Professional Documents
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COMPOSITION
A SERIES OF EXERCISES IN ART STRUCTURE
FOR THE USE OF STUDENTS
AND TEACHERS
BY
ZYNSEZII
1913
Copyright, 1899, by
Arthur Wesi.ey Dow
Copyright, 191S, by
Arthur Wesley Dow
AU rights reserved, inclvding that of
translation into Foreign Languages,
including the Scandinavian
ACKNOWLEDGMENTS
PAGE
BEGINNINGS .3,
THE THREE ELEMENTS
I.— Line, Notan, Color ..7
LINE DRAWING
II. — Japanese materials and brush practice.15
Lines by Masters.17
Brush drawings.19, 96, 99
PRINCIPLES OF COMPOSITION
III. — Ways of creating harmony.21
Opposition .21
Transition ..22
Subordination.23
Repetition .. 24 .
Symmetry.28
LINE
IV.— Composition in Squares and Circles.33
V.— Composition in Rectangles—Variation.38
Pottery forms ..42,43
VI.— Landscape Composition 44
VII.— Composition in Representation.49
NOTAN
VIII.— Harmony-building with Dark-and-Light.53
IX.— Two Values, Variations — Design.59
Flower compositions.62
Textile patterns and rugs.67
X.— Two Values, Landscape and Pictures.69
Spotting, Notan of Pictures 70
Sketches from Nature.73
XI. — Two Values — Gothic Sculpture, Japanese Design books, Appli¬
cations of two values 75
XII. — Three Values.82
Landscape and pictures.85
PAGE
NOTAN, continued
Applications, three values.84
XIII. — More than three values..89
Illustration.90
Etching.90
Pen Drawing.90
Pencil Sketching.95
Ink Painting.96
COLOR,
XIV. — Color Theory.100
Hue.loi, 103
Notan of Color.102, 105
Intensity.108, 109
XV.— Color derived from Notan. 113
XVI.— Color schemes from Japanese prints and from textiles . . 117
Application to design.‘ 116, 117
Copying color from textiles.119
COMPOSITION
XVII.— In Design and Painting.120
Wood Block Printing.120, 121
on paper.125
on cloth.125
Picture Printing.125
Stencilling . . ..126
Colored Charcoal.127
Painting in full color.127
Conclusion.128
BEGINNINGS
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ARCHITECTURE, Sculpture,
Painting, Music and Poetry are
the principal fine arts. Of these
the first three are called Space arts, and
take the various forms of arranging,
building, constructing, designing, mod¬
elling and picture-painting.
In the space arts there are three struct¬
ural elements with which harmonies
may be built up :
1. LINE. The chief element of beauty
in architecture, sculpture, metal work,
etching, line design and line drawings.
Nos. I, 2, 3, 6, 23, 38.
2. NOTAN. The chief element in illus¬
tration, charcoal drawing, mezzotint.
Oriental ink painting and architectural
light and shade. Nos. 5, 59, 60, 61.
3. COLOR. The chief element in paint¬
ing, Japanese prints, textile design,
stained glass, embroidery, enamelling
and pottery decoration. Nos. 8, 9, and The term LINE refers to boundaries of
Chap. XIV. shapes and the interrelations of lines and
spaces. Line-beauty means harmony of
combined lines or the peculiar quality
imparted by special treatment.
The term NOTAN, a Japanese word
meaning “dark, light”, refers to the quan¬
tity of light reflected, or the massing of
tones of different values. Notan-beauty
means the harmony resulting from the
combination of dark and light spaces —
whether colored or not — whether in
N? I. LINE"~li'of',XVcenfcMi^ buildings, in pictures, or in nature.
THE THREE These three structural elements are in¬
ELEMENTS timately related. Good color is depend¬
I.—LINE ent upon good notan, and that in turn is
dependent upon good spacing. It seems
reasonable then that a study of art should
begin with line. One should learn to
think in terms of line, and be somewhat
familiar with simple spacing before at¬
tempting notan or color. There is danger,
however, of losing interest by dwelling
upon one subject too long. Dark-and-
light massing will reveal the mistakes in
spacing and stimulate to renewed effort.
Color will reveal the weakness of dark-
9
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THE THREE
ELEMENTS
I.—EXAM¬
PLES OF
LINE
HARMONY
Greek Sculpture
APHRODITE
Museum of Fine Arts, Boston
B. Coolidge, photo.
No. 6
Gothic Sculpture
MARY
Cathedral of Reims,
“ The Visitation ” group
II
THE THREE
ELEMENTS
I.—EXAM¬
PLES OF
LINE AND
NOTAN HAR¬
MONY
12
THE THREE
ELEMENTS
I.—EXAM¬
PLES OF
COLOR HAR.
