The Project Gutenberg Ebook of Composition by Arthur Dow

17/8/2016
TheProjectGutenbergEBookofCompositionbyArthurDow
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Title:Composition
Author:ArthurDow
ReleaseDate:April15,2014[Ebook#45410]
Language:English
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***STARTOFTHEPROJECTGUTENBERGEBOOKCOMPOSITION***
Composition
Aseriesofexercisesinartstructurefortheuseofstudentsandteachers
ByArthurWesleyDow
ProfessorofFineArtsinTeachersCollege,ColumbiaUniversityNewYorkCity
FormerlyInstructorinArtatthePrattInstitute
AuthorofTheoryandPracticeofTeachingArtandTheIpswichPrints
NINTHEDITIONREVISEDANDENLARGEDWITHNEWILLUSTRATIONSANDCOLORPLATES
GardenCity,NewYork
DOUBLEDAY,PAGE&COMPANY
1914
https://www.mirrorservice.org/sites/gutenberg.org/4/5/4/1/45410/45410h/45410h.html
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Contents
BEGINNINGS
THETHREEELEMENTS
I.LINENOTANCOLOR
LINEDRAWING
II.JAPANESEMATERIALSANDBRUSHPRACTICE
PRINCIPLESOFCOMPOSITION
III.WAYSOFCREATINGHARMONY
LINE
IV.COMPOSITIONINSQUARESANDCIRCLES
V.COMPOSITIONINRECTANGLESVARIATION
VI.LANDSCAPECOMPOSITION
VII.COMPOSITIONINREPRESENTATION
NOTAN
VIII.HARMONYBUILDINGWITHDARKANDLIGHT
IX.TWOVALUESVARIATIONSDESIGN
X.TWOVALUESLANDSCAPEANDPICTURES
XI.TWOVALUESGOTHICSCULPTUREJAPANESEDESIGNBOOKS.APPLICATIONSOFTWOVALUES
XII.THREEVALUES
XIII.MORETHANTHREEVALUES
COLOR
XIV.COLORTHEORY
XV.COLORDERIVEDFROMNOTAN
XVI.COLORSCHEMESFROMJAPANESEPRINTSANDFROMTEXTILES
COMPOSITION
XVII.INDESIGNANDPAINTING
CONCLUSION
ACKNOWLEDGMENTS
Note.The author gratefully acknowledges the courtesy of those named below in according him permission to use photographs of
certainpaintingsandobjectsofartasillustrationsforthisbook.
MuseumofFineArts,Boston
MetropolitanMuseum,NewYork
TheNationalGallery,London
MusedeCluny.Paris(J.Leroy,photographer)
MusedeSculptureCompare.Paris
Dr.WilliamSturgisBigelow,Boston(permissiontophotographJapanesepaintings)
Mr.FrederickW.Gookin(useofphotographsfromKenzanandKanoGyokuraku,madespeciallyforMr.Gookin,BostonM.F.
A.
GiacomoBrogi,Florence
FratelliAlinari.Florence
D.Anderson,Rome
W.A.Mansell&Co.,London
F.Rothier,Reims,France,and
Kaltenbacher,Amiens,France(theRuskinphotographer)
LicensetousephotographswasalsoobtainedfromtheAutotypeFineArtCompany,Limited,London(theMichelangelodrawing,page
51),andfromBaldwinCoolidge,Boston.
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BEGINNINGS
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,awakenasenseofpowerandpointtowaysofcontrollingit.
Theprinciplesofartteachinghereoutlinedmightbeillustratedinotherwaysandwithbetterexamples.Ihopethereaderwillseehow
each chapter can be developed into many sets of lessons. The progressions can be varied, materials changed, lessons amplified and
differentdesignschosen,providingthereisnosacrificeofessentials.Thebookisbaseduponmyexperienceinpaintingandteaching
formorethantwentyyears.ThefirsteditionofCompositionwaspublishedin1899.InthisrevisionIhavemademanyadditionsand
usednewillustrationswithoutdepartingfromtheoryorprinciples.Compositionwaschosenasatitlebecausethatwordexpressesthe
ideauponwhichthemethodherepresentedisfoundedtheputtingtogetheroflines,massesandcolorstomakeaharmony.Design,
understoodinitsbroadsense,isabetterword,butpopularusagehasrestrictedittodecoration.
Composition, building up of harmony, is the fundamental process in all the fine arts. I hold that art should be approached through
compositionratherthanthroughimitativedrawing.Themanydifferentactsandprocessescombinedinaworkofartmaybeattacked
andmasteredonebyone,andtherebyapowergainedtohandlethemunconsciouslywhentheymustbeusedtogether.Ifafewelements
canbeunitedharmoniously,astephasbeentakentowardfurthercreation.Onlythroughtheappreciationsdoesthecomposerrecognize
aharmony.Hencetheefforttofindartstructureresolvesitselfintoadevelopmentofappreciation.Thisfacultyisacommonhuman
possessionbutmayremaininactive.Awaymustbefoundtolayholduponitandcauseittogrow.Anaturalmethodisthatofexercises
inprogressiveorder,firstbuildingupverysimpleharmonies,thenproceedingontothehighestformsofcomposition.Suchamethodof
studyincludesallkindsofdrawing,designandpainting.Itoffersameansoftrainingforthecreativeartist,fortheteacherorforone
whostudiesartforthesakeofculture.
[pg4]
ThisapproachtoartthroughStructureisabsolutelyopposedtothetimehonoredapproachthroughImitation.Foragreatwhilewehave
beenteachingartthroughimitationofnatureandthehistoricstylesleavingstructuretotakecareofitselfgatheringknowledgeof
factsbutacquiringlittlepowertousethem.Thisiswhysomuchmodernpaintingisbutpicturewritingonlystorytelling,notartand
somucharchitectureanddecorationonlydeadcopiesofconventionalmotives.Gooddrawingresultsfromtrainedjudgment,notfrom
the making of facsimiles 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 orderdesign a preparation for
drawing.
Soon after the time of Leonardo da Vinci art education was classified into Representative (imitative), and Decorative, with separate
schoolsforeachaseriousmistakewhichhasresultedinlossofpublicappreciation.Painting,whichisessentiallyarhythmicharmony
of colored spaces, became sculptural, an imitation of modelling. Decoration became trivial, a lifeless copying of styles. The true
relationbetweendesignandrepresentationwaslost.
This error is longlived. An infinite amount of time is wasted in misdirected effort because tradition has a strong hold, and because
artistswhohavenevermadeastudyofeducationkeeptooldrutswhentheyteach.
Thisacademicsystemofartstudyignoresfundamentalstructure,hencetheyoungpupilunderstandsbutfewphasesofart.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
modernclevernatureimitationtoimaginativeworkofanyperiod.
StudyofcompositionofLine,MassandColorleadstoappreciationofallformsofartandofthebeautyofnature.Drawingofnatural
objectsthenbecomesalanguageofexpression.Theyaredrawnbecausetheyarebeautifulorbecausetheyaretobeusedinsomeart
work.Facilityindrawingwillcomemorequicklyinthiswaythanbyadullroutineofimitationwithnodefiniteendinview.
ThehistoryofthisstructuralsystemofartteachingmaybestatedinafewwordsandhereIamgiventheopportunitytoexpressmy
indebtednesstoonewhosevoiceisnowsilent.AnexperienceoffiveyearsintheFrenchschoolsleftmethoroughlydissatisfiedwith
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academictheory.InasearchforsomethingmorevitalIbeganacomparativestudyoftheartofallnationsandepochs.Whilepursuing
aninvestigationofOrientalpaintinganddesignattheBostonMuseumofFineArtsImetthelateProfessorErnestF.Fenollosa.Hewas
theninchargeoftheJapanesecollections,aconsiderableportionofwhichhadbeengatheredbyhiminJapan.Hewasaphilosopher
andlogiciangiftedwithabrilliantmindofgreatanalyticalpower.This,withrareappreciation,gavehimaninsightintothenatureof
fineartsuchasfeweverattain.
[pg5]
AsimperialartcommissionerfortheJapanesegovernmenthehadexceptionalopportunitiesforacriticalknowledgeofbothEastern
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
vigorouslyadvocatedaradicallydifferentidea,basedasinmusic,uponsyntheticprinciples.Hebelievedmusictobe,inasense,the
keytotheotherfinearts,sinceitsessenceispurebeautythatspaceartmaybecalledvisualmusic,andmaybestudiedandcriticised
fromthispointofview.Convincedthatthisnewconceptionwasamorereasonableapproachtoart,Igavemuchtimetopreparingwith
ProfessorFenollosaaprogressiveseriesofsyntheticexercises.Myfirstexperimentinapplyingtheseinteachingwasmadein1889in
my Boston classes, with Professor Fenollosa as lecturer on the philosophy and history of art. The results of the work thus begun
attractedtheattentionofsomeeducators,notablyMr.FredericB.Pratt,ofthatgreatinstitutionwhereafather'svisionhasbeengiven
formbythesons.Throughhispersonalinterestandconfidenceinthesestructuralprinciples,alargeropportunitywasofferedintheart
department of Pratt Institute, Brooklyn. Here during various periods, I had charge of classes in life drawing, painting, design and
normalartalsoofacourseforKindergartenteachers.ProfessorFenollosacontinuedhislecturesduringthefirstyear.
Thegrowthoftheworkanditsinfluenceuponartteachingarenowwellknown.
In1900IestablishedtheSummerSchoolatIpswich,Massachusetts,forthepurposeofobtainingabetterknowledgeoftherelationof
arttohandicraftandmanualtraining.Compositionofline,massandcolorwasappliedtodesign,landscapeandverysimplehandwork
inmetal,woodblockprintingandtextiles.Partsof1903and'04werespentinJapan,IndiaandEgyptobservingthenativecraftsand
gatheringillustrativematerial.
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, darkandlight and color. Composition is made the basis of all work in drawing,
painting,designingandmodellingofhousedecorationandindustrialartsofnormalcoursesandofarttrainingforchildren,After
twentyyears'experienceinteachingIfindthattheprinciplesholdgoodundervaryingconditions,andproduceresultsjustifyingfull
confidence.Theybringtothestudent,whetherdesigner,craftsman,sculptororpainteranincreaseofcreativepowertotheteacher,all
thisandaneducationaltheorycapableofthewidestapplication.Toallwhoseloyalsupporthasgivenimpetusandadvancementtothis
worktothepupilsandfriendswhohavesogenerouslyfurnishedexamplesforillustrationIoffermostgratefulacknowledgments.
ARTHURWESLEYDOW
NewYork,1912
[pg7]
[pg6]
THETHREEELEMENTS
I.LINENOTANCOLOR
Architecture,Sculpture,Painting,MusicandPoetryaretheprincipalfinearts.OfthesethefirstthreearecalledSpacearts,andtakethe
variousformsofarranging,building,constructing,designing,modellingandpicturepainting.Inthespaceartstherearethreestructural
elementswithwhichharmoniesmaybebuiltup:
1.LINE.Thechiefelementofbeautyinarchitecture,sculpture,metalwork,etching,linedesignandlinedrawings.Nos.1,2,3,6,
23,38.
2.NOTAN.Thechiefelementinillustration,charcoaldrawing,mezzotint,Orientalinkpaintingandarchitecturallightandshade.
Nos.5,59,60,61.
3.COLOR.Thechiefelementinpainting,Japaneseprints,textiledesign,stainedglass,embroidery,enamellingandpottery
decoration.Nos.8,9,andChap.XIV.
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ThetermLINEreferstoboundariesofshapesandtheinterrelationsoflinesandspaces.Linebeautymeansharmonyofcombinedlines
orthepeculiarqualityimpartedbyspecialtreatment.ThetermNOTAN,aJapanesewordmeaningdark,light,referstothequantity
oflightreflected,orthemassingoftonesofdifferentvalues.Notanbeautymeanstheharmonyresultingfromthecombinationofdark
andlightspaceswhethercoloredornotwhetherinbuildings,inpictures,orinnature.
[pg8]
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No.3LINE.Harmonyofrhythmiccurves.FrombookofprintsbyOkumuraMasanobu,Japanese,18thcentury.
Carefuldistinction should bemade betweenNOTAN, an element ofuniversalbeauty, and LIGHT AND SHADOW, a single fact of
externalnature.ThetermCOLORreferstoqualityoflight.
[pg9]
Thesethreestructuralelementsareintimatelyrelated.Goodcolorisdependentupongoodnotan,andthatinturnisdependentupon
goodspacing.Itseemsreasonablethenthatastudyofartshouldbeginwithline.Oneshouldlearntothinkintermsofline,andbe
somewhatfamiliarwithsimplespacingbeforeattemptingnotanorcolor.Thereisdanger,however,oflosinginterestbydwellingupon
onesubjecttoolong.Darkandlightmassingwillrevealthemistakesinspacingandstimulatetorenewedeffort.Colorwillrevealthe
weaknessofdarkandlight.Veryyoungpupilsshouldbeginwithcolorbuttheinstructorwilltakepainstoincludespacingandnotanin
eachlesson.Ingeneral,however,thebestplanistotakeupexercisesineachelementinturnthengobacktothemseparatelyandmake
more detailed studies then combine them, proceeding toward advanced compositions. Whatever be the choice of progression, there
mustbeathoroughgroundingintheelementaryrelationsofspacecuttingandsimplemassingsofdarkandlight.Thisisessentialto
successfulworkindesigning,drawing,modelling,painting,architectureandthecrafts.
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[pg11]
[pg10]
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No.6.ExamplesofLineHarmony.GreekSculpture,Aphrodite.GothicSculpture,Mary.
[pg12]
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[pg13]
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No.8.ExamplesofColorHarmony.HIROSHIGE.TakinogawaatOji
No.9.ExamplesofColorHarmony.PersianWoolen,ancient
[pg15]
[pg14]
LINEDRAWING
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II.JAPANESEMATERIALSANDBRUSHPRACTICE
Japanesebrushes,inkandpaperaretobepreferredforexercisesinlinedrawing,tracing,notanmassingandwashesingrays.Long
brushesarebestforlongcontinuouslines,shortbrushesforsharpcornersandbrokenlines.Forlettering,clipthepointofalongline
brush,(seep.55)
Japanesepaperforartists'useismadeofthebarkofthemulberrytree,andispreparedwithasizingofglueandalum.Unprintedwall
paper(liningpaper)isserviceableforpracticework.Boguspaperandcoverpaperscanalsobeusedforlineormass.
Japaneseinkmust be ground upon the inkstone, a slab of slate. Intense blacknesscanbesecuredimmediatelybyusingonlyafew
dropsofwater.Drytheinkstick,andwrapinpaperneverleaveitsoaking.Inkofgoodquality,andacleanstoneareessential.Tools
perfectedbyagesofpracticeinlinedrawingandbrushwork,affordthebesttrainingforhandandeye.PaintingwiththeJapanesebrush
leadsdirectlytooilpainting.IfJapanesematerialsarenottobeobtainedorarenotdesired,theexercisescanbecarriedonwithpencil,
charcoal,watercolors,crayons,andevenoilpaint.
[pg16]
Forlinedrawingthebrushisheldinaperpendicularposition,thatitmaymovefreelyinalldirections,muchliketheetcher'sneedle.
Thebrushshouldbewellchargedwithink,thenpressedfirmlydownuponthepapertillitspreadstothewidthdesiredfortheline.
Drawwiththewholehandandarminonesweep,notwiththefingers.Steadythehandifnecessarybyrestingthewristorendofthe
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littlefingeronthepaper.Drawveryslowly.Expressivelineisnotmadebymeremomentum,butbyforceofwillcontrollingthehand.
Bydrawingslowlythelinecanbewatchedandguidedasitgrowsunderthebrushpoint.Slightwaveringsarenotobjectionableinfact
theyoftengivecharactertotheline.
EXERCISE
Beginwithstraightlines,rememberingthatstraightnessofdirectionistheessentialthing,notmeregeometricstraightness.Aftersome
practicewithstraightlines,trycurvesthenirregularlines.Copy brush drawings from Japanese books, for a study of control ofthe
handandqualityoftouch,No.11,p.19.Thispracticeworkcanbedoneuponordinarypaper.Theaimofsuchanexerciseistoputthe
handundercontrolofthewill,buttoomuchtimeshouldnotbegiventomerepractice,apartfromdesign.Qualityandpoweroflineare
illustratedinthedrawingsofmasters,No.10andp.18.Thesemaybecopiedlateron,forastudyofadvanceddrawing.
PracticelinesdrawnwithJapaneseBrush.
[pg17]
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[pg18]
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[pg19]
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[pg21]
[pg20]
III.WAYSOFCREATINGHARMONY
Fineart,byitsveryname,impliesfinerelations.Artstudyistheattempttoperceiveandtocreatefinerelationsofline,massandcolor.
