" style="margin-bottom: 1.00em">Torii Kiyonobu + and his fellows of the <span class="tei tei-q">“red-and-green + period”</span> (first half of the XVIIIth century); Harunobu, + Koriusai, Kiyonaga and Shunsho, who worked in sunny yellows and + reds, pearly greens and pale purples, often most cleverly opposed + with transparent black and cool silvery grays; then Utamaro and + Toyokuni I., strong but less fine.</p> + + <p class="tei tei-p" style="margin-bottom: 1.00em">Among XLXth + century men Hiroshige (page 13) and Hokusai are preëminent + <span class="tei tei-pb" id="page118">[pg 118]</span> as + colorists. Both have strongly influenced Occidental painters. + Hiroshige designed series after series of prints,—scenes famous + for their beauty or historic interest; stations on the two great + highways, the Tokaido and the Kisokaido; effects of wind, rain, + snow and twilight; flowers, birds, and a few figures. He would + recompose the same series again and again in different size and + color-scheme. His design is full of delightful surprises; his + artistic power and inventiveness are astonishing. A prodigious + amount of work is signed by his name; some critics hold that + there was a second, and even a third Hiroshige, but Fenollosa + believed in one only, whose manner naturally varied during a long + life (1790—1858).</p> + + <p class="tei tei-p" style="margin-bottom: 1.00em">Hokusai's + color is strange and imaginative; sometimes delicate almost to + neutrality, sometimes startling and daring. His pupils Hokkei, + Hokuju and the rest are more gentle.</p> + + <p class="tei tei-p" style="margin-bottom: 1.00em">The figure + prints most commonly seen are by Kunisada (Toyokuni II), + Kuniyoshi and other pupils of Toyokuni I., and Keisai Yeisen. + Here, as in most Japanese figure prints, color effects are + produced by skilful combinations of patterns upon costumes. Every + kind of color-key is possible, by this means, with infinite + variations;—impressionist painting with wood blocks. The student + is warned that poor prints abound,—impressions from worn-out + blocks, cheap modern reprints, and imitations. Bright, fresh + color, however, need not be taken to mean imitation; some of the + early editions have been kept in albums in store houses, and the + color has not changed. Experience and appreciation are after all + the only safeguards.</p> + + <p class="tei tei-p" style="margin-bottom: 1.00em">APPLICATION. + Having made the copy of the color-scheme, apply the same colors + to several tracings of one design, (No. 67). One of the things + taught by this exercise is that distribution and proportion of + color affect harmonic relations. Colors that harmonize as they + stand in the print may seem discordant when used in different + quantities; they will surely be so if the design is badly spaced. + With a good design, and correct judgment as to hue, notan and + intensity, the chances are that each variation will be + satisfactory.</p> + + <p class="tei tei-p" style="margin-bottom: 1.00em">Copies from + Hiroshige are of special value to the landscape painter. These + may be made in oil as a study of quality and vibration. The + procedure is a little different from the preceding. It is better, + in oil painting, to copy whole prints. Over the surface of a + large rough canvas scrub a thin gray, of the color of the paper + of the print. Draw the design in a few vigorous lines, omitting + all details. Paint in, at arm's length, the principal color + notes, not covering the whole surface or filling in outlines. Mix + colors beforehand, taking time to copy each hue and value + exactly. The painting, with each color ready upon the palette, + should be swift and vigorous. Place the print above the canvas; + stand while painting; make comparisons at a + distance.</p><span class="tei tei-pb" id="page119">[pg + 119]</span> + + <p class="tei tei-p" style="margin-bottom: 1.00em">Copying + Japanese prints is recommended for practice in color; it does not + replace nature-painting or original design, though it will be a + help to both.