MONY
LINE DRAWING
II.—JAPANESE MATERIALS AND BRUSH PRACTICE
made by mere momentum, but by force lines, try curves; then irregular lines.
of will controlling the hand. By draw¬ Copy brush drawings from Japanese
ing slowly the line can be watched and books, for a study of control of the hand
guided as it grows under the brush point. and quality of touch. No. ii, p. ig.
Slight waverings are not objectionable; This practice work can be done upon
in fact they often give character to the ordinary paper. The aim of such an
line. exercise is to put the hand under con¬
trol of the will, but too much time should
EXERCISE not be given to mere practice, apart from
Begin with straight lines, remembering design. Quality and power of line are
that straightness of direction is the essen¬ illustrated in the drawings of masters.
tial thing, not mere geometric straight¬ No. 10 and p. i8. These may be copied
ness. After some practice with straight later on, for a study of advanced drawing.
i6
LINE DRAW¬
< ING
1 II.—LINES
BY MASTERS
* ^
bmJ
P^rt c‘scoter I^ SOCA SHUSUN.CkipeteXVctnt Mwmw«- of A'tt, Baftton A.WC;«-
■ ^:4,*
No. 10
<CN2AN. j4.t>4.n«5t
ww <4 f.a« ^ k gaM»r
17
LINE DRAW¬
ING
II.—LINES
BY MASTERS
Michelangelo, drawing
O'
TNC
20
PRINCIPLES OF COMPOSITION
IIL—WAYS OF CREATING HARMONY
22
For convenience the suggestions for type of this kind of harmony; unity se¬ PRINCIPLES
OF COMPOSI-
class work are grouped together in the cured through the relation of principal
TION
following and subordinate, even down to the vein-
III
ings of leaves — a multitude of parts or¬
EXERCISE ganized into a simple whole.
This way of creating beauty is conspic¬
Opposition. Copy the sketches and illus¬
uous in the perfect spacing and line-
trations, enlarged. Design straight-line
rhythm of Salisbury cathedral, St. Ma-
arrangements of mouldings, plaids and
clou of Rouen and the Taj Mahal; in
rectangular panellings. Nos. 13, 18, 24.
Piero della Francesca’s “Resurrection”
Find examples in nature, and draw in
and Millet’s “Goose-girl”; in some By¬
line, with brush, pen or pencil without a
zantine design and Persian rugs (see pp.
border.
58, 65, 98.)
It governs the distribution of masses in
Transition. Copy the sketches, as be¬ Dark-and-Light composition, and of
fore. Draw a bracket in straight line, hues in Color schemes.
modifying into curved. Design corner It appears in poetry (the Odyssey for
ornaments for panels and book covers; example) in the subordination of all parts
metal work for cabinet. No. 18. to the main idea of the subject. It is used
Find examples in nature and draw in constructively in musical composition.
line. No. 18. Whenever unity is to be evolved from
It is important in all such work to make complexity, confusion reduced to order,
a number of sketches from which the power felt — through concentration, or¬
best may be chosen. ganization, leadership — then will be ap¬
plied the creative principle called here
Subordination. .
3. SUBORDINATION. Neither of the
foregoing principles is often found alone
as the basis of a single work. Transition In Line Composition the arrangement
in particular, usually serves to harmo¬ by principal and subordinate may be
nize the parts of a composition. The prin¬ made in three ways. No. 16:
ciple Subordination is a great construct¬ 1. By grouping about an axis, as leaf
ive idea not only in the space arts but in relates to stem, branches to trunk.
all the fine arts : 2. By radiation, as in flowers, the ro¬
To form a complete group the parts are sette, vault ribs, the anthemion.
attached or related to a single domi¬ 3. By size, as in a group of mountain
nating element which determines the peaks, a cathedral with its spire and pin¬
character of the whole. nacles, tree clusters, or Oriental rug with
A tree trunk with its branches is a good centre and border; p. 65.
23
PRINCIPLES now draws the same or similar subjects
OF COMPOSI¬ from nature, acquainting himself with
TION
their form and character; then composes
III
them in decorative or pictorial panels —
an art-use of representative drawing as
well as exercise in appreciation.
Ja.pCLr\tAa.