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
merelylearningtodraw,byimitatingnature,orbyanyprocessofstoringthemindwithfacts.
Thepoweriswithinthequestionishowtoreachitanduseit.
Increaseofpoweralwayscomeswithexercise.Ifoneusesalittleofhisappreciativefacultyinsimpleways,proceedingongraduallyto
themoredifficultproblems,heisinthelineofnaturalgrowth.Toputtogetherafewstraightlines,creatingaharmonyofmovement
andspacing,callsforexerciseofgoodjudgmentandappreciation.Eveninthisseeminglylimitedfieldgreatthingsarepossiblethe
proportionsoftheParthenonandGiotto'sTowercanbereducedtoafewstraightlinesfinelyrelatedandspaced.
Effectiveprogressincompositiondependsuponworkingwithanorganizedanddefiniteseriesofexercises,buildingoneexperience
uponanother,callingforcultivatedjudgmenttodiscernanddecideuponfinerandfinerrelations.Littlecanbeexpresseduntillinesare
arrangedinaSpace.SpacingistheverygroundworkofDesign.WaysofarrangingandspacingIshallcall
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Inmyexperiencethesefivehavebeensufficient:
1.OPPOSITION
2.TRANSITION
3.SUBORDINATION
4.REPETITION
5.SYMMETRY
Thesenamesaregiventofivewaysofcreatingharmony,allbeingdependentuponagreatgeneralprinciple,PROPORTIONorGOOD
SPACING.
[pg22]
1.OPPOSITION.Twolinesmeetingformasimpleandsevereharmony.ExampleswillbefoundinGreekdoorways,Egyptiantemples
and early Renaissance architecture in plaid design also in landscape where vertical lines cut the horizon (see pp. 21, 45, 46.) This
principleisusedinthestraightlineworkinsquaresandrectangles,pp.32,33,39,andincombinationwithotherprinciples,pp.25,29.
2. TRANSITION. The arrangement thus designated involves a step beyond Opposition. Two straight lines meeting in opposing
directionsgiveanimpressionofabruptness,severity,orevenviolencethedifferenceofmovementbeingemphasized.Ifathirdlineis
added,asinthesketchesbelow,theoppositionissoftenedandaneffectofunityandcompletenessproduced.
Thiscombinationtypifiesbeautyitselfwhichhasbeendefinedasconsistingofelementsofdifferenceharmonizedbyelementsofunity.
AverycommonexampleofTransitionisthebracket,No.15.Thestraightlineismodifiedintocurvesandmaybeelaboratedwithgreat
complexityofmodelling.
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Insteadofadrawnlineoftransitiontheremaybeonlyasuggestionofone,buttheeffectisthesameasofteningofthecornerangle,
No.14andpp.58,60.Inpictorialartthevignette,inarchitecturethecapital,areexamplesofthetransitionprinciple.Indesignaneffect
ofTransitionmaybeproducedbyradiation.(Illustrationsbelow.)Accidentaltransitionsoccurinnatureinthebranchingofoldtrees,
wheretherhythmiclinesarethusunified.
[pg23]
Forconveniencethesuggestionsforclassworkaregroupedtogetherinthefollowing
EXERCISE
Opposition. Copy the sketches and illustrations, enlarged. Design straightline arrangements of mouldings, plaids and rectangular
panellings,Nos.13,18,24.Findexamplesinnature,anddrawinline,withbrush,penorpencilwithoutaborder.
Transition.Copythesketches,asbefore.Drawabracketinstraightline,modifyingintocurved.Designcornerornamentsforpanels
andbookcoversmetalworkforcabinet.No.18.Findexamplesinnatureanddrawinline.No.18.
Itisimportantinallsuchworktomakeanumberofsketchesfromwhichthebestmaybechosen.
3.SUBORDINATION.Neitheroftheforegoingprinciplesisoftenfoundaloneasthebasisofasinglework.Transitioninparticular,
usuallyservestoharmonizethepartsofacomposition.TheprincipleSubordinationisagreatconstructiveideanotonlyinthespace
artsbutinallthefinearts:
Toformacompletegroupthepartsareattachedorrelatedtoasingledominatingelementwhichdeterminesthecharacterofthewhole.
Atreetrunkwithitsbranchesisagoodtypeofthiskindofharmonyunitysecuredthroughtherelationofprincipalandsubordinate,
evendowntotheveiningsofleavesamultitudeofpartsorganizedintoasimplewhole.Thiswayofcreatingbeautyisconspicuousin
the perfect spacing and linerhythm of Salisbury cathedral, St. Maclou of Rouen and the Taj Mahal in Piero della Francesca's
ResurrectionandMillet'sGoosegirlinsomeByzantinedesignandPersianrugs(seepp.58,65,98.)
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ItgovernsthedistributionofmassesinDarkandLightcomposition,andofhuesinColorschemes.Itappearsinpoetry(theOdyssey
forexample)inthesubordinationofallpartstothemainideaofthesubject.Itisusedconstructivelyinmusicalcomposition.Whenever
unityistobeevolvedfromcomplexity,confusionreducedtoorder,powerfeltthroughconcentration,organization,leadershipthen
willbeappliedthecreativeprinciplecalledhereSubordination.
InLineCompositionthearrangementbyprincipalandsubordinatemaybemadeinthreeways,No.16:
1.Bygroupingaboutanaxis,asleafrelatestostem,branchestotrunk.
2.Byradiation,asinflowers,therosette,vaultribs,theanthemion.
3.Bysize,asinagroupofmountainpeaks,acathedralwithitsspireandpinnacles,treeclusters,orOrientalrugwithcentreand
borderp.65.
[pg24]
Artinterest in any of these lies in the fineness of relation. A throwing together of large and small mere geometric radiation or
conventionalbranchingcanneverbeotherthancommonplace.A workoffineartconstructedupontheprincipleofSubordinationhas
allitspartsrelatedbydelicateadjustmentsandbalanceofproportions,toneandcolor.Achangeinonememberchangesthewhole.No.
22.
Todiscoverthemeaningandthepossibilityofexpressioninthisformofcornpositionthestudentmayworkoutaseriesofproblemsas
suggestedinthis
EXERCISE
The instructor draws flower or fruit with stem and leaves. The pupil arranges this motif in various rectangular spaces (page 25),
combiningthe1st and 3rdforms of subordination, and using hiscriticaljudgment in a way that is of great value to the beginner in
composition.Thepupilnowdrawsthesameorsimilarsubjectsfromnature,acquaintinghimselfwiththeirformandcharacterthen
composes them in decorative or pictorial panelsan artuse of representative drawing as well as exercise in appreciation. Copythe
examples of the 2nd kind of Subordination, and design original rosettes, anthemions, palmettes, thinking chiefly of the spacing and
rhythm.Findexamplesinnaturechimneysandroofs,boatswithmastsandsails,ortreegroups.Drawandarrangeinspaces.Nos.16,
18,26,28,37,61.
Afterchoosingthebestoutofmanytrialsketches,drawinlinewiththeJapanesebrush.Then,forfurtherimprovementinarrangement,
andrefinementoflinequality,tracewithbrushandinkuponthinJapanesepaper.
4. REPETITION. This name is give to the opposite of Subordinationthe production of beauty by repeating the same lines in
rhythmicalorder.Theintervalsmaybeequal,asinpattern,orunequal,asinlandscape,seebelowandNo.20.
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[pg26]
[pg25]
Of all ways of creating harmony this is the most common, being probably the oldest form of design. It seems almost instinctive,
perhapsderived fromtherhythms of breathing and walking, orthemovement 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.
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ThisprincipleofRepetitionisthebasisofallmusicandpoetry.Thesacreddanceofthesavageisassociatedwiththedrumandother
primitiveinstrumentsformarkingrhythmwiththechantandmysticsong.Fromsuchrudebeginnings,fromthetomtoms,trumpetsand
Panpipes of old, music has developed to the masterpieces of modern times through the building of harmony upon harmony,
composition.
Fromthecruderhythmofthesavage,liketheAustraliansongEateateat,fromthebattlecriesandfolkpoemsofbarbaricpeoples,
therehasbeenrefinementuponrefinementofwordmusicevermovingtowardsthesupreme.ThisgavetheworldtheverseofSappho
whichSwinburnethoughtthemostbeautifulsoundseverproducedinlanguage.FromtherudepatternsmarkedwithsticksonIndian
bowls andpots,or painted inearthcolorsonwigwamandbelt,orwovenonblanket,thisform of space art has grown, through the
complexitiesofEgyptianandPeruviantextiledesigntothesplendorofByzantinemosaic,thejewelpatternsoftheMoguls,andGothic
sculpturefromrockcutpillarsofcavetemplestothecolonnadeoftheParthenon.(Forexamplesofprimitivedesignseetheworksof
WilliamH.Holmes.)
Repetition,beitremembered,isonlyawayofputtinglinesandspacestogether,anddoesnotinitselfproducebeauty.Amererowof
thingshasnoartvalue.Railroads,fences,blocksofbuildings,andallbadpatterns,are,likedoggerelrhyme,examplesofrepetition
withoutart.
Repetitioninfinespacing,withtheintentionofcreatingaharmony,becomesabuilderofartfabric.
EXERCISE
1.Borders.Divide a long space by vertical or oblique lines at regular intervals. By connecting the ends of these with straight lines,
developemanyseriesofmeanders,fretsandzigzags.Wavesandscrollsareevolvedfromthesebychangingstraighttocurvedline,No.
20a,andp.56.26
[pg27]
2.Surfacepattern.Subdivideaspace(freehand)intosquares,diamondsortriangles,determiningthesizeoftheunitdesired.Thiswill
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
straightandcurved,ifonlygeometricpatternbedesiredorafloralformforasprigpattern.Inthecompositionofthisunittheprinciple
ofSubordinationwillberemembered.
Assoonastheunitisrepeatedanewsetofrelationswillbecreated,dependentuponthespacing.Asecondarypatternformsitselfout
of the background spaces. Hence the designer must decide whether the unit is to fill the skeleton square completely, have a wide
margin,oroverrunthesquare.Repeatingthefigureinthesevariouswayswilldeterminethebestsize.Themaineffortshouldbegiven
toproducingafinerelationbetweenoneunitanditsneighborsandbetweenpatternandbackground.AllthebestworkinRepetitionhas
this refined harmony of spacing. No. 20b below and pp. 13, 65, 66, 85. Copy the illustrations of Repetition in this book, and make
originalvariationsofthem.Copy,inline,theunitsofearlyItaliantextiles,Orientalrugsoranyofthebestexamplestobefoundin
museums or in illustrated artbooks. SeeEggandDart from the Parthenon, p. 30, also pp. 67, 121. For anatomy and planning of
pattern,seetheworksofLewisF.Day.
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[pg28]
SYMMETRY. The most common and obvious way of satisfying the desire for order is to place two equal lines or shapes in exact
balance,asinagable,windowseachsideofadoor,orobjectsonashelf.ThetermSymmetryappliestothreeandfourpartgroups,or
otherswhereevenbalanceismade,buthereitrefersmainlytoatwopartarrangement.
Sometimes construction produces Symmetry, as in the human body ships Greek and Rennaissance architecture furniture pottery
books.Partlyfromthiscauseandpartlythroughimitation,Symmetry,likeRepetition,hascometobeusedincheapandmeandesign
wherenoregardispaidtobeautyofform.Japaneseart,wheninfluencedbyZenphilosophy,asOkakuraKakuzotellsusinTheBook
ofTea,avoidssymmetryasuninteresting.InGothicart,theproductofrichlyinventiveandimaginativeminds,symmetrywasnever
usedinacommonplaceway.
ThisPrincipleofCompositionwhenunitedtofinespacing,produces,inarchitectureaneffectofreposeandcompletenessindesign
atypeofseverelybeautifulform,asseeninaGreekvaseorthetreasuresoftheShosoinatNarawheresomuchoftheolderJapanese
arthasbeenpreserved.
AfewexamplesofSymmetryaregivenherethestudentwillreadilyfindothers.Exercisescanbeeasilydevised,followingthesteps
suggestedunderotherprinciples.Seeopposite,andNos.42,43.
PROPORTIONorGOODSPACING.PrinciplesofComposition,Imustrepeat,areonlywaysofarranginglinesandshapesartisnot
producedbythemunlesstheyareusedincombinationwiththisgeneralprinciple,GoodSpacing.Theyarebynomeansrecipesfor
art, and their names are of little consequence. Appreciation of fineness of relations must always govern the method and form of
composition.Itispossibletousealltheprinciplesherediscussed,andtocompletealltheexercises,withoutgainingmuch,ifany,art
experience.Themainthingisthestrivingforthebest,themostharmonious,resultthatcanbeobtained.Onewaytoaccomplishthisis
to compare and choose continuallymaking 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
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studiedineveryexampleofsupremeart.Itisthefoundationofallthefinestworkinlineandmass.ThemysteryofSpacingwillbe
revealedtothemindthathasdevelopedAppreciation.
[pg29]
SYMMETRY. The most common and obvious way of satisfying the desire for order is to place two equal lines or shapes in exact
balance,asinagable,windowseachsideofadoor,orobjectsonashelf.ThetermSymmetryappliestothreeandfourpartgroups,or
otherswhereevenbalanceismade,buthereitrefersmainlytoatwopartarrangement.SometimesconstructionproducesSymmetry,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.
Japaneseart,wheninfluencedbyZenphilosophy,asOkakuraKakuzotellsusinTheBookofTea,avoidssymmetryasuninteresting.
InGothicart,theproductofrichlyinventiveandimaginativeminds,symmetrywasneverusedinacommonplaceway.
[pg30]
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[pg32]
[pg31]
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[pg33]
LINE
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IV.COMPOSITIONINSQUARESANDCIRCLES
[pg34]
Afterworkingwiththeprincipleslongenoughtounderstandtheirnature,andtoseewhatcanbedonewiththem,thestudentisready
forproblemsincomposition.Practiceinlinearrangementisapreparationforallkindsofartwork,beitdesign,painting,sculptureor
architecture. Choose an enclosed area of definite and regular shape, and break it up into a harmonious group of smaller areas by
drawinglines.Fortheseelementaryexercisesincompositionthesquareandcirclearebestbecausetheirboundariesareunchangeable,
andattentionmustbefixeduponinteriorlines.Takefirstthesquare,usingstraightlinesofequalthicknessdrawnwith the brush as
suggestedinchapterII.Theresultshouldbeaharmonyofwellcutspace,alittlemusicalthemeinstraightlinesandgroupedareas.
Makemanytrialarrangements,sketchinglightlywithcharcoalonbogusorliningpaper.Selectthebest,correctthem,anddrawwith
brushandinkoverthecharcoallines.Fromthesechoosethemostsatisfactory,placethinJapanesepaperoverthemandtraceinfirm
blacklines,freehand,withtheJapanesebrush.Avoidhardwirylinesandallthatsavorsofruleandcompassorlaboriouspainstaking.
Usenomeasureofanykindsizes,shapesanddirectionsmustbedecideduponwithoutmechanicalaids.
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[pg35]
Nevertrytoeraseaninkline,ifamistakeoccursbeginagain.Tracing,fortheartpurposeofimprovingproportionsandacquiringan
expressive brushtouch, is a most valuable help to the production of good work. Architects use tracingpaper 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
elementarypracticebecauseofitssimplicity,andbecauseitpreparesforworkwithcurves.Thefinestcurveismeasuredbyaseriesof
straightlinesinharmonicrelationsofrhythmandproportion(p.42).Aftersomeexperiencewithstraightline,cutareaswithcurved,
geometric,flower,fruit,landscapeorfigure.
Equalthicknessoflineisadvisablenow,tofixattentionupondirection,touchandspacing.Variationinwidthwillcomelaterinnotan
ofline(page54)andinrepresentativedrawing(page51)wheretextureandmodellingaretobeindicated.Themainpurposeofthisand
allexercisesinthisbookisthecreationofharmony,henceiftheresulthasbutaslightdegreeoflinebeautyitcanbeconsideredafirst
stepinArt.
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Theexamplesarechosenfromstudents'work,fromJapanesebooks,fromdesign,craftandarchitecture.Theyillustratevariouswaysof
treatingsquaresandcirclesaccordingtoprinciplesofcomposition.
1.Copytheseenlarged,withbrush.
2.Selectone,asatheme,andmakemanyvariations.
3.Originatenewlineschemesinsquaresandcircles.
[pg36]
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[pg37]
APPLICATIONS
1.Ginghams,plaids,embroidery,stencil.
2.Panelling,windowsashes,leadingforglass,inlaidwood,mosaic,enamelonmetal.
3.Incisedlinesinwood,clayormetal,lowreliefmodelling.