</p> + + <p class="tei tei-p" style="margin-bottom: 1.00em">COPYING COLOR + from TEXTILES. The exercises described above may be taken with + textiles. Beauty of color in the finest of these is due to good + composition, the softening of dust and age-stain, and the + atmospheric envelope caused by reflection of light from the + minute points of the web. For some kinds of textile the charcoal + paper, as above, may be useful; for others, gray paper and wax + crayons.</p> + + <p class="tei tei-p" style="margin-bottom: 1.00em">The latter are + excellent for copying rugs and can be used in original designs + for rugs.</p> + + <p class="tei tei-p" style="margin-bottom: 1.00em">As to models, + work from originals in museums,—Persian carpets and rugs, Coptic + and Peruvian tapestries, mediaeval tapestries, Italian, Spanish + and French textiles XIIIth to XVIIIth centuries, etc. In the + <span class="tei tei-q">“rag-fairs”</span> of Europe, and in + antique shops, one may find scraps of the woven and printed + stuffs of the best periods. The South Kensington Museum has + published colored reproductions of textiles. Art libraries will + have Fischbach's, Mumford's, the Kelekian Collection and others + in full color.</p> + </div> + </div> + </div> + <hr class="doublepage" /> + + <div class="tei tei-div" style= + "margin-bottom: 5.00em; margin-top: 5.00em"> + <span class="tei tei-pb" id="page120">[pg 120]</span> <a name="toc48" + id="toc48"></a> <a name="pdf49" id="pdf49"></a> + + <h1 class="tei tei-head" style= + "text-align: left; margin-bottom: 3.46em; margin-top: 3.46em"> + <span style="font-size: 173%">COMPOSITION</span></h1> + + <div class="tei tei-div" style= + "margin-bottom: 4.00em; margin-top: 4.00em"> + <a name="toc50" id="toc50"></a> <a name="pdf51" id="pdf51"></a> + + <h2 class="tei tei-head" style= + "text-align: left; margin-bottom: 2.88em; margin-top: 2.88em"> + <span style="font-size: 144%">XVII.—IN DESIGN AND + PAINTING</span></h2> + + <div class="tei tei-div" style= + "margin-bottom: 3.00em; margin-top: 3.00em"> + <p class="tei tei-p" style="margin-bottom: 1.00em">The test of + any system of art-study lies in what you can do with it. + Harmony-building has been the theme of the foregoing pages, with + progressive exercises in structural line, dark-and-light and + color. The product should be power,—power to appreciate, power to + do something worth while. Practice in simple harmonies gives + control of the more complex relations, and enables one to create + with freedom in any field of art. Such training is the best + foundation for work in design, architecture, the crafts, + painting, sculpture and teaching. After this should come special + training; for the designer, architect, craftsman, study of + historic styles, severe drill in drawing (freehand and + mechanical), knowledge of materials; for the painter and + sculptor, long practice in drawing and modelling, acquirement of + technique; for the teacher, drill in drawing, painting, designing + and modelling, study of educational principles, knowledge of + school conditions and public needs, practice teaching. In a word, + first cultivate the mind, set the thoughts in order, utilize the + power within; then the eye and the hand can be trained + effectively, with a definite end in view. The usual way, in our + systems of art-instruction, is to put drill first, leaving + thought and appreciation out of account.</p> + + <p class="tei tei-p" style="margin-bottom: 1.00em">Applications + of structural principles are many; I can mention and illustrate + but a few:</p> + </div> + + <div class="tei tei-div" style= + "margin-bottom: 3.00em; margin-top: 3.00em"> + <h3 class="tei tei-head" style= + "text-align: left; margin-bottom: 2.40em; margin-top: 2.40em"> + <span style="font-size: 120%">WOOD BLOCK PRINTING</span></h3> + + <p class="tei tei-p" style="margin-bottom: 1.00em">FOR STUDY OF + PATTERN AND COLOR. The art of wood block printing has been + practised for ages in Oriental countries. Our word <span class= + "tei tei-q">“calico”</span> is from the name of an Indian town, + Calicut, whence printed patterns were brought to England. The + older Indian designs, now very rare, had great beauty of line and + color. These ancient cotton prints are used by the Japanese for + outer coverings of pieces of precious pottery,—first a silk + brocade bag, then one of Indian calico enveloping a wooden box in + which is the bowl wrapped in plain cotton cloth. The process of + wood block printing is very simple, and in my opinion of special + educational value. After observation of the craft in India in + 1904 I determined to introduce it into art courses—both for + adults and children. The method is outlined below:</p> + + <table summary="This is a list." class="tei tei-list" style= + "margin-bottom: 1.00em; margin-top: 1.00em"> + <tbody> + <tr class="tei tei-labelitem"> + <th class="tei tei-label">1.