.;gu.bor<Ui\fCtionJto on. A VI & Sn-b. li A-Centre Copy the examples of the 2nd kind of
Subordination, and design original ro¬
settes, anthemions, palmettes, thinking
chiefly of the spacing and rhythm.
Find examples in nature ; chimneys and
roofs, boats with masts and sails, or tree
groups. Draw and arrange in spaces.
Nos. 16, 18, 26, 28, 37, 61.
After choosing the best out of many trial
Art-interest in any of these lies in the
sketches, draw in line with the Japanese
fineness of relation. A throwing together
brush. Then, for further improvement
of large and small; mere geometric ra¬
in arrangement, and refinement of line-
diation; or conventional branching can
quality, trace with brush and ink upon
never be other than commonplace. A
thin Japanese paper.
work of fine art constructed upon the
principle of Subordination has all its
parts related by delicate adjustments and
4. REPETITION. This name is given
balance of proportions, tone and color.
to the opposite of Subordination — the
A change in one member changes the
production of beauty by repeating the
whole. No. 22.
same lines in rhythmical order. The in¬
To discover the meaning and the possi¬
tervals may be equal, as in pattern, or
bility of expression in this form of com¬
unequal, as in landscape, see below and
position the student may work out a
No. 20.
series of problems as suggested in this
EXERCISE
illlllllllllll
rSTJEJEJET
No. 2.0
27
PRINCIPLES SYMMETRY. The most common and beautiful form, as seen in a Greek vase
OF COMPOSI¬ obvious way of satisfying the desire for or the treasures of the Sho-so-in at Nara
TION where so much of the older Japanese art
order is to place two equal lines or shapes
III
in exact balance, as in a gable, windows has been preserved.
each side of a door, or objects on a shelf. A few examples of Symmetry are given
The term Symmetry applies to three- here ; the student will readily find others.
and four-part groups, or others where Exercises can be easily devised, follow¬
even balance is made, but here it refers ing the steps suggested under other prin¬
mainly to a two-part arrangement. ciples. See opposite, and Nos. 42, 43.
Sometimes construction produces Sym¬
metry, as in the human body; ships; PROPORTION or GOOD SPACING.
Greek and Rennaissance architecture; Principles of Composition, I must re¬
furniture; pottery ; books. Partly from peat, are only ways of arranging lines
this cause and partly through imitation. and shapes; art is not produced by them
Symmetry, like Repetition, has come to unless they are used in combination with
be used in cheap and mean design where this general principle, — Good Spacing.
no regard is paid to beauty of form. They are by no means recipes for art,
Japanese art, when influenced by Zen and their names are of little consequence.
philosophy, as Okakura Kakuzo tells us Appreciation of fineness of relations must
in “The Book of Tea”, avoids symmetry always govern the method and form of
as uninteresting. In Gothic art, the prod¬ composition. It is possible to use all the
uct of richly inventive and imaginative principles here discussed, and to com¬
minds, symmetry was never used in a plete all the exercises, without gaining
commonplace way. much, if any, art experience. The main
This Principle of Composition — when thing is the striving for the best, the
united to fine spacing, — produces, in ar¬ most harmonious, result that can be ob¬
chitecture an effect of- repose and com¬ tained. One way to accomplish this is
pleteness ; in design a type of severely to compare and choose continually —
making many designs under one subject
and selecting the best.
The great general principle of Propor¬
tion needs no special illustration or exer¬
cise, because it is so intimate a part of all
other principles and exercises. It may
be studied in every example of supreme
art. It is the foundation of all the finest
work in line and mass. The mystery of
Spacing will be revealed to the mind
that has developed Appreciation.