Studyoftheprincipleprecedesapplicationinallcases.Itistruethatthelimitationsofmaterialmustberecognizedinmakingdesigns
forspecialpurposes.Thesubstanceorsurfaceforwhichthedesignisintendedwillitselfsuggestthehandlingbutmaterialteachesus
nothing about the finer relationships. First study the art of design develop capacity by exercise of the inventive and appreciative
facultiesthenconsidertheapplicationsincraftorprofession.
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[pg38]
V.COMPOSITIONINRECTANGLESVARIATION
Inthesearchforfinerrelationstheremustbeeveryopportunityforchoicethebetterthechoice,thefinertheart.Thesquareandcircle
allowchoiceonlyastointeriordivisions,buttherectangleiscapableofinfinitevariationinitsboundarylines.
The scientific mind has sought, by analysis of many masterpieces, to discover a set of perfect proportions, and to reduce them to
mathematicalform,forexample,3:5,or4:7.ThesecretofspacinginGreekarthasbeenlookedforinthegoldenmean,viz:heightis
tolengthaslengthistothesumofheightandlength.Doubtlesssuchformulaewereusefulforordinarywork,butthefinestthingswere
certainlytheproductof feeling andtrained judgment, not of mathematics. Artresistseverything that interferes with free choice and
personaldecisionartknowsnolimits.
Povertyofideasisnocharacteristicoftheartisthismindiseverstrivingtoexpressitselfinnewways.
Thepersonalchoiceofproportions,tonesandcolorsstampstheworkwithindividuality.Amasterinartisalwaysintenselyindividual,
andwhathedoesisanexpressionofhisownpeculiarchoices.
Thebeautyofproportioninyourrectangleismeasuredbyyourfeelingforfinerelations,notbyanyformulawhatever.Noworkhas
artvalueunlessitreflectsthepersonalityofitsauthor,Whateverybodycandoeasily,orbyrule,cannotbeart.
ThestudyofVariationtendstoleadthemindawayfromtheconventionalandhumdrum,toward originaland individualexpression.
Variationhasnoplaceinacademiccoursesofartteaching,butincompositionitisamostimportantelement.
Themastersofmusichaveshownthatinfinitepossibilitiesofvariationthesamethemeappearingagainandagainwithnewbeauty,
differentqualityandcomplexaccompaniment.Evensocanlines,massesandcolorsbewroughtintomusicalharmoniesandendlessly
varied.TheJapanesecolorprintexemplifiesthis,eachcopyofthesamesubjectbeingvariedinshadeorhueordispositionofmassesto
suittherestlessinventiveenergyofitsauthor.InoldItaliantextilesthesamepatternappearsrepeatedly,butvariedinsize,proportion,
darkandlightandcolor.Intimeswhenartisdecadent,thedesignersandpainterslackinventivepowerandmerelyimitatenatureorthe
creationsofothers.ThencomesRealism,conventionality,andthedeathofart.
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[pg39]
Someexperienceinchoiceofproportionsandthecuttingofrectangularspacesmaybegainedfromthefollowing
EXERCISE
1.Designsomesimplethemeinverticalandhorizontallinesandarrangeitinseveralrectanglesofthesamesize,varyingthe
spacingineach,No.29a.
2.Composeastraightlinethemeinseveralrectanglesofdifferentproportions,No.29b.
3.Choosethebestandtracewithbrushandink.
Inthefirstcasethereisvariationofinteriorlinesonlyinthesecondalllinesarechanged.Thisexerciseadmitsofgreatexpansion,
accordingtoageofpupilsandlimitsoftime.
EXAMPLESOFRECTANGULARDESIGN.
Contactwiththe best works of art is an essential part of art education, for from them comes power and the stimulus to create. The
studenthearsandreadsmuchthatpassesforartcriticismbutisonlytalkaboutthesubjectofapicture,thederivationandmeaningofa
design,ortheaccuracyofadrawing.Theseminorpointshavetheirplaceindiscussingtheliteraryandscientificsidesofamasterpiece
theyrelatetoartonlysuperficially,andgivenokeytotheperceptionoffinequality.
Themostimportantfactaboutagreatcreativeworkisthatitisbeautifulandthebestwaytoseethisistostudytheartstructureofit,
thewayitisbuiltupasLine,Notan,Color,theprincipleofcompositionwhichitexemplifies.Seewhatamasterhasdonewiththe
veryproblemyouaretryingtoworkout.
Thismethodofapproachwillinvolveanewclassificationoftheworld'sart,cuttingacrossthehistorical,topicalandgeographicallines
ofdevelopment.Theinstructorincompositionwillillustrateeachstepwithmanyexamplesdifferingastotime,locality,materialand
subject,butalikeinartstructure.
Museumcollectionsmightbeusedforaseriesofprogressivestudiesbaseduponcompositiontakinguponeprincipleatatimeand
seekingillustrationsinagroupofwiderange,apicture,sculpture,architecture,Gothiccarving,metalwork,oldtextile,bitofpottery,
Japaneseprint.
[pg40]
Thebeautyofsimplespacingisfoundinthingsgreatandsmall,fromacathedraltowertoacupboardshelf.
The campanile of the Duomo of Florence (No. 30) designed by that master of architecture and painting, Giotto, is a rectangular
compositionofexceedingbeauty.Itscharmlieschieflyinitsdelicatelyharmonizedproportionsonastraightlinescheme.Itisvisual
music in terms of line and space. The areas are largest at the top, growing gradually smaller in each of the stories downward. The
gracefulmouldings,thewindowtracery,themanycolorsofmarbleandporphyryarebutenrichmentsofthesplendidmainlines.
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TheCa'd'OroofVenice(No.31,A)presentsthisrectangularbeautyinanentirelydifferentway.First,averticallinedividesthefacade
intotwounequalbutbalancedproportionseachoftheseisagaindividedbyhorizontallinesandbywindowsandbalconiesintosmaller
spaces,thewholemakingaperfectharmonyeachpartrelatedto,andaffectedbyeveryotherpart.
ThetokonomaofaJapaneseroom(No.31,B)isarrangedinasimilarrectangularscheme.Averticalline,asintheVenetianpalace
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
publishbookswithhundredsofdesignsforthislittlerecess.Thefertilityofinventioncombinedwithfeelingforgoodspacing,evenin
such a simple bit of craft, is characteristic of the Japanese. Their design books, from which I have copied many examples for this
volume,areveryusefultothestudentofart.
Style, in furniture, is a matter of good spacing, rather than of period or person. The best designs are very simple, finely balanced
compositionsofafewstraightlines(No.31,D).
Bookcoverswiththeirletteringanddecorations,andbookpageswithorwithoutillustrationsareexamplesofspacecutting,goodor
commonplace according to the designer's feeling for linebeauty, In the early days of printing the two pages of an open book were
considertogetherasasinglerectangularspace.Intothisthetypewastobesetwiththeutmostcareastoproportionandmargin.
EXERCISE
[pg41]
Thefewexamplesgivenhereshowhowvariedaretheapplicationsofasingleprinciple. Thestudy ofthese will suggestafield for

research.IfpossiblethestudentshouldworkfromtheobjectsthemselvesorfromlargephotographsandfromtheoriginalJapanese
designbooks.These
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[pg42]
tracingsaregivenforpurposesofcomparison.
1.Copytheexamples,withoutmeasuring.Anattempttocopybringsthepupil'smindintocontactwiththatofasuperior,andlets
himseehowdifficultitistoreachthemaster'sperfection.Copyingasameansofimprovingone'sstyleistheoppositeof
copyingasasubstitutefororiginalwork.
2.Aftermakingthebestpossiblecopies,inventoriginalvariationsofthesethemes,keepingthesamegeneralplanbutchanging
thesizes.
COMPOSITIONOFPOTTERYFORMS.Makersofmoderncommercialwareusuallyleavebeauty of line out of account, thinking

onlyofutility,ofthepieceofpotteryasafeedingdish,orasacostlyandshowyobject.Theglaringwhiteglaze,harshcolorsand
clumsyshapesofcommontablewaremustbeendureduntilthereissufficientpublicappreciationtodemandsomethingbetteryeteven
thisislessoffensivethanthekindthatpretendstobeart,badinlineandglitteringwithfalsedecoration.
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Pottery,likeothercraftproducts,istrulyusefulwhenitrepresentsthebestworkmanship,combinedwithfeelingforshape,tone,texture
andcolor,inaword,fineart.
Suchqualityisfound,tomentiononlyafewcases,insomeofthepeasantwaresinthebestJapanesepottery,ancientandmodernin
Chinese,especiallyoftheSungperiod(A.D.9601280)inMoorish,Persian,RhodianandGreek.Wheneachmakertriedtoimprove
upoldermodels,andhadthetasteandinventivegeniustodoit,theartgrewtosupremeexcellenceevenfragmentssuchhandicraftare
nowprecious.Thedifferencebetweenthecontoursareallygreatpieceofpotteryandordinaryonemayseemveryslight,butinjustthis
littledifferenceliestheart.
EXERCISE
One good way to stimulate invention in composing pottery shapes is to evolve them from rectangles. In the straight line there is
strengthacurveismeasuredbyaseriesofstraightlinesconnectedinrhythm.No.32a.Thisprincipleisrecognizedinblockingouta
freehanddrawing,aprocessoftenmisunderstoodandexaggerated.
Curvedprofilesareonlyvariationsofrectangularforms,forexamplethebowlinNo.32b.
[pg43]
Changetheheightandaseriesofnewshapeswillresult.Asthetopandbottomlinesremainthesamewehavetocomparethecurved
sidesonly.Anothereffect(c)comesfromvaryingthewidthandstillanother (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
rectangleinpalered,thepotteryinblack.Makemanysketches,selectthebestprofiles,improvethembytracinginink,andcompare
withhistoricpieces.Drawingfromthefinestexamplesofpottery,andmakingoriginalvariationsoftheforms,willaidindrawingfrom
thecastorthenude,becauseoftheintimatestudyofthecharacterofcurves.
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FLOWERSandotherformsasLINEMOTIVES.Therectangularspacemaybesubdivided,aswasthesquare,byasimplelinemotif,
flower,fruit,stilllife,animalorfigure,followingsomePrincipleofComposition.InchapterIII,underSubordination,anexercise
was suggested and illustrated it could be taken up again at this point, with new subjects, for a study of Variation. As rectangular
compositionswillbefoundunderNotanandColor,itisnotnecessarytoconsiderthemfurtherhereaspureline,exceptinthecaseof
Landscape,towhichaspecialchapterisgiven.
[pg44]
VI.LANDSCAPECOMPOSITION
Themodernarbitrary division of Painting into Representative and Decorative has put composition into the background and brought
forwardnatureimitationasasubstitute.Thepicturepainterisledtothinkoflikenesstonatureastothemostdesirablequalityforhis
work,andthedesignertalksofconventionalizingbothjudgingtheirartbyastandardofRealismratherthanofBeauty.
Intheworld'sartepochstherewasnosuchdivision.Everyworkofspaceartwasregardedasprimarilyanarrangement,withBeautyas
itsraisond'etre.Evenaportraitwasfirstofallacomposition,withthefactsandthetruthsubordinatetothegreaterideaofaesthetic
structure.TraininginthefundamentalprinciplesofCompositiongavetheartistsawidefieldtheywereatoncearchitects,sculptors,
decoratorsandpicturepainters.
Followingthisthoughtoftheonenessofart,wefindthatthepicture,theplan,andthepatternarealikeinthesensethateachisagroup
ofsyntheticallyrelatedspaces.Abstractdesignis,asitwere,theprimerofpainting,inwhichprinciplesofCompositionappearina
clearanddefiniteform.Inthepicturetheyarenotsoobvious,beingfoundincomplexinterrelationsandconcealedunderdetail.
Thedesignerandpicturepainterstartinthesameway.Eachhasbeforehimablankspaceonwhichhesketchesoutthemainlinesof
hiscomposition.ThismaybecalledhisLineidea,andonithingestheexcellenceofthewhole,fornodelicacyoftone,orharmonyof
colorcanremedyabadproportion.Apicture,then,maybesaidtobeinitsbeginningactuallyapatternoflines.Couldtheartstudent
havethisfactinviewattheoutset,itwouldsavehimmuchtimeandanxiety.Naturewillnotteachhimcomposition.Thesphinxisnot
moresilentthansheonthispoint.HemustlearnthesecretasGiottoanddellaFrancescaandKanawokaandTurnerlearnedit,bythe
studyofartitselfintheworksofthemasters,andbycontinualcreativeeffort.Ifstudentscouldhaveathoroughtrainingintheelements
oftheirprofessiontheywouldnotfallintotheerrorofsupposingthatsuchauniversalideaasBeautyofLinecouldbecompressedinto
afewcaseslike thetriangle,bird'swing,lineofbeauty,orscrollornament, nor would they take these notions as a kind of
receiptforcomposingthelinesofpictures.
[pg45]
InsistenceupontheplacingofCompositionaboveRepresentationmustnotbeconsideredasanyundervaluationofthelatter.Theart
studentmustlearntorepresentnature'sforms,colorsandeffectsmustknowthepropertiesofpigmentsandhowtohandlebrushesand
materials.Hemayhavetostudythesciencesofperspectiveandanatomy.Moreorlessofthisknowledgeandskillwillberequiredin
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hiscareer,buttheyareonlyhelpstoart,notsubstitutesforit,andIbelievethatifhebeginswithComposition,thatis,withastudyof
artitself,hewillacquirethesenaturally,ashefeelstheneedofthem.
Returningnowtothethoughtthatthepictureandtheabstractdesignaremuchalikeinstructure,letusseehowsomeofthesimple
spacingsmaybeillustratedbylandscape.
Looking out from a grove we notice that the trees, vertical straight lines, cut horizontal lines,an arrangement in Opposition and
Repetitionmakingapatterninrectangularspaces.Comparetheginghamandlandscapeonpage22.Thisisacommoneffectinnature,
tobetranslatedintotermsofartassuggestedinthefollowingexercise.
EXERCISE
No.34isalandscapereducedtoitsmainlines,alldetailbeingomitted.
Makeanenlargedcopyofthis,ordesignasimilarone.Then,intheattempttofindthebestproportionandthebestwayofsettingthe
subject upon canvas or paper, arrange this in rectangles of varying shape, some nearly square, others tall, others long and narrow
horizontallyasinNo.35.Tobringthewholelandscapeintoallthesewillnot,ofcourse,bepossible,butineachtheessentiallinesmust
beretained.
Drawininkafterpreliminarystudieswithpencilorcharcoal,correctingerrorsbytracing.
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Thenfindinnatureothersimilarsubjectssketchandvaryinthesameway.
[pg46]
[pg47]
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
throughtheseorsimilarexercises.
Firststudytheart,thenapplyit,whethertolandscapeoranyotherkindofexpression.
PICTURESCOMPOSEDONRECTANGULARLINES.
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Greatarchitectsanddesignerswerenottheonlyonestousethissimplelineideathemastersofpictorialarthavebaseduponitsomeof
theirbestwork(oppositepage).
Thesetracingsfromavarietyofcompositions,oldandnew(No.36),showthatthiscombinationwaschoseneithertoexpresscertain
qualities and emotions,majesty, solemnity, peace, repose, (Puvis de Chavannes)or because such a space division was suited to
toneeffects (Whistler's Battersea Bridge), or to color schemes (Hiroshige). These should be copied exactly in pencil, then drawn
enlarged.Findotherexamplesinmuseums,illustratedbooks,orphotographs,anddrawinthesameway.
Thestudentmust,however,bewarnedagainstmistakingameregeometriccombinationoflinesforanaestheticcombination.Thereis
nospecialvirtueinarectangularschemeoranyotherinitselfitisthetreatmentofitthatmakesitartornotart.Manyacommonplace
architect has designed a tower similar to Giotto's, and many a dauber of oil paint has constructed a wood interior on a lineplan
resemblingthatofPuvis.Sothemeredoingoftheworkrecommendedherewillbeoflittlevalueiftheonlythoughtistogetoverthe
ground,orifthemindisintentuponnamesratherthanprinciples.Thedoingofitwell,withanartisticpurposeinmind,isthetrueway
todevelopthecreativefaculties.
LANDSCAPEARRANGEMENT,VARIATION.
Leavingnowtherectangularscheme,takeanylandscapethathasgoodelements,reduceittoafewmainlinesandstrivetopresentitin
themostbeautifulwayforexampleonefromNo.61,oronedrawnbytheinstructor,orevenatracingfromaphotograph.Remember
thattheaimisnottorepresentaplace,nortogetgooddrawingnowputthosethoughtsoutofthemindandtryonlytocutaspace
finely by landscape shapes the various lines in your subject combine to enclose spaces, and the art in your composition will lie in
placingthesespacesingoodrelationstoeachother.Heremustcomeinthepersonalinfluenceoftheinstructor,whichis,afterall,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
systemsisvaluelesswithoutthispersonalartisticguidance.