</th> + + <td class="tei tei-item">Design the pattern in pencil or + ink.</td> + </tr> + + <tr class="tei tei-labelitem"> + <th class="tei tei-label">2.</th> + + <td class="tei tei-item">Draw the unit, with attention to + its shape and proportions and the effect when + repeated.</td> + </tr> + + <tr class="tei tei-labelitem"> + <th class="tei tei-label">3.</th> + + <td class="tei tei-item">Paste this face down upon a wood + block; pine, gum wood, or a hard wood of close grain.</td> + </tr> + + <tr class="tei tei-labelitem"> + <th class="tei tei-label">4.</th> + + <td class="tei tei-item">Cut away the white spaces, + clearing with a gouge. As the block is to be used as a + stamp, the corners and all outside the design, must be + removed.</td> + </tr> + + <tr class="tei tei-labelitem"> + <th class="tei tei-label">5.</th> + + <td class="tei tei-item">Printing. Lay a piece of felt upon + a slate, or upon a glass, pour a few drops of mucilage upon + the felt, and mix with it either common water color, or dry + color. Distribute this evenly with a flat bristle brush. + Make a large pad, say 22 x 28 or 14 x 20, by tacking + cambric upon a drawing board. Under the cambric should be + one thickness of felt.</td> + </tr> + </tbody> + </table> + + <p class="tei tei-p" style="margin-bottom: 1.00em">PRINTING on + PAPER. A slightly rough absorbent surface prints well. Wrapping + paper can be found in many colors, tones and textures, and is + inexpensive. Damp paper will give clear-cut impressions.</p> + + <p class="tei tei-p" style="margin-bottom: 1.00em">Lay the paper + upon the large pad; charge the block upon the small pad, and + stamp the pattern. If the impression is poor, the cause may + be:—(a) Face of block is not level; rub it upon a sheet of fine + sand-paper; (b) large pad is uneven; (c) paper is wrinkled or is + too glossy; (d) color is too thick or too wet. Practice will + overcome these small difficulties.</p> + + <p class="tei tei-p" style="margin-bottom: 1.00em">PRINTING on + CLOTH. The best effects are obtained with dyes, but their + manipulation is not easy, and their permanence is doubtful unless + one has expert knowledge of the processes of dyeing. The most + convenient medium for the student is oil color thinned with + turpentine (to which may be added a very little acetic acid and + oil of wintergreen). This, when dry, is permanent and can be + washed,—but not with hot water or strong soap.</p> + + <p class="tei tei-p" style="margin-bottom: 1.00em">With the + design in fixed form upon the block, effort can be concentrated + upon the make-up of the pattern, and the color-harmony. By + cutting a block for each color the designer may vary the schemes + almost to infinity. Where choices are many and corrections easy, + invention can have free play.</p> + + <p class="tei tei-p" style="margin-bottom: 1.00em">Examples of + students' printing on paper are given on page 121.</p> + + <p class="tei tei-p" style="margin-bottom: 1.00em">PICTURE + PRINTING is a more difficult, but fascinating form of this + art-craft. Here must be gradation, transparent and vibrating + color, atmospheric over-tone binding all together. For these + qualities the Japanese process is best, with its perfected tools + and methods. In theory it is very simple: The outline is drawn in + ink upon thin paper, and the sheet pasted face down upon the flat + side of a board; the block is then engraved with a knife and + gouges, the drawing being left in relief; the paper is removed + from the lines with a damp cloth, and the block charged with ink. + Dry black mixed with mucilage and water, or any black water color + will answer. For charging, the Japanese use a thick short + brush,—a round bristle brush will serve the purpose. When ink is + scrubbed evenly over the whole surface, the block is ready for + printing. A sheet of Japanese paper, slightly <span class= + "tei tei-pb" id="page126">[pg 126]</span> dampened, is laid upon + the block and rubbed gently with a circular pad called a + <span class="tei tei-q">“baren.”