28
PRINCIPLES
OF COMPOSI¬
TION
III
No.22
*V
29
PRINCIPLES
OF COMPOSI¬
TION
III
30
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LINE
IV
■i ■ ■■■■■ III
1
1 1 ■■ 1 II
■ ■ ■■■■■ 1 II
3a
LINE
IV. —COMPOSITION IN SQUARES AND CIRCLES
A FTER working with the principles square, using straight lines of equal thick¬
long enough to understand their ness drawn with the brush as suggested
-^nature, and to see what can be in chapter II. The result should be a.*
done with them, the student is ready for harmony of well-cut space, a little musi¬
problems in composition. Practice in cal theme in straight lines and grouped
line arrangement is a preparation for all areas. • Make many trial arrangements,
kinds of art work, be it design, painting, sketching lightly with charcoal on “bo¬
sculpture or architecture. gus” or lining paper. Select the best,
Choose an enclosed area of definite and correct them, and draw with brush and
regular shape, and break it up into a ink over the charcoal lines. From these
harmonious group of smaller areas by choose the most satisfactory, place thin
drawing lines. For these elementary ex¬ Japanese paper over them and trace in
ercises in composition the square and firm black lines, freehand, with the Jap¬
circle are best because their boundaries anese brush. Avoid hard wiry lines and
are unchangeable, and attention must all that savors of rule and compass or
be fixed upon interior lines. Take first the laborious pains-taking. Use no measure
33
LINE
IV.—COMPO¬
SITION IN
SQUARES
AND
CIRCLES
34
of any kind; sizes, shapes and directions Equal thickness of line is advisable now, LINE
must be decided upon without mechan¬ to fix attention upon direction, touch and IV.—COMPO¬
SITION IN
ical aids. spacing. Variation in width will come
SQUARES
Never try to erase an ink line, — if a later in notan of line (page 54) and in rep¬ AND
mistake occurs begin again. resentative drawing (page 51) where tex¬ CIRCLES
Tracing, for the art-purpose of improv¬ ture and modelling are to be indicated. .
ing proportions and acquiring an ex¬ The main purpose of this and all exer¬
pressive brush-touch, is a most valuable cises in this book is the creation of har¬
help to the production of good work. mony, hence if the result has but a slight
Architects use tracing-paper for changes degree of line-beauty it can be considered
in plans. Japanese artists trace again a first step in Art.
and again until satisfied with the quality The examples are chosen from students’
of touch and strength of drawing. work, from Japanese books, from design,
Straight line is chosen for elementary craft and architecture. They illustrate
practice because of its simplicity, and be¬ various ways of treating squares and cir¬
cause it prepares for work with curves. cles according to princioles of composi¬
The finest curve is measured by a series tion.
of straight lines in harmonic relations of 1. Copy these enlarged, with brush.
rhythm and proportion (p. 42). After 2. Select one, as a theme, and make
some experience with straight line, cut many variations.
areas with curved,— geometric, flower, 3. Originate new line-schemes in
fruit, landscape or figure. squares and circles.
35
LINE
IV.—COMPO¬
SITION IN
SQUARES
AND
CIRCLES
APPLICATIONS tations of material must be recognized LINE
1. Ginghams, plaids, embroidery, sten¬ in making designs for special purposes. IV.— COMPO¬
SITION IN
cil. The substance or surface for which the
SQUARES
2. Panelling, window sashes, leading design is intended will itself suggest the AND
for glass, inlaid wood, mosaic, enamel handling; but material teaches us noth¬ CIRCLES
on metal. ing about the finer relationships. First
3. Incised lines in wood, clay or metal, study the art of design; develop capac¬
low relief modelling. ity by exercise of the inventive and
Study of the principle precedes applica¬ appreciative faculties; then consider the
tion in all cases. It is true that the limi¬ applications in craft or profession.
37
LINE
V. — COMPOSITION IN RECTANGLES—VARIATION
0 0
41
LINE tracings are given for purposes of com¬ ially of the Sung period (A. D. 960-1280);
V.- COMPO¬ parison. in Moorish, Persian, Rhodian and Greek.
SITION IN When each maker tried to improve upon
1. Copy the examples, without meas¬
RECTANGLES
uring. An attempt to copy brings the older models, and had the taste and
pupil’s mind into contact with that of a inventive genius to do it, the art grew to
superior, and lets him see how difficult it supreme excellence; even fragments of
is to reach the master’s perfection. Copy¬ such handicraft are now precious.
ing as a means of improving one’s style The difference between the contours of
is the opposite of copying as a substitute a really great piece of pottery and an
for original work. ordinary one may seem very slight, but
2. After making the best possible cop¬ in just this little difference lies the art.
ies, invent original variations of these EXERCISE
themes,— keeping the same general plan One good way to stimulate invention in
but changing the sizes. composing pottery shapes is to evolve
them from rectangles. In the straight
line there is strength; a curve is measured
COMPOSITION OF POTTERY by a series of straight lines connected in
FORMS. Makers of modern commer¬ rhythm. No. 32a. This principle is rec¬
cial ware usually leave beauty of line ognized in blocking out a freehand draw¬
out of account, thinking only of utility,— ing,— a process often misunderstood and
of the piece of pottery as a feeding-dish, exaggerated.
or as a costly and showy object. The Curved profiles are only variations of
glaring white glaze, harsh colors and rectangular forms, for example the bowl
clumsy shapes of common table-ware in No. 32 b.
must be endured until there is sufficient Change the height and a series of new
public appreciation to demand something shapes will result. As the top and bot¬
better; yet even this is less offensive tom lines remain the same we have to
than the kind that pretends to be art,— compare the curved sides only.
bad in line and glittering' with false Another effect (c) comes from varying
decoration.