[pg48]
Atthisstageoflandscapecomposition,theideaofGrouping(Subordination)canbebroughtin,asahelpinarrangingsizesandshapes.
Thereisacertainbeautyinacontrastoflargeandsmall.ItistheoppositeofMonotony.Forinstance,compareastreetwherethereis
varietyinthesizesofbuildingsandtrees,withanotherofrowsofdulluglyblocks.Rangesofhills,spiresandpinnacles,clumpsof
largeandsmalltrees,clustersofhaystacks,illustratethisideainlandscape.
EXERCISE
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Todiscoverthe best arrangement, and to get the utmost experience in line and space composition, the landscape should be set into
severalboundariesofdifferingproportions,asinChapterV,andasshownintheexamples,keepingtheessentiallinesofthesubject,
butvaryingthemtofittheboundary.Forinstance,atreemaybemadetallerinahighverticalspacethaninalowhorizontalspace,(No.
37below).Afterworkingoutthisexercisethepupilmaydrawalandscapefromnatureandtreatitinthesameway.Lethimrigorously
excludedetail,drawingonlytheoutlinesofobjects.
[pg49]
VII.COMPOSITIONINREPRESENTATION
Inacademicartteachingrepresentationisthestartingpoint.Thismeansthatonemustfirstofalllearntodraw,aspowerinartis
thought to be based upon ability to represent accurately and truthfully either nature's facts or historic ornament. I use the word
academictodefineallteachingfoundeduponrepresentation.Thetheorymaybesummedupintwopoints:
1.Storethemindwithfacts,tobeusedincreativeworklateron.
2.Techniqueisbestacquiredbythepracticeofobjectandfiguredrawing.Thefirstisapurelyscientificprocess,agatheringupof
data,withnothoughtofharmonyororiginalityhencedrawingwithsuchanendinviewisnotstrictlyartwork.Nordoesthe
artistneedtolumberuphismindnatureishisstorehouseoffacts.Thesecondpointhasmorereason,butwhentheaimisfor
mereaccuracy,onlyalimitedamountofskillisacquiredandthatoftenhardlymorethanniceworkmanshipnotartskill.The
powerfuldrawingofthemastersislargelyderivedfromothermasters,notfromcopyingnature.Itisaninterpretationwiththe
purposeofattainingahighstandard.Suchdrawingaimstoexpresscharacterandqualityinanindividualwayathingquite
differentfromfactstatement.
Naturedrawing, wrongly placed and misunderstood, has become a fetich in our modern teaching. Our art critics talk of just
rendering, true values, conscientious painting and the like terms that belong to morals, not art, and could not be applied to
Architecture,MusicorPoetry.Thesestockphrasesareapartofthat tradition of the eldersthat eighteenth century academism still
lingering.Representationhasbutasmallplaceintheartoftheworld.Thisisroughlyshowninthetwolistsbelow:
NONREPRESENTATIVE
ArchitectureFurniture.
Woodcarving.
Pottery.
Modelling,mouldingsandpattern.
Metalwork.
Inlay,mosaic,etc.
Geometricdesign,includingEgyptian,PeruvianandSavage.
Ginghams,plaidsandmuchtextilepattern.
Mohammedanart(onegreatdivision)etc.
REPRESENTATIVE
PaintingandSculptureofFigures,Portraits,Animals,Flowers,StillLife,LandscapePainting.
[pg50]
Thenatureimitatorsholdthataccuraterepresentationisavirtueofhighestorderandtobeattainedinthebeginning.Itisundeniably
serviceable,buttostartwithitistobeginatthewrongend.Itisnottheprovinceofthelandscapepainter,forexample,torepresentso
muchtopography,buttoexpressanemotionandthishemustdobyart.Hisartwillbemanifestinhiscompositioninhisplacingof
histrees,hillsandhousesinsyntheticrelationstoeachotherandtothespaceboundary.HereisthestrengthofGeorgeInnesstothishe
gavehischiefeffort.Heomitsdetail,andrarelydoesmorethanindicateforms.
ThisrelationamongthepartsofacompositioniswhatwecallBeauty,anditbeginstoexistwiththefirstfewlinesdrawn.Eventhe
studentmayexpressalittleofitashefeelsit,andtheattempttoembodyitinlinesonpaperwillsurelyleadtoadesiretoknowmore
fullythecharacterandshapesofthings,toseekaknowledgeofdrawingwithenthusiasmandpleasure.
Thesethingsaresaid,notagainstnaturedrawingIshouldadvisemoreratherthanlessbutagainstputtingitinthewrongplace.
ThemaindifferencebetweenAcademicandStructural(AnalyticandSynthetic)isnotinthethingsdone,butinthereasonfordoing
them,andthetimeforthem.Allprocessesaregoodintheirproperplaces.
Therelationofrepresentativedrawingtoasyntheticschemeisthis:Oneusesthefactsofnaturetoexpressanideaoremotion.The
figures, animals, flowers or objects are chosen for the sake of presenting some great historical or religious thought as in della
Francesca'sAnnunciation(No.36),fordecorationofanarchitecturalspace(Reimscapital,No.38),becausethelandscapehasspecial
beautyasinHiroshige'sprint(No.8),orbecausetheobjectshaveformandcolorsuggestingahighorderofharmony,asinChineseand
Japanesepaintingsofflowers,orLeonardo'sdrawingsofinsectsandreptiles.
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Anotherreasonfordrawingisfoundintheuseoftheshapesorhuesindesign.Desiretoexpressanideaawakensinterestinthemeans.
Observationiskeen,closeapplicationisaneasytask,everysenseisalerttoaccomplishtheundertaking.Thisisquitedifferentfrom
drawinganythingandeverythingforpracticeonly.
Mereaccuracyhasnoartvaluewhatever.Someofthemostpatheticthingsintheworldarethepicturesorstatueswhoseonlyvirtueis
accuracy.Thebaretruthmaybeadeadlycommonplace.Pupilsshouldlookforcharacterthatincludesalltruthandallbeauty.Itleads
onetoseekforthebesthandlingandtovaluepowerinexpressionabovesuccessindrawing.
Compositionisthegreatestaidtorepresentationbecauseitcultivatesjudgmentastorelationsofspaceandmass.Compositiondoesnot
invitedeparturefromnature'struth,orencourageinaccuraciesofanykindithelpsonetodrawinafinerway.
[pg51]
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NOTAN
[pg53]
VIII.HARMONYBUILDINGWITHDARKANDLIGHT
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AsthereisnoonewordinEnglishtoexpresstheideacontainedinthephrasedarkandlight,IhaveadoptedtheJapanesewordno
tan(dark,light).Itseemsfittingthatweshouldborrowthisarttermfromapeoplewhohaverevealedtoussomuchofthiskindof
beauty. Chiaroscuro has a similar but more limited meaning. Still narrower are the ordinary studio terms lightandshade,
shading,spotting,effectthatconveylittleideaofspecialharmonybuilding,butreferusuallytorepresentation.
Notan,whileincludingallthatthesewordsconnote,hasafullermeaningasanameforagreatuniversalmanifestationofbeauty.
DarksandlightsinharmonicrelationsthisisNotanthesecondstructuralelementofspaceartp.7.
TheOrientalsrarelyrepresentshadowstheyseemtoregardthemasofslightinterestmerefleetingeffectsoraccidents.Theyprefer
tomodelbylineratherthanbyshading.Theyrecognizenotanasavitalanddistinctelementoftheartofpainting.
TheBuddhistpriestpaintersoftheZensectdiscardedcolor,andforagespaintedinink,somasteringtonerelationsastoattractthe
admirationandprofoundlyinfluencetheartofthewesternworld.
Our etching and book illustration have long felt the effect of contact with Japanese classic painting, though the influence came
indirectlythroughtheUkiyoyecolorprintsandbooks.SuchnamesasKakei,ChineseoftheSungdynasty(p.96),SogaShubun,the
ChinesewhofoundedaschoolinJapaninthefifteenthcentury(p.17),Sesshu,oneofthegreatestpaintersofalltime(p.97),Sotan,
Soami,Motonobu,TanyuarenowplacedwithTitian,Giorgione(p.51),Rembrandt,Turner,CorotandWhistler.TheworksofOriental
masterswhofeltthepowerandmysteryofNotanarebecomingknownthroughthereproductionsthattheJapanesearepublishing,and
throughpreciousexamplesinourownmuseumsandcollections.Thisinoneoftheforcestendingtouprootourtraditionalscientificart
teachingwhichdoesnotrecognizeDarkandLightasworthyofspecialattention.
AppreciationofNotanandpowertocreatewithitcanbegained,asinthecaseofLine,bydefinitestudythroughprogressiveexercises.
Attheoutsetafundamentalfactmustbeunderstood,thatsyntheticallyrelatedmassesofdarkandlightconveyanimpressionofbeauty
entirelyindependentofmeaning,forexample,geometricpatternsorblottyinksketchesbyDutchandJapanese.
[pg54]
Whenthisoccursaccidentallyinnature,sayagroveofdarktreesonalighthillside,orapileofbuildingsagainstthemorningsky,
weatoncefeelthecharmandcalltheeffectpicturesque.Thequalitywhichmakesthenaturalsceneagoodsubjectforapictureis
likemusicalharmony.ItisthevisualmusicthattheJapanesesoloveintheroughinkpaintingsoftheirmasterswherethereisbuta
hint of facts (pp. 97, 99)a classic style which is the outward expression of a fine appreciation, and whose origin and practiceare
admirably set forth in The Book of Tea. Recognition of Notan as an individual element will simplify the difficulties of tone
compositionandopenthewayforgrowthinpower.
NOTANOFLINE.Aslongasthelinesofadesignarekeptofuniformwidth,thebeautyislimitedtoproportionofareasandqualityof
touch,butwidensomeofthelines,andatonceappearsanewgrace,DarkandLight.Thetextiledesignerswhoarerestrictedtostraight
lines,haverecoursetothisprinciple.Theywidenlines,varytheirdepthoftone,glorifythemwithcolor,andshowthatwhatseemsa
narrowfieldisreallyoneofwiderange.
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EXERCISE
Choosesomeofthepreviousgeometriclinepatterns,andwidencertainofthelines,asillustratedintheplate.Incidentallythiswillgive
goodbrushpractice,asthelinesaretobedrawnatonestroke.Pushthepointofthebrushdowntotherequiredwidth,thendrawthe
line.Tryalargenumberofarrangements,setthemupinarowandpickoutthebest.Inchoosingandcriticising,rememberthatevery
partofaworkofarthassomethingtosay.Ifonepartismadesoprominentthattheothershavenoreasonforbeingthere,theartis
gone.Sointhiscaseifonelineassertsitselftothedetrimentoftheothers,thereisdiscord.Theremaybemanyorfewlines,buteach
musthaveitspartinthewhole.Inaword,wholenessisessentialtobeautyitdistinguishesMusicfromNoise.
[pg55]
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
rectangularcomposition.Theeffectisatoneorgroupoftonesmoreorlesscomplicatedaccordingtosizesofletters,thicknessoftheir
linesandwidthofspacesbetweenandaroundthem.IhavefoundthereedpenandtheJapanesebrush(clipped)thebestimplementsfor
students'lettering(seebelow).HavingsuggestedthatLettering,includingPrinting,asanart,isaproblemincompositionoflineand
notan, it seems hardly worth while to introduce special exercises here. Johnston has treated this subject exhaustively the reader is
referredtohisbookWriting,IlluminatingandLettering,toWalterCrane'sandothergoodbooksonlettering.Comparefineprinting,
oldandnew,Japanese,ChineseandArabicwriting,andancientmanuscriptsandinscriptionsEgyptian,Greek,andMediaeval.
[pg56]
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IX.TWOVALUESVARIATIONSDESIGN
Darkandlighthasnotbeenconsideredinschoolcurricula,exceptinitslimitedapplicationtorepresentation.Thestudyoflightand
shadehasforitsaim,notthecreation 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
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embarrassedinadvancedworkbylackofexperienceinarranginganddifferentiatingtones.Worsethanthat,ittendstocuthimofffrom
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
weaknessoftheschemeofnatureimitatingasafoundationforarteducation.TheRealisticstandardalwaystendstothedecayofart.
The student in an academic school, feeling the necessity for a knowledge of DarkandLight when he begins to make original
compositions,hasusuallybutoneresource,thatofsketchingthespottingashecallsit,ofgooddesignsandpicturesanexcellent
practiceiffollowedintelligently.Hisdifficultiesmaybeovercome(1)byseeingthatNotanisanelementdistinctfromLineorColor
(2)byattemptingitsmasteryinprogressivestagesleadingtoappreciation.
METHODOFSTUDY.
LinemeltsintoTonethroughtheclusteringofmanylines.Directstudyoftoneintervalsbeginswithcompositionintwovaluesthe
simplestformofNotan.Theremaybeseveralstartingpointsonemightbeginbyblottinginkorcharcoaluponpaper,bycopyingthe
darksandlightsfromphotographsofmasterpieces,orbymakingscales.Experiencehasshownthatthestraightlinedesignandtheflat
blackinkwasharemostsatisfactoryforearlierexercisesintwovalues.Insteadofblackandwhite,orblackandgray,onemightuse
twograysofdifferentvalues,ortwovaluesofonecolor(saylightblueanddarkblue)accordingtoneed.Theaimbeingtounderstand
Notanassomethingbywhichharmonymaybecreated,itisbesttoavoidRepresentationatfirst.Notanmustnotbeconfoundedwith
LightandShade,Modellingoranythingthatreferstoimitationofnaturalobjects.
[pg60]
Thebeginnermayimaginethatnotmuchcanbedonewithflatblackagainstflatwhite,butlethimexaminethedecorativedesignofthe
world.Hewillfindtheblackandwhitecheckandpatternsderivedfromit,inoldvelvetsofJapan,inthewovenandprintedtextilesof
allnations,inmarblefloors,inlaidboxesandarchitectural
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[pg61]
ornament.TheuseofthesetwosimpletonesisasuniversalasArtitself.Theyappearintheblackvineonthewhitemarblefloorofthe
ChurchoftheMiracoliatVeniceonthewalloftheArabianMosque,andthefriezeoftheChinesetemple.Theyhavecomeintofavor
onbookcoversandpageborders.AubreyBeardsleywentscarcelybeyondthem.R.AnningBellandotherartistshaveboldlycarried
themintopictorialworkintheillustrationofchildren'sbooks.
Thesefactswillshowthebeginnerthatnotermsaretoosimpleforartisticgeniustouse.Moreoveralimitedfieldoftenstimulatesto
greaterinventiveactivity.
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EXERCISE
Choose a simple linedesign fine in proportion, and add to it this new kind of beauty,as much of it as can be expressed by the
extremesofNotan,blackagainstwhite.ItisapparentthatwecannotreduceDarkandLighttosimplertermsthanthesetwovalues.The
principle of Variation comes into this exercise with special force, for each linedesign 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,buttheessentialpointistohavehisdesignasgoodaspossibleinspaceproportionbeforeaddingtheink.
Makeseveraltracings,thendarkencertainspaceswithblack.AroundJapanesebrush,shortandthick,isbestforthiswork.Nos.43
and44.Pupilsshouldbewarnedagainstmistakingmereinventiveactionforart.Theteachermustguidetheyoungmindtoperceivethe
differencebetweencreatingbeautifulpatterns,andmerefantasticplay.
Thosegiftedwithlittleaestheticperceptionmaygofarastrayinfollowingthetwotoneidea.Itisveryeasyandsomewhatfascinating
todarkenpartsofdesignswithblackink.Thelatepostercrazeshowedtowhatdepthofvulgaritythiscanbecarried.Thepupilmustbe
taughtthatalltwotonearrangementsarenotfine,andthattheverypurposeofthisexerciseissotodevelophisappreciationthathe
maybeabletotellthedifferencebetweenthegood,thecommonplace,andtheugly.Hisonlyguidesmustbehisowninnatetaste,and
hisinstructor'sexperience.
[pg62]
FLOWERCOMPOSITIONSTWOVALUES
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 lotusderived friezes to poppy and rose wall papers of the present time. In the
exerciseheresuggested,thereisnointentionofmakingadesigntoapplytoanythingasdecoration,hencethereneedbenoquestionas
totheamountofnature'struthtobeintroduced.Theflowermayberenderedrealistically,asinsomeJapanesedesign,orreducedtoan
abstractionasintheGreek,withoutintheleastaffectingthepurposeinview,namely,thesettingofflorallinesintoaspaceinafine
wayformingalineschemeonwhichmaybeplayedmanynotanvariations.