</span> This wonderful instrument + draws the ink up into the paper, giving a clear rich soft line. + The baren is made of a leaf of bamboo stretched over a + saucer-like disk of pasteboard, within which is coiled a braided + fibre-mat.</p> + + <p class="tei tei-p" style="margin-bottom: 1.00em">If the block + has been properly cleared, and the baren is moved in level + sweeps, the paper will not be soiled by ink between the lines. + After printing a number of outlines the colors are painted upon + them and color-blocks engraved. It is possible to have several + colors upon the same board, if widely separated. Accurate + registry is obtained by two marks at the top of the board and one + at the side. The paper must be kept of the same degree of + moisture, otherwise it will shrink and the last impressions will + be out of register.</p> + + <p class="tei tei-p" style="margin-bottom: 1.00em">Dry colors + mixed with water and a little mucilage, or better still, common + water colors, may be used. No. 69 is a reproduction of a print + made in the Japanese way. (In 1895 I exhibited at the Boston + Museum of Fine Arts a collection of my wood block prints. + Professor Fenollosa wrote the introduction to the catalogue, + discussing the possibilities, for color and design, of this + method, then new to America. In <span class="tei tei-q">“Modern + Art”</span> for July, 1896, I described the process in full, with + illustrations, one in color.)</p> + + <p class="tei tei-p" style="margin-bottom: 1.00em">STENCILLING, + like wood block printing, invites variation of rhythm and color + combination. Stencilling is often done without sufficient + knowledge of the craft. The student should understand that a + stencil is simply a piece of perforated water proof paper or + metal to be laid upon paper or cloth and scrubbed over with a + thick brush charged with color; long openings must be bridged + with <span class="tei tei-q">“ties,”</span> and all openings must + be so shaped that their edges will remain flat when the brush + passes over them.</p> + + <div class="tei tei-figure" style="text-align: center"> + <a href="images/no_69a.jpg"><img src="images/no_69a.jpg" alt= + "Japanese Stencil." /></a> + </div> + + <p class="tei tei-p" style="margin-bottom: 1.00em">Stencil units + are usually large, offering good opportunities for Subordination + (page 23), Symmetry, and Proportion (page 28). A unit must not + only be complete in itself but must harmonize with itself in + Repetition (pp. 36, 66). Stencils may be cut upon thick manila + paper which is then coated with shellac; or upon oiled paper. If + stencil brushes cannot be obtained one may use a common, round, + house-painter's brush, wound with string to within an inch of the + end.</p> + + <p class="tei tei-p" style="margin-bottom: 1.00em">Colors may + be,—oil thinned with turpentine; dyes; or dry colors ground on a + slab with water and mucilage. Charge the brush with thin, + thoroughly mixed <span class="tei tei-pb" id="page127">[pg + 127]</span> pigment; if there is too much it will scrape off + under the edges of the stencil and spoil the print. Unprinted + wall paper (<span class="tei tei-q">“lining paper”</span>) is + cheap and very satisfactory for stencilling. It should be tinted + with a thin solution of color to which a little mucilage has been + added. Use a large flat brush about four inches wide, applying + the color with rapid vertical and horizontal strokes.</p> + + <p class="tei tei-p" style="margin-bottom: 1.00em">COLORED + CHARCOAL. This is a further development of the method described + in Chapter XIII (see also page 113). Lay in the picture in light + values of charcoal, remembering that the colorwashes will darken + every tone. Too much rubbing with the stump gives muddiness, too + little charcoal may weaken the values and you will have a + <span class="tei tei-q">“washout.”