Pottery, like other craft-products, is truly
useful when it represents the best work¬
manship, combined with feeling for
shape, tone, texture and color,— in a
word, fine art.
Such quality is found, to mention only
a few cases, in some of the “ peasant
wares”; in the best Japanese pottery,
ancient and modern; in Chinese, espec¬
42
the width; and still another (d) by chan¬ FLOWERS and other forms as LINE- LINE
ging both height and width. MOTIVES. The rectangular space may V.—COMPO¬
SITION IN
In No. 33 are students’ drawings of pot¬ be subdivided, as was the square, by a
RECTANGLES
tery profiles evolved from rectangles. simple line-motif,—flower, fruit, still life,
For brush work, in this exercise, it is well animal or figure,—following some Prin¬
to indicate the lines of the rectangle in ciple of Composition. In chapter III,»
pale red, the pottery in black. Make under Subordination, an exercise was
many sketches, select the best profiles, suggested and illustrated; it could be
improve them by tracing in ink, and com¬ taken up again at this point, with new
pare with historic pieces. subjects, for a study of Variation. As rect¬
Drawing from the finest examples of angular compositions will be found un¬
pottery, and making original variations der Notan and Color, it is not necessary
of the forms, will aid in drawing from to consider them further here as pure
the cast or the nude, because of the inti¬ line, except in the case of Landscape,
mate study of the character of curves. to which a special chapter is given.
43
LINE
VI.—LANDSCAPE COMPOSITION
a. coJored
Tk« Ah^onuidtiOA , Piero ddlo Piiance^cA.Ctraci^)
No. 36
. % 4 1'
46
The art of landscape painting is a special has constructed a wood interior on a line- LINE
subject, not to be treated at length here, plan resembling that of Puvis. So the VI.— LAND-
SCAPE COM¬
but I believe that the true way to ap¬ mere doing of the work recommended
POSITION
proach it is through these or similar ex¬ here will be of little value if the only
ercises. thought is to get over the ground, or if
First study the art, then apply it, whether the mind is intent upon names rathef
to landscape or any other kind of expres¬ than principles. The doing of it well,
sion. with an artistic purpose in mind, is the
true way to develop the creative facul-i
ties.
PICTURES COMPOSED ON RECT¬
ANGULAR LINES.
Great architects and designers were not LANDSCAPE ARRANGEMENT, —
the only ones to use this simple line-idea; VARIATION.
the masters of pictorial art have based Leaving now the rectangular scheme,
upon it some of their best work; (opposite take any landscape that has good ele¬
page). ments, reduce it to a few main lines and
These tracings from a variety of compo¬ strive to present it in the most beautiful
sitions, old and new (No. 36), show that way—for example one from No. 61, or
this combination was chosen either to one drawn by the instructor, or even a
express certain qualities and emotions, tracing from a photograph. Remember
— majesty, solemnity, peace, repose, that the aim is not to represent a place,
(Puvis de Chavannes)—or because such nor to get good drawing now; put those
a space division was suited to tone- thoughts out of the mind and try only to
effects (Whistler’s Battersea Bridge), cut a space finely by landscape shapes;
or to color schemes (Hiroshige). These the various lines in your subject combine
should be copied exactly in pencil, then to enclose spaces, and the art in your
drawn enlarged. Find other examples in composition will lie in placing these
museums, illustrated books, or photo¬ spaces in good relations to each other.
graphs, and draw in the same way. Here must come in the personal influ¬
The student must, however, be warned ence of the instructor, which is, after
against mistaking a mere geometric com¬ all, the very core of all art teaching.
bination of lines for an aesthetic combi¬ He can bring the pupils up to the height
nation. There is no special virtue in a of his own appreciation, and perhaps
rectangular scheme or any other in it¬ no farther. The best of systems is
self ; it is the treatment of it that makes valueless without this personal artistic
it art or not art. Many a commonplace g^iidance.