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Itisessentialthatthespaceshouldbecutbythemainlines.(Subordination,page23.)Asmallsprayinthemiddleofabigoblong,or
disconnectedgroupsofflowers,cannotbecalledcompositionsallthelinesandareasmustberelatedonetoanotherbyconnectionsand
placings,soastoformabeautifulwhole.Notapictureofaflowerissought,thatcanbelefttothebotanistbutratheranirregular
patternoflinesandspaces,somethingfarbeyondthemeredrawingofofaflowerfromnature,andlayinganoblongoverit,orvice
versa.
EXERCISE
[pg63]
TheinstructorchoosesoneofthebestflowercompositionsdoneunderLine,ordrawsaflowerinlargefirmoutlinesontheblackboard,
avoidingconfusingdetail,andgivingthecharacterassimplyaspossible.Thepupilfirstcopiestheinstructor'sdrawing,thenhedecides
upon the shape into which to compose this subjecta square or rectangle will be best for the beginner. He makes several trial
arrangementsroughly,withpencilorcharcoal.Havingchosenthebestofthese,heimprovesandrefinesthem,firstonhistrialpaper,
and later by tracing with brush and ink on thin Japanese paper. Effort must be concentrated on the arrangement, not on botanical
correctness.
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Manylinecompositionscanbederivedfromoneflowersubject,buteachofthesecaninturnbemadethesourceofagreatvarietyof
designs by carrying the exercise farther, into the field of DarkandLight. Paint certain of the areas black, and at once a whole new
seriessuggestsitself,fromasinglelinedesign.Tothebeautyofthelineisaddedthebeautyofopposingandinterminglingmassesof
blackandwhiteseebelowandp.64.
Inthispartoftheexercisethearrangementofshapesoflightwithshapesofdark,occupiestheattention,ratherthanshading,orthe
renderingofshadows.Hencetheflowersandleavesandstems,orpartsofthem,maybeblackorwhite,accordingtothefeelingofthe
student.Lethimchooseoutofhisseveraldrawingsthosewhichheconsidersbest.Theinstructorcanthencriticise,pointingoutthe
bestandtheworst,andexplainingwhytheyareso.Amereaimlessormechanicalblackeningofpaper,withoutefforttoarrange,will
resultinnothingofimportance.
Theexamplesshowthevarietyofeffectsproducedbyflowersofdifferentshapes,andthebeautyresultingfromschemesofDarkand
Lightintwovalues.
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[pg65]
[pg64]
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TEXTILEPATTERNSANDRUGSTWOVALUES
Alineschemeunderlieseverynotancomposition,andanotanschemeunderlieseverycolorcomposition.Thethreeelementshavethe
closestrelationonetoanother.Forpurposesofstudy,however,itisnecessarytoisolateeachelement,andeventheseparateprinciples
ofeach.
Inthepresentinstance,NotancanbeseparatedfromLinebytakingalinedesignofacknowledgedexcellenceandmakingmanyNotan
variationsofitbeingsureofbeautyofline,theonlyproblemistocreatebeautyoftone.Asthisbringsinhistoricart,letmenotethat
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theworksofthepastarebestused,inteaching,asillustrationsofcomposition,(p.40).
Whiletheknowledge of a style may have a commercial value, it has no artvalue unless the designer can make original and fine
variationsofit,notimitations.
Thefirstessentialistoappreciatethequalityofhistoricexamples,hencethestudentshouldworkfromtheobjectsthemselves,from
photographiccopies,fromtracings,orfromcasts.Thecommonplacelithographicplatesandrudewoodcutsinsomebooksofdesign
areuselessforourpurpose.Theygivenohintoftheoriginal.IftheactualpaintingonanEgyptianmummycaseiscomparedwitha
pageofoneofthesebooks,thepoorqualityofthelatterisinstantlyapparent.ChineseandJapaneseornamentinmostofsuchbooks
isofaflamboyantanddecadentsort.ThefacsimilecopiesofGreekvasesusuallybelonginthissamecategory.
EXERCISE
Chooseatextileofthebestperiod,sayItalianoftheXVthorXVIthcenturycopyortracethelineandplayuponthisseveralnotan
schemesoftwovalues.Youwillatoncediscoverhowsuperbthespacingisinthesedesigns,butyourmainthoughtisthecreationof
newdarkandlightideasuponthefineoldpatternp.65.
The Oriental rug affords an excellent linescheme for practice in notan. As composition it is a combination of two principles:
SubordinationandRepetition.Copyingapartorthewholeofsomegoodruginlineandcoloristhebestwaytobecomeaquainted
withthespacing,motivesandquality.Thendesignarugwithborderandcentre,theshapestobepureinventionsorsymbols.Border
andcentremustdiffer,andtherearemanywaysofdoingthisevenintwovalues,forinstance:Border:Blackfiguresonwhiteground.
Centre:Whitefiguresonblackground.Border:Whitefiguresonblackground.Centre:Blackfiguresonwhiteground.Border:Small
figures.Centre:Onelargefigure.Theillustrations,pp.65,66,givesomeideaofthepossibilitiesoftonecompositionintextilesand
rugs.Theexercisepointstoonegoodwayofusingmuseumcollectionsandartbooks.
[pg68]
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[pg69]
X.TWOVALUESLANDSCAPEANDPICTURES
Landscape is a good subject for notancomposition, 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
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furtherresearchintothemysteriesoftone.Suchanexerciseleadstotheappreciationoflandscapepictures,andisanintroductionto
pencilandcharcoalsketchingfromnature,tomonotypesandetching.
Notaninlandscape,aharmonyoftonerelations,mustnotbemistakenforlightandshadowwhichisonlyoneeffectoraccident.Like
allotherfactsofexternalnature,lightandshadowmustbeexpressedinartform.Thestudentunderthespelloftheacademicdictum
Paintwhatyouseeandasyouseeitfeelsthathemustputdowneveryaccidentalshadowjustasitisinnatureorbefalsetohimself
andfalsetoart.Hefindslaterthataccuraterecordisgoodandrightinstudiesorsketchesbutmaybewronginapictureorillustration.
Noaccidentsenterintopictures,buteveryline,light,anddarkmustbepartofadeliberatedesign.
Lightandshadeisatermreferringtomodellingorimitationofsoliditythestudyofitbydrawingwhitecastsandstilllifetendstoput
attentionuponfactsratherthanuponexperienceinstructure.Itdoesnothelponetoappreciatetonevaluesinpictures.Suchdrawingis
worthwhileaspurerepresentationandthedisciplineofitcontributestomasteryoftechnique,butitisabsurdtoprescribethisorlife
drawingasatrainingforthelandscapepainter.Itsinfluenceisonlyindirect,formodelingisofsecondaryimportanceinPainting,the
artoftwodimensions.
Whenapainterworksforroundnessandsolidityheenterstheprovinceofhisbrotherthesculptor.Intypicalpaintings,likeGiotto's
frescoesatAssisi,Masaccio'sTributeMoney,PierodellaFrancesca'sworkatArezzo,thecompositionsoftheVivarini,theBellini
andTitian,andeventheStrozziportraitbyRaphael,themodellingissubordinatetothegreaterelementsofproportionanddarkand
light.
[pg70]
In a mural painting extreme roundness is a fatal defect, as illustrated in the Pantheon at Paris, where Puvis de Chavannes and his
contemporarieshaveputpictorialdesignsuponthewalls.Puviscreatedamosaicofcoloredspacesintendedtobeautifythewallcharm
ofcolorandtone,poetryandillusionoflandscapepossessthebeholderlongbeforeheeventhinksofthespecialsubjects.Theother
paintersmadetheirfiguresstandoutinsolidmodelling,replacingcompositionwithsculpturesquerealities.Fromtheseyouturnaway
unsatisfied. I am not arguing for the entire omission of shadows and modellingthey have their placebut am insisting that flat
relationsoftoneandcolorareoffirstimportancetheyarethestructuralframe,whilegradationandshadingarethefinish.Tobegin
with rounding up forms in light and shade, especially in landscape, is to reverse the natural order, ignore structure, and confuse the
mind.Theacademicsystemhasadoptedtheworddecorateforflattonerelationsandnonsculpturesqueeffects,asifeverythingnot
standingoutinfullreliefmustbelongtodecoration.Thisuseofthewordismisleadingtothestudentwedonotspeakofmusicand
poetryasdecorative.Lines,tonesandcolorsmaybeusedtodecoratesomething,buttheymaybesimplybeautifulinthemselves,in
whichcasetheyarenomoredecorativethanmusic.Thiswordshouldbedroppedfromtheartvocabulary.
EXERCISE
Choosealandscapewithavarietyoflargeandsmallspaces.
1.Composethiswithinaborder(seeChap.VI.)andwhenthespacingisgoodtracewiththebrushonseveralsheetsofJapanesepaper.
Nexttrytheeffectofpaintingcertainspacesblack,ordarkgray,orsomedarkcolorlikeblue.Theotherspacesmaybeleftwhite,or
paintedlightgrayorwithlightcolor.Landscapesarecapableofa great many twovalue arrangements but not all such will be fine.
Striveforharmonyratherthannumber,varietyorstrangeness.Compareyoursetandselectthebest.
2.Composethelandscapeintobordersofdifferentproportionsthenvaryeachoftheseintwovalues.Theillustrations,No.47,make
clearthesetwowaysofworking.Thestudentmayusetheexamplesgivenhere,thensketchhisownsubjectsfromnature.
SPOTTING,NOTANOFPICTURES.
Whentheartstudentsketchesthemassesofdarkandlightinpictures,theSpottingashecallsit,heisstudyingNotanoftwovalues,
butinanaimlessway.Heishuntingforsomeruleorsecretschemeofshading,anornament,bird'swing,alinevainsearch,
fornotwoworkscanhavethesameplan,eachhasitsownindividuallineandtone.
Ontheotherhandmuchcanbelearnedbystudyingthemasters'plansofcomposition,nottoimitatebuttoappreciatetheharmony.
Onegoodwaytoaccomplishthisistosketchinthemassing,intwovalues.Chooseanumberofmasterpieces,ancientandmodern,and
blotinthedarksinbroadflattones.Thiswillrevealthegeneralnotanschemeofeachpicture(pp.71,72).
ORIGINALPICTORIALCOMPOSITIONINTWOVALUES.
[pg71]
Thestudentisnowreadyfororiginal
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[pg72]
workwithlandscape,stilllifeorfigures.Sketchingfromnaturewithbrushandinkisameansofinterpretingsubjectsinaverybroad
way,obligingonetoselectandreject,tokeeponlytheessentials.Itcultivatesappreciationoftextureandcharacterandbringsoutthe
powerofdoingmuchwithlittle,ofmakingafewvigorousstrokesconveyimpressionsofformandcomplexity.Itleadstooilpainting
wherethebrushtouchmustbechargedwithmeaningitisofdirectpracticalvalueinillustrationassuchsketchesareeffectiveand
easilyreproduced.Itisalmosttheonlymethodforpaintingonpottery,astheabsorbentglazeadmitsofnogradation,emendationor
erasurethetouchmustbedecisiveandcharacterful.ExamplesofbrushsketchingfromnaturearegiveninNo.48onoppositepage.
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[pg73]
[pg74]
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XI.TWOVALUESGOTHICSCULPTUREJAPANESEDESIGNBOOKS.
APPLICATIONSOFTWOVALUES
Sculpture,alineart,whendesignedtoenricharchitecturalspaces,mayhavethe aid of notan in the form of relief and shadow. The
rangeoftoneisnarrowandthefieldseemslimited,butthemastershaveshownthatthecreativeimaginationknowsnobounds.They
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haveexpressedeveryemotiondivinecalm,serenity,excitement,fury,horrorandeffectsoflight,atmosphere,distance.
ThepedimentandmetopesoftheGreektempleowedasmuchtonotanastolinewecaninferfromtherestorationswhattheoriginal
schemewas.Greekarchitecture,however,didnotadmitofextensiveenrichmentwithsculpturetherewerefewspacestofill,andthose
notadvantageousastoposition,shapeorlighting.AsthetempleevolvedintotheChristianchurch,thenewformsofbuildingandthe
newstorytotellcalledforsculpture.ThroughByzantineandRomanesqueittookafreshstart,pushingupwardandoutwarduntilit
floweredabundantlyinGothic.Althoughthechurchselectedthethemes,thesculptormightinterpretformandfacialexpressionashis
imaginationdirected,andcomposehisgroupsashechose.Oldconventionswereabandonedtheartistmightnowseekmotifsinhis
ownmindorinnature.Theresultofthisliberationofindividualcreativepowerwasgreatart.TheGothicdesignerusednotanwith
dramatic invention and magical strangeness. The French cathedrals of the best period (XI to XIV century) notably Paris, Chartres,
AmiensandReims,showhowsculpturaltraditionswereboldlybrokenandthemostdaringeffectsaccomplishedwithoutforgettingthe
characterofstoneorthearchitecturalrequirements.Thestonecutterwasanartistaslongashisrestraintwasselfimposedaslongas
heheldtounityofthewholecompositionandkeptdetailsintheirownplaceaslongashecarvedharmonies,notmerestoriespp.8,
11,29,51,52.
ThemasterpiecesofGothicsculpturemaybestudiedfromphotographsandfromreproductionspublishedbytheMusedeSculpture
Compare, Paris. Sketch in the masses with brush and ink in two values. Draw freely, at arm's length, on gray or lowtoned paper,
observingthecharacterofshapesofdarkNo.49,opposite.Newavenuesoftonethoughtwillnowopen,throughappreciationofthe
powerandbeautyofthestonecutter'sartofthemiddleages.
[pg76]
JAPANESEDESIGNBOOKS
IftimehadpreservedforusthesketchesofPheidias,ofthearchitectofSt.Mark's,ofthegreatdesignersoftheearlyages,weshould
knowhowthesecreatorsplannedthelineandmass,thesimplestructuralschemesoftheirimmortalworks.Inlaterdayswhenpaper
wascommon,artists'drawingswereinalessperishableformandmanycannowbeseeninourmuseums.Somehavebeenpublished
and are fairly within reach, though often in costly editions. But Japanese art comes to the aid of the student of composition with
abundant materialsketch books, design books, drawings and color prints. The learner should seek for genuine works of the best
periods,avoidingmodernbadreproductions,imitations,carelesslyrecutblocks,crudecolors,andallthehastyandcommonplacestuff
preparedbydealersfortheforeignmarket.
TheJapaneseknewnodivisionintoRepresentativeandDecorativetheythoughtofpaintingastheartoftwodimensions,theartof
rhythmandharmony,inwhichmodellingandnatureimitationaresubordinate.AsinpreRenaissancetimesinEurope,theeducationof
theJapaneseartistwasfoundeduponcomposition.Thoroughgroundinginfundamentalprinciplesofspacing,rhythmandnotan,gave
himtheutmostfreedomindesign.Helovednatureandwenttoherforhissubjects,nottoimitate.Thewindingbrookwithwildiris
(above)thewaveandspray,thelandscape,No.51,weretohimthemesforarttobetranslatedintotermsoflineordarkandlightor
color.Theyaresomuchmaterialoutofwhichmaybefashionedaharmoniouslinesystemorasparklingwebofblackandwhite.
[pg80]
[pg79]
[pg78]
[pg77]
TheJapanesebooks of most value to the student of composition are those with collections of designs for lacquer, wood, metal and
pottery, the Ukiyoye books of figures, birds, flowers and landscape, and the books by Kano artists, with brushsketches of
compositionsbymasters.ItwasacommonpracticewiththeJapanesetodivideapageintosectionsofequalsizeandplaceadifferent
designineachsection,p.55.Thisisofgreatimportancetothestudentforitillustratesatoncetheprinciplesofspacefillingandnotan,
and gives an idea of the infinite possibilities of artistic invention. I have reproduced examples from the three classes of books
mentionedabove,selectedinthiscasefortheirbrilliancyofnotan.Letthestudentcopythemenlarged,thenmakeoriginaldesignsof
similarmotives.GoodreproductionsofmanyJapanesedesignbookscannowbeobtainedatlowprices.Theyareverystimulating,for
theypointtothebestwayofstudyingnatureandoftranslatingherbeautyintothelanguageofartpp.57,62,64,7679.
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APPLICATIONSofNOTANofTWOVALUES
TheStructuralmethodofartstudyplacesprinciplebeforeapplication.Muchappreciationofnotancouldbegainedfromanyoneofthe
subjects just considered,for example, textiles,but the tendency would be to think of tone as belonging specially to textiles. The
samecanbesaidofLineasitappearsincasts,thehumanform,orhistoricornament.Attentioniscentredupontheparticularcase,and
thelargerviewislost.Itisbettertogainaknowledgeofline,massandcolorasthematerialoutofwhichtocreateandtobecome
acquaintedwithprinciplesofharmonybuilding,beforeundertakingdefiniteapplications.Thisgivesfuller control,and enhancesthe
worker'spowersofinvention.ApplicationsoftwovaluesarenumberlessIwillmentionafewofthemtogivethestudentsomeclues
fororiginalresearchandexperiment.