</span> When the notan-scheme + is right, the drawing may be fixed. It can be colored without + fixing if the stump has been used.</p> + + <p class="tei tei-p" style="margin-bottom: 1.00em">Color is + applied in thin washes allowing the charcoal texture to shine + through. Notan plays the larger part, furnishing the structure of + the composition and giving a harmonic basis for the color. If the + hues are well-chosen, the result should be a harmony of + atmospheric depth, with soft but glowing colors.</p> + + <p class="tei tei-p" style="margin-bottom: 1.00em">PAINTING in + FULL COLOR. In a book devoted to the study of art-structure not + much space can be given to comparison of mediums, or to + professional problems of technique in advanced painting. They + will be mentioned to show the unity of the progressive series, to + suggest to the student some lines of research and experiment, and + to help him in choosing his field of art-work.</p> + + <p class="tei tei-p" style="margin-bottom: 1.00em">WATER COLOR. + This medium is used in many different ways: as a thin transparent + stain, like the work of David Cox, Cotman, De Wint; as a + combination of opaque color and wash, with which J. M. W. Turner + painted air, distance, infinity, the play of light over the + world; as flat wash filling in outlines, like the drawings of + Millet and Boutet de Monvel; as the modern Dutch use it, in + opaque pastel-like strokes on gray paper, or scrubbed in with a + bristle brush; as premier coup painting with no outline (both + drawing and painting) like much Japanese work.</p> + + <p class="tei tei-p" style="margin-bottom: 1.00em">In all these, + line is the basis, whether actually drawn, as by Millet and + Rembrandt, or felt, as by the Japanese and Turner. The best + painting has form and character in every brush-touch.</p> + + <p class="tei tei-p" style="margin-bottom: 1.00em">OIL COLOR. + Instruction in oil painting is usually limited to what might be + called drawing in paint. Of course the student must know his + pigments, how to obtain hues and values by mixing, how to use + brushes, how to sketch in, and all the elementary details,—but + this is but a beginning. Expression of an idea or emotion depends + upon appreciation of art structure; the point is not so much + <span class="tei tei-pb" id="page128">[pg 128]</span> how to + paint, as how to paint well. Artists often say that it matters + not how you get an effect, if you only get it. This is + misleading; it does matter,—the greatest painters get their + effects in a fine way.</p> + + <p class="tei tei-p" style="margin-bottom: 1.00em">Methods of + handling oil color may be reduced to two general classes: (a) the + paint is used thin, as a wash, on a prepared canvas, or (b) it is + put on in thick opaque touches. In either case the aim is the + same—to paint for depth, vibration, illusion of light and color. + If brush strokes are to be left intact, each of them must have + shape and meaning,—that is, line; if color is put on in a thin + wash, then its value, gradation, hue and texture are the main + points,—and these belong to structural harmony. Mural painting is + the highest form of the art, demanding perfect mastery of + Composition. The subject takes visible form in terms of Line; + then is added the mystery, the dramatic counter-play of Notan, + and the illumination of Color. The creative spirit moves onward + absorbing in its march all drawing, perspective, anatomy, + principles of design, color theory—everything contributing to + Power.</p> + </div> + </div> + </div> + <hr class="doublepage" /> + + <div class="tei tei-div" style= + "margin-bottom: 5.00em; margin-top: 5.00em"> + <a name="toc52" id="toc52"></a> <a name="pdf53" id="pdf53"></a> + + <h1 class="tei tei-head" style= + "text-align: left; margin-bottom: 3.46em; margin-top: 3.46em"> + <span style="font-size: 173%">CONCLUSION</span></h1> + + <p class="tei tei-p" style="margin-bottom: 1.00em">I have not + attempted to overthrow old systems, but have pointed out their faults + while trying to present a consistent scheme of art study. The + intention has been to reveal the sources of power; to show the + student how to look within for the greatest help; to teach him not to + depend on externals, not to lean too much on anything