PRINTING.Florets,seals,initialletters,pageornaments,illustrations,posters,endpapers,drawninblack,grayoronecolor.
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TEXTILES.Blueandwhitetowels,quilts,etc.,wovenorprinted,lace,embroidery,rugs,pages9,65,66.
KERAMICS.Onecoloronagroundofdifferentvalue,asblueandwhite,No.54orblackongray.
METAL.Perforatedsheetmetalmetalforcorners,fixtures,etc.,pp.25,58.
WOOD.Fretsawwork,inlaypp.62,76,77.
Examplesofapplicationsaregivenbelow,No.53,andonoppositepage.
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XII.THREEVALUES
Clearblackagainstclearwhiteisastrongcontrasteventhebestofsuchworkhassomeharshness,despiteasparklingbrilliancy.A
toneofgray,midwaybetweenthesetwoextremes,changestheirrelationsandopensupawholenewfieldforcreativeactivity.Nowwe
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mustthinkofdifferentdegreesofNotan,thevalueofonetoneagainstanother.Thissimplesetofthreenotesisthebasisofthe
mezzotint,aquatint,charcoalsketchandwashdrawing.Theoldmastersdrewongraypaperwithblackandwhite.
From three, it is an easy step to many values, and in these refinements of Notan lies the true meaning of the word values. That
propertyofpaintedshapes,wherebytheytaketheirplacesonebeyondanotherinapicture,isaerialperspective,notvalues.Itisa
desirablequalityofRepresentation,andoftenbecomesakindofdeceptionmostagreeabletothemindunappreciativeofart.Thosewho
havelittleperceptionofharmoniesoftoneandcolor,wishtoseeobjectsstandoutinthepictureasiftheywerereal.
Whistlerprotestedagainstthis,holdingthattheportraitpainterisnotanartistunlesshecangivetheoppositeeffectthataportraitthat
standsoutbeyonditsframeisbad.
Thewordvaluesreferstoharmonyoftonestructurethevalueofamassisitsdegreeoflightordarkinrelationtoitsneighbors.
EXERCISE
Thestudentcomesnowtoanewexerciseofjudgmentindeterminingthemiddlevaluebetweenblackandwhite,orbetweenlightand
darkgray.Hehastomixthistone,anddecidewhenitisoftherightdepthhere,forthefirsttime,hebeginstopaint.
Forthispaintingexercisewillbeneededwhitedishesinwhichtomixtheinktones,andflatJapanese(hake)brushes.Thebestpaper
isJapanese,wellsized.Thethincoatingofgluekeepstheedgeofthewashfromdryingbeforethebrushcantakeitup.
The first difficulty is the laying of a flat wash this requires dexterity and much practice. Paper must be stretched or thumbtacked
perfectlysmoothinkstone,dishesandbrushesmustbeclean.Forabeginningtakeasimplelinepatterndecidewhichpartsshallbe
whitethenwashamiddletoneofgrayovertherest.Whendry,paintintheblackspaces.
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Thereasonforkeepingatoneflatisthatthevalueofawholespacecanbejudgedbetterifitissloppyandunevenitlosesforceand
interest.Inbeginners'work,andindesign,flatnessisnecessary,butinpicturepaintingpurelyflattoneswouldrarelybeused.
THREEGRAYS,ASCALE
Thenextstepistomixthreevalues,light,mediumanddark,inthreewhitedishes.Theintervalscanbetestedbypaintingthespacesof
a simple scale. This need not have an outline, as three brushstrokes will suffice. Apply these tones to a design make several
arrangements,fortheeffect,andtodiscoverthepossibilitiesinthreevalues.Thesubjectsmightbethesameasinnotanoftwovalues,
pages6368.Theexamplesbelowillustratethemethodandresults.Seescale,p.88,alsop.9.Inadditiontooriginalcomposition,the
studentshouldcopyfrommasterpiecesofdesignandpictorialart,translatingthemintothreevalues.
LANDSCAPEANDPICTURES
For threevalue studies one may use ink, charcoal or oil paint. The two latter are particularly suitable for landscape designs and
illustrativework.Charcoalshouldbeusedlightlyandveryfreely.Itgiveseffectsofvibration,atmosphere,envelopeandlight,butthe
handlingrequiresspecialstudyandmuchpractice.
Thefirstfewexercisesincharcoallandscapemaybeinflattones(seeNo.55,page85),andthestudentmayfinditwelltomakeascale
ofthreevaluesinthismediumhemustlearnhowevertofeeloutlineswithoutdrawingthem,andtohandlecharcoalfirmlybutloosely.
[pg84]
Coverthepaperwithaverysketchytoneofsoftcharcoalpassoveritlightlywithapaperstumporpieceofcottoncloth.Becarefulnot
togrindtheblackintothepaper,makinganopaquesmokytone.Charcoalpaperismaderough,toletthewarmwhiteshinebetweenthe
littleparticlesofblackthatlieuponthepointsofthesurface.
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Whenaluminousmiddlegrayisobtained,sketchinthedarkswithsoftcharcoalandtakeoutthelightswithbreadorrubberthiseffect
islikeamezzotint,Nos.55,57,andp.57.Aftertheprincipleofthreevalueshasbeendemonstrated,andthestudentcanappreciate
definiteintervalsoftone,theinstructorshouldallowgreatfreedominexecution,notevenlimitingtothreenotesbutaddingoneortwo
othersifnecessarytogoodexpression.
Foroilpainting,mixthethreetonesinquantitysufficienttopaintseveralstudies.IvoryBlackandBurntSiennawillgiveagoodneutral
gray.ForthecolorofbluechinaortheAbruzzitowels,usePrussianBlue,BlackandWhite.Opinionsdifferastotheuseofdiluting
mediums,andsizesofbrushes,foroilpainting.Ishouldadvisethinningthecolorwithlinseedoilandturpentine(halfandhalf),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,orcanvas,prepareagroundwiththickpaint,leavingbrushmarks.
APPLICATIONS,THREEVALUES
Useoftheprincipleofthreevaluesinoutdoorsketchingandinillustration,hasbeenexplainedabove.Thereisoneapplication,among
others,thatshouldbemadebythestudentatthispointcompositionofabookpage.
Theusualillustratedpageisanarrangementinthreetones,whitepaper,graytype,darkpicture.Thevaluetothepublisherdepends
quite as much upon the picturesque effect of the illustration as upon its drawing. Size and placing, disposition of type, amount of
margin,aremattersofLineCompositionbutchoiceoftype,andthetoneoftheillustrationbelongtoNotanComposition.Hencethe
student will gain much from designing pages, in ink, charcoal or oil, using as pictures the copies from masters, or original studies.
Picture,title,initialletter,andbodyoftypemustbesocomposedthattheresultwillbeeffectiveandharmonious,No.58.
Referenceshouldbemadetoexamplesofearlyprinting,totheworksofWilliamMorris,andtothebestmodernprinting.
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XIII.MORETHANTHREEVALUES
Line,Notan,Colortheelementsbywhichthewholevisibleworldisapprehended,mayormaynotbeusedasthelanguageofart.
Likespeech, this threefold language may voice noble emotions in poetic style, or may subserve the vulgar and the humdrum. Art
languagemustbeinartformanumberoffacts,oranincident,accuratelydescribedinpaintandcolormayhavenomoreconnection
with art than a similar set of written statements just plain prose. There is no art unless the statements are bound together in certain
subtlerelationswhichwecallbeauty.Whenbeautyenters,thepartsceasetohaveseparateexistence,butaremeltedtogetherinaunit.
Advanced composition is only a working out of simple elements into more complex and difficult interrelations. If the picture has
figuresandlandscape,thelinesofeachruninsuchdirections,intersectandinterweaveinsuchwaysastoformamusicalmovement.
Thetonesandcolorsarearrangedtoenrichoneanother.Anoblesubjectrequiresnoblepictorialstyle.
Experienceoftoneharmonyintwoandthreevaluesbringsappreciationofnotanstructureandlaysasolidfoundationforadvanced
work.
SCALE.Atthispointconstructascaleintroducingmoredelicaterelationsoftone,andinvolvingfinerjudgmentastointervals.
Ascaleofwhite,blackandthreegrays
(a)willbebestforbeginning,tobefollowedbyascaleofsevenvalues
(b).Seepage88.ThesemaybemadewithJapaneseink,watercolor,charcoaloroilbutnotwithpencilasithasnotdepthenough.
Thevalueshereareonlyapproximateperfectaccuracycannotbeobtainedbythehalftoneprocess.
EXERCISE
Chooseatextile,oranydesignwithavarietyofspaces,andtrynotaneffectswithtonesfromthescale.Theobjectistodiscoverafine
notanschemeofvalues,andbyusingthescaleoneisassuredofdefiniteintervals.Ifthenotesaremixedinquantity,theymaybetried
uponahalfdozentracingsatonce,fromwhichthebestshouldbechosen.Rememberthatthescaleworkisonlyanexercisetohelp
toward clarity of tone, and to encourage invention. Harmony of darkandlight does not depend upon fixed intervals, nor will the
composeradheretoanyscaleinhisoriginalcreativework.
SomeresultsofthisexerciseareshowninNo.58,page91.
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ILLUSTRATION
Aftersomeexperienceinhandlingfiveorseventones,thestudentcanundertakeoriginalcomposition.Forabeginningpurelandscape
maybebest,takingsomeofthesubjectspreviouslyused.
Followthiswithlandscapeandfiguresgroupsoffigureswithlandscapebackgroundfiguresininteriorsandportraitsketches.
Composeforabookpage,usingonelightgrayvaluetorepresenttheeffectoftype,asinNo.58,opposite.Paintveryfreely,without
toomuchthought of scales and intervals. Let gradations enter where needed for finer effect. Study the work of the best illustrators,
notingthetoneschemeandtheplacinguponthepage.
ETCHING
Etching,pendrawingandpencilsketchingarelinearts.Theneedle,penandleadpencilaretoolsfordrawinglines,andthereismuch
reasoninWhistler'scontentionthattoneandshadingshouldnotbeattemptedwiththem.Thetoolalwaysgivescharactertowork,and
thebestresultsareobtainedwhenthepossibilitiesoftoolsandmaterialsarefullyappreciated.Ifasharppointisusedindrawing,itwill
producepureline,whosequalitymayreachanydegreeofexcellence.Whistler,inhisetchings,workedforthehighest type of line
beautyshadowsandtoneswerefelt,butnotexpressed.Ontheotherhandtheartistisnotsubjecttorestrictions and fixed laws. He
cannotallowevenamastertointerferewithhisfreedomthereisnothoushaltandthoushaltnotinart.Admittingthevalueofall
theargumentsforrestrictingtheuseoftheneedletolineonly,theartistobservesthatclusteringoflinesinevitablyproducestoneand
suggestsmassing(notanofline,page54)thatthiseffectisdevelopedinrichgradationsbywipingtheetchingplateintheprocessof
printing.Etchersarethustemptedtousetone,andmanymasters,fromRembrandtdown,haveworkedintonemoreoftenthaninline.
PENDRAWING
[pg91]
isadry,hardprocessbutoneofgreatvalueinmodernillustrationowingtotheeasewithwhichitmaybereproduced.Itneednotbeas
inartisticasitusuallyappearsobservationofpenworkwillshowthat,asidefromfaultsincomposition,failureininterestlieslargelyin
the handling. Perhaps one pen only is used, and all textures treated alike, whereas every texture should have its own characteristic
handlingcrosshatchingoranyuniformsystemofshadingwiththepenisdeadly.Studytherenderingsuggestsurfacequalityrather
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.IncomparisonwiththeJapanesebrush,theordinarypenisaclumsytool,butneverthelessitiscapableofmuchmorethan
isusuallygottenwith
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it and the reed pen closely approaches the brush as a lineimplement. The brush may be used as a pen, values and massing being
obtainedbyblotsandclusteringoflines.Twoexamplesaregivenbelowseealsopp.7,9,19.
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PENCILSKETCHING
Muchthathasbeensaidofetchingandpendrawingisequallytrueofthehardleadpencilbutthesoftpencilhasmanyofthequalities
ofcharcoal.Itmayevenbemadetoresembletheinkwash.Themostsuccessfulpencilworkisthatinwhichlineisthemainthing,
shadingbeingonlysuggested.Thesedarks,whethermeantforshadows,localtone,orcolor,willformaspottingtowhichislargely
duetheinterestofthesketch.
If shading is attempted, the tones, whether gray or dark, are made by laying lines side by side, not by crosshatching or going over
twice.Apencilsketchmustbeoffhand,premiercoup,brilliantandcharacterful.Twoexamplesaregivenashintsforhandling,No.60.
Itisnotpossibleheretodiscusspencil,penoretching,atlengththeyareonlytoucheduponintheirrelationtocompositionoflineand
notan.
[pg96]
INKPAINTING
SupremeexcellenceintheuseofinkwasattainedbytheChineseandJapanesemasters.Impressionismisbynomeansamodernart
(exceptastocolorvibrations)forsuggestivenesswashighlyprizedinChinaathousandyearsago.Thepainterexpectedthebeholderto
create with him, in a sense, therefore he put upon paper the fewest possible lines and tones just enough to cause form, texture and
effecttobefelt.Everybrushtouchmustbefullchargedwithmeaning,anduselessdetaileliminated.Puttogetherallthegoodpointsin
suchamethod,andyouhavethequalitiesofthehighestartforwhatmoredowerequireofthemasterthansimplicity,unity,powerful
handling,andthatmysteriousforcethatlaysholdupontheimagination.WhytheBuddhistpriestsoftheZensectbecamepainters,and
why they chose monochrome are questions involving a knowledge of the doctrines of Buddhism and of the Zen philosophy. It is
sufficienttosayherethatcontemplationofthepowersandexistencesofexternalnature,withaspiritualinterpretationofthem,wasthe
mainoccupationofZenthought.Nature'slessonscouldbelearnedbybringingthesoultoher,andlettingitbeholditselfasinamirror
theteachingcouldbepassedontoothersbymeansofartmainlytheartoflandscapepainting.Religiousemotionwasthespringof
artpowerintheEast,asitwasintheWest.Landscapepaintingasreligiousart,hasitsparallelinGreekandGothicsculpture,inItalian
paintingoftheworldstory,oftheNativity,thePassion,andthejoysofheaven.SomeofthesepriestartistsoftheZen,Mokkei,Kakei,
BayeninChinaShubun,SesshuinJapan,rankwiththegreatpaintersofalltime.They,andsuchpupilsasSesson,Soami,Motonobu
andTanyu,wereclassicleaderswhohavegivenusthepuresttypesoftheartofinkpainting. To them we look for the truly artistic
interpretationofnaturefordramatic,mysterious,elusivetoneharmonyforsupremeskillinbrushwork.
[pg97]
InkpaintingisbothanartandacraftithasrefinementsandpossibilitiesthatcanberealizedonlybyworkingwithaJapaneseartist.
Hestartswithapaperoflowtoneitmaybeitsnaturalstate,orhemaywashitoverwiththinink
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and color. Into this atmospheric undertone he plays gradations, sharpedged strokes, drops of black, and vibrating washes,only
touchinguponforms,butclearlymarkingplanesofaerialperspective.No.61.
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ForexperimentsininkpaintingIrecommendtheJapanesepapercalledtoshi.
Ifthisisnotwithinreach,agoodsubstitutemaybemadebysizingmanilapaperwithathinsolutionofalum.Japanesepapershouldbe
wet,andpasted,bytheedges,uponaboard.Manilapaper,afterwetting,maybetackeduponastretcher.Japaneseinkandinkstone,
(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,dustitoffanddrawthemainlineswithpalethinvermilionwatercolor.Washinthebroadmasses,relyinguponstrengthening
bymanyovertones.Putinthedarkslast,beingverycarefulthattheyarenottoosharpedged.No.62.
ItisnotpossibleforustoattainperfectmasteryofJapanesematerialsandmethods,butthestudywilltraininappreciationoftone
composition, and in better handling of our own water color and oil. Good photogravures may now be obtained in some cases the
studentmaycopyfromoriginalsinourmuseums.
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COLOR
XIV.COLORTHEORY
Color,withitsinfinityofrelations,isbafflingitsfinerharmonies,likethoseofmusic,canbegraspedbytheappreciationsonly,notby
reasoningoranalysis.Color,inart,isasubjectnotwellunderstoodasyet,andthereareviolentdifferencesofopinionamongartists,
teachersandcritics,astowhatconstitutesgoodcolorinstruction.ThemostthatIcandohereistooutlineasimplemethodofstudy.
The usual advice of the academic painter to keep trying, is discouraging to the beginner and increases his confusion it is not in
accordwithgoodsenseeither,fortheotherartsarenotattackedthroughtimidandaimlessexperiment.Anartistmaysaythatacertain
groupofcolorsisaharmonythepupilcannotseeit,buthetakesthemaster'swordforit.Theartistisnotteachingsuccessfullyunless
hepointsthewaytoappreciation,howeverhardorlongitmaybe.
Asystematicstudyoflineandtoneisveryprofitable,aswehaveseenIbelievethatcolormaybeapproachedinlikemanner,andI
shallattemptnowtorelatethetreatmentofthecolorelement(chapterI)tothatoftheothertwo,andtogivesomeresultsofpersonal
experience.
Thosewhohavebutlittletimeforworkincolor,canspenditbestincopying,underguidance,examplesofacknowledgedexcellence,
likeJapaneseprints,Orientalrugs,andreproductionsofmasterpieces.Contactwiththese,evenlookingatthem(ifthepupilistaught
whattolookfor),willstrengthenthepowersofcolorperception.Inschoolswheretheartperiodsareshortandfew,thismaybethe
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 theory has become a kind of
academicbugbear,yetLeonardodaVincisaidthatthepainterwhoworkswithoutatheoryislikethesailorwhogoestoseawithouta
compass.Wellorderedthoughtisasnecessaryinartasinanyotherfield.Theoryisahelptoclearthinkingandgivesdirection and
purposetopractice.Color,howevercomplicated,maybereducedtothreesimpleelements:
HUE,asyellow,bluegreen,
NOTAN(orValue),asdarkred,lightred,
INTENSITY(orBrighttograyness)asintenseblue,dullblue.
[pg101]
Colorharmonydependsuponadjustmentsinthisthreefoldnature.Ifacolorschemeisdiscordant,thefaultmaybediscoveredin,
wrongselectionofhuesorweakvalues,orillmatchedintensities,orallthree.Thissimpleclassificationreducestheperplexitiesthat
besetthestudent,byshowinghimwheretolookforthecauseoffailure.ThewordsValueandChromaareusedinthisconnection
byAlbertH.Munsell,towhosebookAColorNotationthereaderisreferredforaveryconvincingexpositionofcolortheory.
Mr.Munsellhasinventedaphotometertomeasurevaluesoflightandcolor,andhaspreparedscales,spheres,chartsandpigmentsfor
schooluse.Myownexperimentsinmakingcirclesofhuesandscalesofnotanandintensities,werebasedupontheoldtheoryRed,
BlueandYellowasprimaries,Green,OrangeandVioletassecondaries,etc.Atthattime(1890)theprogressionfrombrighttograywas
not recognized as a distinct element of color, but in arteducational works difference of intensity was confused with darkandlight
spectraforschoolusecontainedhuesinviolentcontrastastobrilliancyandvalue.
Sciencedeterminedlongsincethatthefundamentalcolorimpressionsarenotred,blueandyellow,butRed,GreenandVioletblue.Mr.
Munselladoptstheseandtwosecondaries,YellowandPurplefivehuesinallasthebasisofallcolorexpressioninart.Thisseems
verysimpleandquitesufficientforworkingoutallproblemsincolorscheming.Note.Experimentsasoutlinedbelow,areintendedonly
tosetthestudentthinking,inanorderlyway,aboutthethreedimensionsofcolor.
EXERCISES
HUE.Tojudgeoftheeffectofonehueuponanother,arrangethewholefive,Red,Yellow,Green,Blue,Purple,inacirclemakingthem
equalin valueandequal in degree of brightness, thus eliminatingnotan and intensity. In the centre of the circle (N) paint a note of
middlevalue,chosenfromthescale,p.88.ThenpainttheotherdivisionsR,Y,G,B,Pwiththefivehues.Whenthisiswelldoneifthe
circlewerephotographeduponacolorblindplate,theresultwouldbeaflattoneofmiddlegray.Nopigmentisoftheexactquality
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neededredthatisneitheryellowrednorpurpleredcanbemixedfromVermilionandCrimsonPrussianBlueisgreenish,NewBlueis
reddishsomepigmentsaretoolight,otherstoodark.Thisexerciserequiresstudyofgreatimportancetothepainter,givinghimabetter
acquaintancewithhismaterials.
[pg102]
Next,makeacircleofintermediates,No.63,bymixingadjoininghuesthisgivesfive morenotesyellowred, greenyellow,blue

green,purpleblue,redpurple.Bearinmindthatthesecirclesareonlystatementsofrelations,ofthesameuseasascale.Thequestion
nowisoftheartuseofthem,ofcomposingaharmonywiththem.
APPLICATION.Choosealinedesign,andpaintthespaceswithcolorsfromthesecondcircle.Theeffectwillbepeculiarbecausethere
arenodifferencesofdarkandlightorintensitytheonlyharmonypossiblecomes frominterplay ofhues,a kind ofiridescenceand
vibrationseeoppositepage.
Colorsthatstandoppositeincircleasblue,yellowredorred,bluegreenwill,ifplacedsidebyside,increaseeachother'spower
andproduceviolentcontrast.OppositionofColorisanalogoustoOppositionofLine(page21)andOppositionofNotan(black and
white).Tounitetheseextremesofdifference,bringinathirdhuerelatedtoeach,forexample,red,greenyellow,bluegreenyellow,
yellowred,purpleblue.ThisistheprincipleofTransition(page22)seealsopage82,threevalues.
Practiceincomposingwithfewandsimpleelements,ofdecidingwhencontrastingcolorsareofequalvalue,orequalintensity,isof
direct use in art. The landscape painter opposes the whole sky to the whole ground he wants a vibration of color in each, without
disturbingthevaluesthedesignerinstainedglasssometimesdesirestofillaspacewithiridescentcolor,perhapsasabackgroundfor
figures.
Thestudentmay,ifhelikes,useblackwiththesecolors,producingaverybrillianteffectlikeaCairowindowbutherethehuesare
measuredagainstblack,ratherthanagainsteachother.InNo.63areshowntwoexperimentsincomposingwithHUE.
NOTANofCOLOR.Drawinoutlinesixscales,asshowninthediagram.PaintNinwhite,blackandthreegrays(seepage88).Inthe
spacesmarked(a)painteachofthefivehuesred,yellow,green,blueandpurple,middlevalueandequalintensity.
Next,paintalightervalue(b)andadarker(c)makinganotanscaleofeachhue,lightred,middlered,darkred,etc.Observethat
intensitydiminishes toward light and dark. If the intermediates, yellowred,greenyellow and therest,are also arrangedinthisway
fromlighttodark,youwillhaveasetofnotesforapplicationincomposition.
APPLICATION.A linedesignmaynowbecoloredfromoneofthescales,sayBlue.HueandIntensitybeingeliminated,thewhole
effortiscentreduponnotanofcolor.Thisisanexerciseinthreevalues(page83)usingcolorinsteadofneutralgray.No.64,p.105.
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MoreapplicationscanbemadethaninthecaseofHuehistoricartisfullofthem.Dutchtiles,Japaneseprintsandbluetowels,Abruzzi
towels, American blue quilts, etc., are examples of harmony built up with several values of one hue. With two hues innumerable
variationsarepossible.Japaneseprintsoftheredandgreen period are compositionsinlightyellowred,middlegreen,black,and
white.Otherexamplescanbeeasilyfoundintheworld'sart.Thestudentshouldapplythescalenotestohisowndesigns,notusing,at
thisstage,morethantwohues,withperhapsblackandwhite.
INTENSITY.Colorvariesnotonlyinhueandvalue,butinintensity,rangingfrombrighttogray.Everypainterknowsthatabrilliant
bitofcolor,setingrayertonesofthesameorneighboringhues,willilluminatethewholegroup,adistinguishedandelusiveharmony.
Thefireopalhasasinglepointofintensescarlet,meltingintopearlthecleareveningskyislikethiswhenfromthesunkensunthe
redorangelightgradesawaythroughyellowandgreentosteelgray.
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,fromLineonwardseepage21).
Paintascalewithonehue,sayVermilion,keepingeachspaceofthesamevalue,butgradingtheintensitydowntoneutralgray.
APPLICATION.Arrangethesenotesinalinedesign.AsHueandNotanareeliminated,theonlyharmonywillbethatofbrightpoints
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
breadthandtonalharmoniesinstainedglass,Persianrugs,Cazin'sforegrounds,theprintsofHarunobu,KiyonagaandShunsho.
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COMPOSITIONSinHUE,NOTAN,INTENSITY.Inallcolorschemesthesethreewillbefoundincombination.Analysisofafew
compositionswillbeworthwhileforexample,theprint,No.69,p.124,andtheprintandtextile,page13.Note(1)thenumberof
hues(2)thenumberofvaluesofeachhue,whetherdark,lightormedium(3)thedegreesofintensityofeachhue,whetherverybright,
bright,mediumordull(4)thequantityofeachcoloranditsdistributioninthedesign(5)theamountandeffectofblack,whiteand
neutralgray.Forasimpleexerciseincompositionthestudentmightcoloralinedesigninseveralways,usingthreehues,varyingthe
darkandlightdistributionandthequantityofbrightandgraytones.Followthiswithotherdesignsincolor.flowerpanels,repeating
patterns,figuresincostume,andlandscape. A little of this kind of work will cultivate good judgmentastocolorrelations,andwill
stimulate invention. Color Theory does not ensure harmony but is a help toward it, as it shows where balance and adjustment are
needed.
Note.Itisnexttoimpossibletoreproducecolorswithperfectaccuracy,andevenifthehues,valuesandintensitiescouldbeexactly
copied,itisdoubtfuliftheinkswouldremainabsolutelyunchangedforagreatlengthoftime.TheplatesofColorTheoryhereshown
areintendedonlyasstatementsofthefundamentalcolorrelations.Theyarenotscientificallyaccurate,nordotheyneedtobe,theyare
tobeusedinart,notinscience.Theirpurposeistoshowthepupilhowtostudycolor,howtomakescalesandapplytheminart,rather
thantofurnishastandardtobecopied.
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XV.COLORDERIVEDFROMNOTAN
OneapproachtoColormaybethroughNotan,eitherbeforeorafterstudyingcolortheory.Byclusteringlinestoneisproduced(page
54)bytingeingneutralgraysColorisproduced.Inmonochromeitselffinerelationsofnotanwillsuggestcolor.Japaneseinkpainters
enhancetheharmoniesoftonecompositionbyminglingslightquantitiesofhuewiththeink.Faintwashesofyellowinforegrounds,of
greeninfoliage,ofblueinseaandsky,ofredandothercolorsinbuildingsandcostumes,conveyimpressionsoffullcolorkeys.
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Etchersandlithographersoftenaddafewtouchesofcolornotonlyasacontrasttothegrays,buttocausethebeholdertoimaginethe
wholecolorscheme.Theeffectofmodifyingneutralswithhuemaybeobservedinthefollowing
EXERCISE
Prepareasetofthreegraywashes,light,medium,anddark(page83)inthreewhitedishes.Japaneseinkwillnotmixwithourwater
colorsuseIvoryBlackwithatouchofBurntSiennatobringittoneutrality.
Havingsettleduponacolorarrangementforsomesimpledesign,mixasmallquantityofcolorintoeachdish.Supposethesubjecttobe
atulippanelinthreevalues:
1.Leavesmiddleyellowgreen
2.Flowermiddleredyellow
3.Backgroundlightyellow
Addto1stdishayellowgreen(PrussianBlueandGamboge)tothe2ndVermilionandGambogetothe3rdRawSienna.Paintthese
notesuponthedesign.(Seeoppositepage.)Makeahalfdozentracingsofthesamedesign.Aseachoneispaintedaddmorecolortothe
washesuntilthelastonehasaverysmallquantityofgray.Theresultisaseriesinwhichcolorgrowsgraduallyfromneutrals.No.66.
Next,usebrightandgraytonesofthesamehue,aneffectlikefadedrugsandagestainedJapaneseprints.Dullingcolorswithgraymay
notharmonizethem.Onewhoappreciatesfinequalityisnotdeceivedbythosewhoantiquerugsorprintswithcoffeeandchemicals.
Adesignpoorinproportion,weakinnotanandharshincolorcannotbesavedbytoningthefaultsareonlyalittlelessapparent.
[pg114]
ONEHUEandNEUTRALS.Anotherapproachtocolor,fromnotan,isthroughsubstitutionofhuesforgrays.Thismight(inashort
course)followexercisesinfiveormorevalues(page89.)Referringnowto the scales of five and seven values, for application to a
design,substituteahueforoneofthesegrays,carefullykeepingthevalue.IfthesubjectbeavariationofaCoptictextile,awarmred
oryellowgreenmaybechosenforaflowerpanel,brightyellow,yellowredoremeraldgreen.Excellenceinresultwilldependupon
distributionoftheonehueamongneutraltones.
Examplesaremanytwokindsonlyneedbementionednow,AmericanIndianpottery,andlandscapesinblack,grayandvermilion
redfromHokusai'sMangwa,(p.57.)
ONEHUEinTWOandTHREEVALUES.Thenextstepwouldbetoreplacetwograyswithtwovaluesofonehue,makingscaleslike
these:
WhiteWhite
Lightgreen
Middlegreen
Darkgray
Black
White
Lightpurple
Middlegray
Darkpurple
Black
Followbyeliminatingallthegrays,andthescalemightbelikethis:
White
Lightbluegreen
Middlebluegreen
Darkbluegreen
Black
Choiceofcolorwilldependuponthenatureofthedesign.Themediummaybecrayon,wash,opaquewatercolororoilpaint.
TWOandTHREEHUES.Iftwohuesareintroducedthecomplexitywillbegreater,buttherewillbemorechancesforinventionand
variation.WithatleasttenhuestochoosefromR,YR,Y,GY,G,BG,B,PB,P,RPeachoneofwhichmighthaveperhapsfour
degreesofintensity(fromverybrighttodull)thestudenthasmaterialtocomposeinanykey.Twotypicalscalesaregivenbelow:
Twohues
White
Lightyellow
Middlegray
Darkgreen
Black
Threehues
White
Lightyellow
Middlegraygreen
Darkgraypurple
Black
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HARMONY
Willtheexercisesintheforegoingchaptersensureaharmony?No,theyareonlyhelpstoabetterunderstandingofcolor.Harmony
dependsupon(a)goodlinedesign,(b)choiceofhues,(c)quantityofeach,(d)adominatingcolor,(e)notanvalues,(f)finerelationsof
intensity,(g)qualityofsurface,(h)handling.Alltheseinperfectsynthesiswillbefoundintheworksofthegreatestmasters.Itisalso
truethatsimpleharmoniesarenotdifficulttorealize,asiswitnessedbyprimitiveartandthebestworkofstudents.
Withpracticeinthewayssuggestedhere,twootherthingsarenecessary,advicefromanexperiencedandappreciativeinstructor,and
acquaintancewithfineexamplesofcolor.
[pg116]
[pg115]
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[pg117]
XVI.COLORSCHEMESFROMJAPANESEPRINTSANDFROMTEXTILES
Inthequestforharmony,whatbettercoursecouldbetakenthantocopyharmonies?Nothingsosharpenscolorperceptionascontact
with the best examples. The attempt to reach a master's style, peculiar colorfeeling, refinements of tone and methods of handling,
bringsbothknowledgeandappreciation.ForordinaryuseJapaneseprintsaremostconvenientandinspiringcolormodels.
COPYINGJAPANESEPRINTS.Inthebestofthesethecolorhasapeculiarbloomduetotheprocessofprintingfromwoodblocks.
Thepaperispresseduponformscutontheflatsideofaboardthegrainofthewood,theroughsurfaceofthebarenwithwhichthe
paperisrubbeddown,andthefibroustextureofthepapercombinetomakealuminousvibratingtone.Particlesofcolorlieuponthe
tops of silken filaments, allowing the undertone of the paper to shine through,precisely the quality sought by painters in using a
roughcanvasandthinwashes,orthickcolorputonwithsmallbrushes.Intheprintthevibrationisnotobvious,buttheeffectisthatof
coloroverwhichfloatsathingoldenenvelope.
Ordinarycharcoal paper is good for copies, as it has a roughness that aids in producing atmospheric tones. Rub a slight quantity of
charcoaloverthesurface,verylightlywipeitoffwithchamoisorcottonrag,leavinglittlepointsofblackinthehollowsofthepaper.
Isolatethedesiredcolorpassage,bycuttinganopeninginasheetofwhitepaperandlayingituponthefaceoftheprint.Copywith
washesofwatercolor.Iftheprintisagestained,toneyourcharcoalpaperwithRawSiennaandIvoryBlack.