or anybody. + Each subject has been treated suggestively rather than exhaustively, + pointing out ways of enlargement and wide application. If some + subjects have seemed to receive rather scant attention it is not + because I am indifferent to them, but because I did not wish to + depart from the special theme of the book; some of these will be + considered in future writings. The book will have accomplished its + purpose if I have made clear the character and meaning of art + structure—if the student can see that out of a harmony of two lines + may grow a Parthenon pediment or a Sorbonne hemicycle; out of the + rude dish of the Zuni a Sung tea-bowl, out of the totem-pole a + Michelangelo's <span class="tei tei-q">“Moses”</span>; that anything + in art is possible when freedom is given to the divine gift + APPRECIATION.</p> + + <div class="tei tei-div" style= + "margin-bottom: 4.00em; margin-top: 4.00em"> + <h2 class="tei tei-head" style= + "text-align: left; margin-bottom: 2.88em; margin-top: 2.88em"> + <span style="font-size: 144%">THE END</span></h2> + + <p class="tei tei-p" style="margin-bottom: 1.00em"></p> + </div> + </div> + </div> + + <div class="tei tei-back" style= + "margin-bottom: 2.00em; margin-top: 6.00em"> + <hr class="doublepage" /> + + <div class="tei tei-div" style= + "margin-bottom: 5.00em; margin-top: 5.00em"> + <div id="pgfooter" class="tei tei-div" style= + "margin-bottom: 4.00em; margin-top: 4.00em"> + <pre class="pre tei tei-div" style= + "margin-bottom: 3.00em; margin-top: 3.00em"> +***END OF THE PROJECT GUTENBERG EBOOK COMPOSITION*** +</pre> + <hr class="doublepage" /> + + <div class="tei tei-div" style= + "margin-bottom: 3.00em; margin-top: 3.00em"> + <a name="rightpageheader54" id="rightpageheader54"></a><a name= + "pgtoc55" id="pgtoc55"></a><a name="pdf56" id="pdf56"></a> + + <h1 class="tei tei-head" style= + "text-align: left; margin-bottom: 3.46em; margin-top: 3.46em"> + <span style="font-size: 173%">Credits</span></h1> + + <table summary="This is a list." class="tei tei-list" style= + "margin-bottom: 1.00em; margin-top: 1.00em"> + <tbody> + <tr> + <th class="tei tei-label tei-label-gloss">April 15, + 2014 </th> + </tr> + + <tr> + <td class="tei tei-item tei-item-gloss"> + <table summary="This is a list." class="tei tei-list" + style="margin-bottom: 1.00em; margin-top: 1.00em"> + <tbody> + <tr class="tei tei-labelitem"> + <th class="tei tei-label"></th> + + <td class="tei tei-item">Project Gutenberg edition + 10</td> + </tr> + + <tr class="tei tei-labelitem"> + <th class="tei tei-label"></th> + + <td class="tei tei-item"><span class= + "tei tei-respStmt"><span class= + "tei tei-name">Martin Schub</span></span></td> + </tr> + </tbody> + </table> + </td> + </tr> + </tbody> + </table> + </div> + <hr class="doublepage" /> + + <div class="tei tei-div" style= + "margin-bottom: 3.00em; margin-top: 3.00em"> + <a name="rightpageheader57" id="rightpageheader57"></a><a name= + "pgtoc58" id="pgtoc58"></a><a name="pdf59" id="pdf59"></a> + + <h1 class="tei tei-head" style= + "text-align: left; margin-bottom: 3.46em; margin-top: 3.46em"> + <span style="font-size: 173%">A Word from Project + Gutenberg</span></h1> + + <p class="tei tei-p" style="margin-bottom: 1.00em">This file + should be named 45410-h.html or 45410-h.zip.</p> + + <p class="tei tei-p" style="margin-bottom: 1.00em">This and all + associated files of various formats will be found in: <a href= + "http://www.gutenberg.org/dirs/4/5/4/1/45410/" class= + "block tei tei-xref" style= + "margin-bottom: 1.80em; margin-left: 3.60em; margin-top: 1.80em; margin-right: 3.60em"> + <span style= + "font-size: 90%">http://www.gutenberg.org</span><span style= + "font-size: 90%">/dirs/4/5/4/1/45410/</span></a></p> + + <p class="tei tei-p" style="margin-bottom: 1.00em">Updated + editions will replace the previous one — the old editions will be + renamed.</p> + + <p class="tei tei-p" style="margin-bottom: 1.00em">Creating the + works from public domain print editions means that no one owns a + United States copyright in these works, so the Foundation (and + you!) can copy and distribute it in the United States without + permission and without paying copyright royalties. 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