AUTHORS. Good colorschemes can be found anywhere in the range of Japanese colorprinting, from Okumura Masanobu in the
middleoftheXVIIIthcenturytomoderndays,buttherarityandgreatvalueofearlyprintsputsthemoutofreachofthosewhohave
notaccesstomuseumcollections.Icanmentionherebutafewnames,withwhichthestudentismostlikelytomeet:
ToriiKiyonobuandhisfellowsoftheredandgreenperiod (first half of the XVIIIth century) Harunobu, Koriusai, Kiyonaga and
Shunsho,whoworkedinsunnyyellowsandreds,pearlygreensandpalepurples,oftenmostcleverlyopposedwithtransparentblack
andcoolsilverygraysthenUtamaroandToyokuniI.,strongbutlessfine.
[pg118]
AmongXLXthcenturymenHiroshige(page13)andHokusaiarepreminentascolorists. Both have strongly influenced Occidental

painters.Hiroshigedesignedseriesafterseriesofprints,scenesfamousfortheirbeautyorhistoricintereststationsonthetwogreat
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 colorscheme. 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,andevenathirdHiroshige,butFenollosabelievedinoneonly,whosemannernaturallyvariedduringalonglife(17901858).
Hokusai'scolorisstrangeandimaginativesometimesdelicatealmosttoneutrality,sometimesstartlinganddaring.HispupilsHokkei,
Hokujuandtherestaremoregentle.
ThefigureprintsmostcommonlyseenarebyKunisada(ToyokuniII),KuniyoshiandotherpupilsofToyokuniI.,andKeisaiYeisen.
Here,asinmostJapanesefigureprints,coloreffectsareproducedbyskilfulcombinationsofpatternsuponcostumes.Everykindof
colorkeyispossible,bythismeans,withinfinitevariationsimpressionistpaintingwithwoodblocks.Thestudentiswarnedthatpoor
printsabound,impressionsfromwornoutblocks,cheapmodernreprints,andimitations.Bright,freshcolor, however, need not be
takentomeanimitationsomeoftheearlyeditionshavebeenkeptinalbumsinstorehouses,andthecolorhasnotchanged.Experience
andappreciationareafteralltheonlysafeguards.
APPLICATION.Havingmadethecopyofthecolorscheme,applythesamecolorstoseveraltracingsofonedesign,(No.67).Oneof
thethingstaughtbythisexerciseisthatdistributionandproportionofcoloraffectharmonicrelations.Colorsthatharmonizeasthey
standintheprintmayseemdiscordantwhenusedindifferentquantitiestheywillsurelybesoifthedesignisbadlyspaced.Witha
gooddesign,andcorrectjudgmentastohue,notanandintensity,thechancesarethateachvariationwillbesatisfactory.
CopiesfromHiroshigeareofspecialvaluetothelandscapepainter.Thesemaybemadeinoilasastudyofqualityandvibration.The
procedureisalittledifferentfromthepreceding.Itisbetter,inoilpainting,tocopywholeprints.Overthesurfaceofalarge rough
canvasscrubathingray,ofthecolorofthepaperoftheprint.Drawthedesigninafewvigorouslines,omittingalldetails.Paintin,at
arm'slength,theprincipalcolornotes,notcoveringthewholesurfaceorfillinginoutlines.Mixcolorsbeforehand,takingtimetocopy
eachhueandvalueexactly.Thepainting,witheachcolorreadyuponthepalette,shouldbeswiftandvigorous.Placetheprintabovethe
canvasstandwhilepaintingmakecomparisonsatadistance.
[pg119]
CopyingJapaneseprintsisrecommendedforpracticeincoloritdoesnotreplacenaturepaintingororiginaldesign,thoughitwillbea
helptoboth.
COPYINGCOLORfromTEXTILES.Theexercisesdescribedabovemaybetakenwithtextiles.Beautyofcolorinthefinestofthese
isduetogoodcomposition,thesofteningofdustandagestain,andtheatmosphericenvelopecausedbyreflectionoflightfromthe
minutepointsoftheweb.Forsomekindsoftextilethecharcoalpaper,asabove,maybeusefulforothers,graypaperandwaxcrayons.
Thelatterareexcellentforcopyingrugsandcanbeusedinoriginaldesignsforrugs.
Astomodels,workfromoriginalsinmuseums,Persiancarpetsandrugs,CopticandPeruviantapestries,mediaevaltapestries,Italian,
SpanishandFrenchtextilesXIIIthtoXVIIIthcenturies,etc.IntheragfairsofEurope,andinantiqueshops,onemayfindscrapsof
thewovenandprintedstuffsofthebestperiods.TheSouthKensingtonMuseumhaspublishedcoloredreproductionsoftextiles.Art
librarieswillhaveFischbach's,Mumford's,theKelekianCollectionandothersinfullcolor.
[pg120]
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COMPOSITION
XVII.INDESIGNANDPAINTING
Thetestofanysystemofartstudyliesinwhatyoucandowithit.Harmonybuildinghasbeenthethemeoftheforegoingpages,with
progressive exercises in structural line, darkandlight 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.Afterthisshouldcomespecialtrainingforthedesigner,architect,craftsman,studyofhistoricstyles,severedrillindrawing
(freehandandmechanical),knowledgeofmaterialsforthepainterandsculptor,longpracticeindrawingandmodelling,acquirement
oftechniquefortheteacher,drillindrawing,painting,designingandmodelling,studyofeducationalprinciples,knowledgeofschool
conditionsandpublicneeds,practiceteaching.Inaword,firstcultivatethemind,setthethoughtsinorder,utilizethepowerwithin
thentheeyeandthehandcanbetrainedeffectively,withadefiniteendinview.Theusualway,inoursystemsofartinstruction,isto
putdrillfirst,leavingthoughtandappreciationoutofaccount.
ApplicationsofstructuralprinciplesaremanyIcanmentionandillustratebutafew:
WOODBLOCKPRINTING
FORSTUDYOFPATTERNANDCOLOR.TheartofwoodblockprintinghasbeenpractisedforagesinOrientalcountries.Ourword
calicoisfromthenameofanIndiantown,Calicut,whenceprintedpatternswerebroughttoEngland.TheolderIndiandesigns,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
preciouspottery,firstasilkbrocadebag,thenoneofIndiancalicoenvelopingawoodenboxinwhichisthebowlwrappedinplain
cottoncloth.Theprocessofwoodblockprintingisverysimple,andinmyopinionofspecialeducationalvalue.Afterobservationof
thecraftinIndiain1904Ideterminedtointroduceitintoartcoursesbothforadultsandchildren.Themethodisoutlinedbelow:
1.Designthepatterninpencilorink.
2.Drawtheunit,withattentiontoitsshapeandproportionsandtheeffectwhenrepeated.
3.Pastethisfacedownuponawoodblockpine,gumwood,orahardwoodofclosegrain.
4.Cutawaythewhitespaces,clearingwithagouge.Astheblockistobeusedasastamp,thecornersandalloutsidethedesign,
mustberemoved.
5.Printing.Layapieceoffeltuponaslate,oruponaglass,pourafewdropsofmucilageuponthefelt,andmixwithiteither
commonwatercolor,ordrycolor.Distributethisevenlywithaflatbristlebrush.Makealargepad,say22x28or14x20,by
tackingcambricuponadrawingboard.Underthecambricshouldbeonethicknessoffelt.
PRINTING on PAPER. A slightly rough absorbent surface prints well. Wrapping paper can be found in many colors, tones and
textures,andisinexpensive.Damppaperwillgiveclearcutimpressions.
Laythepaperuponthelargepadchargetheblockuponthesmallpad,andstampthepattern.Iftheimpressionispoor,thecausemay
be:(a)Faceofblockisnotlevelrubituponasheetoffinesandpaper(b)largepadisuneven(c)paperiswrinkledoristooglossy
(d)coloristoothickortoowet.Practicewillovercomethesesmalldifficulties.
PRINTINGonCLOTH.Thebesteffectsareobtainedwithdyes,buttheirmanipulationisnoteasy,andtheirpermanenceisdoubtful
unlessone has expert knowledge of the processes of dyeing. The most convenient medium for the student is oil color thinned with
turpentine(towhichmaybeaddedaverylittleaceticacidandoilofwintergreen).This,whendry,ispermanentandcanbewashed,
butnotwithhotwaterorstrongsoap.
Withthedesigninfixedformupontheblock,effortcanbeconcentrateduponthemakeupofthepattern,andthecolorharmony.By
cutting a block for each color the designer may vary the schemes almost to infinity. Where choices are many and corrections easy,
inventioncanhavefreeplay.
Examplesofstudents'printingonpaperaregivenonpage121.
[pg126]
PICTUREPRINTINGisamoredifficult,butfascinatingformofthisartcraft.Heremustbegradation,transparentandvibratingcolor,
atmospheric overtone binding all together. For these qualities the Japanese process is best, with its perfected tools and methods. In
theoryitisverysimple:Theoutlineisdrawnininkuponthinpaper,andthesheetpastedfacedownupontheflatsideofaboardthe
blockisthenengravedwithaknifeandgouges,thedrawingbeingleftinreliefthepaperisremovedfromthelineswithadampcloth,
and the block charged with ink. Dry black mixed with mucilage and water, or any black water color will answer. For charging, the
Japaneseuseathickshortbrush,aroundbristlebrushwillservethepurpose.Wheninkisscrubbedevenlyoverthewholesurface,
theblockisreadyforprinting.AsheetofJapanesepaper,slightlydampened,islaidupontheblockandrubbedgentlywithacircular
padcalledabaren.Thiswonderfulinstrumentdrawstheinkupintothepaper,givingaclearrichsoftline.Thebarenismadeofa
leafofbamboostretchedoverasaucerlikediskofpasteboard,withinwhichiscoiledabraidedfibremat.
Iftheblockhasbeenproperlycleared,andthebarenismovedinlevelsweeps,thepaperwillnotbesoiledbyinkbetweenthelines.
Afterprintinganumberofoutlinesthecolorsarepainteduponthemandcolorblocksengraved.Itispossibletohaveseveralcolors
uponthesameboard,ifwidelyseparated.Accurateregistryisobtainedbytwomarksatthetopoftheboardandoneattheside.The
papermustbekeptofthesamedegreeofmoisture,otherwiseitwillshrinkandthelastimpressionswillbeoutofregister.
Drycolorsmixedwithwaterandalittlemucilage,orbetterstill,commonwatercolors,maybeused.No.69isareproductionofaprint
madeintheJapaneseway.(In1895IexhibitedattheBostonMuseumofFineArtsacollectionofmywoodblockprints.Professor
Fenollosa wrote the introduction to the catalogue, discussing the possibilities, for color and design, of this method, then new to
America.InModernArtforJuly,1896,Idescribedtheprocessinfull,withillustrations,oneincolor.)
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STENCILLING, like wood block printing, invites variation of rhythm and color combination. Stencilling is often done without
sufficientknowledgeofthecraft.Thestudentshouldunderstandthatastencilissimplyapieceofperforatedwaterproofpaperormetal
tobelaiduponpaperorclothandscrubbedoverwithathickbrushchargedwithcolorlongopeningsmustbebridgedwithties,and
allopeningsmustbesoshapedthattheiredgeswillremainflatwhenthebrushpassesoverthem.
Stencilunitsareusuallylarge,offeringgoodopportunitiesforSubordination(page23),Symmetry,andProportion(page28).Aunit
mustnotonlybecompleteinitselfbutmustharmonizewithitselfinRepetition(pp.36,66).Stencilsmaybecutuponthickmanila
paper which is then coated with shellac or upon oiled paper. If stencil brushes cannot be obtained one may use a common, round,
housepainter'sbrush,woundwithstringtowithinaninchoftheend.
[pg127]
Colorsmaybe,oilthinnedwithturpentinedyesordrycolorsgroundonaslabwithwaterandmucilage.Chargethebrushwiththin,
thoroughlymixedpigmentifthereistoomuchitwillscrapeoffundertheedgesofthestencilandspoiltheprint.Unprintedwallpaper
(liningpaper)ischeapandverysatisfactoryforstencilling.Itshouldbetintedwithathinsolutionofcolortowhichalittlemucilage
hasbeenadded.Usealargeflatbrushaboutfourincheswide,applyingthecolorwithrapidverticalandhorizontalstrokes.
COLORED CHARCOAL. This is a further development of the method described in Chapter XIII (see also page 113). Lay in the
pictureinlightvaluesofcharcoal,rememberingthatthecolorwasheswilldarkeneverytone.Toomuchrubbingwiththestumpgives
muddiness,toolittlecharcoalmayweakenthevaluesandyouwillhaveawashout.Whenthenotanschemeisright,thedrawingmay
befixed.Itcanbecoloredwithoutfixingifthestumphasbeenused.
Colorisappliedinthinwashesallowingthecharcoaltexturetoshinethrough.Notanplaysthelargerpart,furnishingthestructureof
thecompositionandgivingaharmonicbasisforthecolor.Ifthehuesarewellchosen,theresultshouldbeaharmonyofatmospheric
depth,withsoftbutglowingcolors.
PAINTINGinFULLCOLOR.Inabookdevotedtothestudyofartstructurenotmuchspacecanbegiventocomparisonofmediums,
ortoprofessionalproblemsoftechniqueinadvancedpainting.Theywillbementionedtoshowtheunityoftheprogressiveseries,to
suggesttothestudentsomelinesofresearchandexperiment,andtohelphiminchoosinghisfieldofartwork.
WATERCOLOR.Thismediumisusedinmanydifferentways:asathintransparentstain,liketheworkofDavidCox,Cotman,De
Wintasacombinationofopaquecolorandwash,withwhichJ.M.W.Turnerpaintedair,distance,infinity,theplayoflightoverthe
worldasflatwashfillinginoutlines,likethedrawingsofMilletandBoutetdeMonvelasthemodernDutchuseit,inopaquepastel
likestrokesongraypaper,orscrubbedinwithabristlebrushaspremiercouppaintingwithnooutline(bothdrawingandpainting)like
muchJapanesework.
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
paintinghasformandcharacterineverybrushtouch.
[pg128]
OILCOLOR.Instructioninoilpaintingisusuallylimitedtowhatmightbecalleddrawinginpaint.Ofcoursethestudentmustknow
hispigments,howtoobtainhuesandvaluesbymixing,howtousebrushes,howtosketchin,andalltheelementarydetails,butthis
isbutabeginning.Expressionofanideaoremotiondependsuponappreciationofartstructurethepointisnotsomuchhowtopaint,
ashowtopaintwell.Artistsoftensaythatitmattersnothowyougetaneffect,ifyouonlygetit.Thisismisleadingitdoesmatter,
thegreatestpaintersgettheireffectsinafineway.
Methodsofhandlingoilcolormaybereducedtotwogeneralclasses:(a)thepaintisusedthin,asawash,onapreparedcanvas,or(b)it
isputoninthickopaquetouches.Ineithercasetheaimisthesametopaintfordepth,vibration,illusionoflightandcolor.Ifbrush
strokesaretobeleftintact,eachofthemmusthaveshapeandmeaning,thatis,lineifcolorisputoninathinwash,thenitsvalue,
gradation,hueandtexturearethemainpoints,andthesebelongtostructuralharmony.Muralpaintingisthehighestformoftheart,
demandingperfectmasteryofComposition.ThesubjecttakesvisibleformintermsofLinethenisaddedthemystery,thedramatic
counterplayofNotan,andtheilluminationofColor.Thecreativespiritmovesonwardabsorbinginitsmarchalldrawing,perspective,
anatomy,principlesofdesign,colortheoryeverythingcontributingtoPower.
CONCLUSION
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Ihavenotattemptedtooverthrowoldsystems,buthavepointedouttheirfaultswhiletryingtopresentaconsistentschemeofartstudy.
Theintentionhasbeentorevealthesourcesofpowertoshowthestudenthowtolookwithinforthegreatesthelptoteachhimnotto
dependonexternals,nottoleantoomuchonanythingoranybody.Eachsubjecthasbeentreatedsuggestivelyratherthanexhaustively,
pointingoutwaysofenlargementandwideapplication.IfsomesubjectshaveseemedtoreceiveratherscantattentionitisnotbecauseI
amindifferenttothem,butbecauseIdidnotwishtodepartfromthespecialthemeofthebooksomeofthesewillbeconsideredin
futurewritings.ThebookwillhaveaccomplisheditspurposeifIhavemadeclearthecharacterandmeaningofartstructureifthe
studentcanseethatoutofaharmonyoftwolinesmaygrowaParthenonpedimentoraSorbonnehemicycleoutoftherudedishofthe
ZuniaSungteabowl,outofthetotempoleaMichelangelo'sMosesthatanythinginartispossiblewhenfreedomisgiventothe
divinegiftAPPRECIATION.
THEEND
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