architect has designed a tower similar At this stage of landscape composition,
to Giotto’s, and many a dauber of oil paint the idea of Grouping (Subordination) can
47
LINE be brought in, as a help “in arranging space composition, the landscape should
VI.—LAND- sizes and shapes. There is a certain be set into several boundaries of differing
SCAPE COM¬
beauty in a contrast of large and small. proportions, as in Chapter V, and as
POSITION
It is the opposite of Monotony. For in¬ shown in the examples, keeping the es¬
stance, compare a street where there is sential lines of the subject, but varying
variety in the sizes of buildings and trees, them to fit the boundary. For instance,
with another of rows of dull ugly blocks. a tree may be made taller in a high ver¬
Ranges ef hills, spires and pinnacles, tical space than in a low horizontal
clumps of large and small trees, clusters space, (No. 37 below).
of haystacks, illustrate this idea in land¬ After working out this exercise the pupil
scape. may draw a landscape from nature and
EXERCISE treat it in the same way. Let him rigor¬
To discover the best arrangement, and ously exclude detail, drawing only the
to get the utmost experience in line and outlines of objects.
I
¥
51
NOTAN
VIII.
DARK-AND-
LIGHT HAR¬
MONIES
FROM THE
MASTERS
52
NOTAN
VIII.—HARMONY-BUILDING WITH DARK-AND-LIGHT
A S there is no one word in English Our etching and book illustration have
to express the idea contained in long felt the effect of contact with Japa¬
^ the phrase “ dark-and-light,” I nese classic painting, though the influence
have adopted the Japanese word “ no¬ came indirectly through the Ukiyoye
tan” (dark, light). It seems fitting that color prints and books.
we should borrow this art-term from a Such names as Kakei, Chinese of the Sung
people who have revealed to us so much dynasty (p. 96), Soga Shubun, the Chinese
of this kind of beauty. “ Chiaroscuro ” who founded a school in Japan in the
has a similar but more limited meaning. fifteenth century (p. 17), Sesshu, one of
Still narrower are the ordinary studio the greatest painters of all time (p. 97),
terms “ light-and-shade,” “shading,” Sotan, Soami, Motonobu, Tanyu are now
“spotting,” “effect” that convey little placed with Titian, Giorgione (p. 51),
idea of special harmony-building, but Rembrandt, Turner, Corot and Whistler.
refer usually to representation. The works of Oriental masters who felt
Notan, while including all that these the power and mystery of Notan are be¬
words connote, has a fuller meaning as a coming known through the reproduc¬
name for a great universal manifestation tions that the Japanese are publishing,
of beauty. and through, precious examples in our
Darks and lights in harmonic relations own museums and collections. This in
— this is Notan the second structural one of the forces tending to uproot our
element of space-art; p. 7. traditional scientific art teaching which
The Orientals rarely represent shadows; does not recognize Dark-and-Light as
they seem to regard them as of slight worthy of special attention.
interest — mere fleeting effects or acci¬ Appreciation of Notan and power to cre¬
dents. They prefer to model by line ate with it can be gained, as in the case
rather than by shading. They recognize of Line, by definite study through pro¬
Notan as a vital and distinct element of gressive exercises. At the outset a fun¬
the art of painting. damental fact must be understood, that
The Buddhist priest-painters of the Zen synthetically related masses of dark and
sect discarded color, and for ages painted light convey an impression of beauty
in ink, so mastering tone-relations as to entirely independent of meaning,— for
attract the admiration and profoundly example, geometric patterns or blotty
influence the art of the western world. ink sketches by Dutch and Japanese.
53
NOTAN When this occurs accidentally in na¬ required width, then draw the line. Try
VIII ture,— say a grove of dark trees on a light a large number of arrangements, set
hillside, or a pile of buildings against them up in a row and pick out the best.
the morning sky,— we at once feel the In choosing and criticising, remember
charm and call the effect “ picturesque.” that every part of a work of art has some¬
The quality which makes the natural thing to say. If one part is made so
scene a-good subject for a picture is like prominent that the others have no rea¬
musical harmony. It is the “ visual mu¬ son for being there, the art is gone. So in
sic” that the Japanese so love in the this case; if one line asserts itself to the
rough ink paintings of their masters detriment of the others, there is discord.
where there is but a hint of facts (pp. 97, There may be many or few lines, but
99)—a classic style which is the out¬ each must have its part in the whole.
ward expression of a fine appreciation, In a word, wholeness is essential to beau¬
and whose origin and practice are ad¬ ty; it distinguishes Music from Noise.
mirably set forth in “ The Book of Tea.”
Recognition of Notan as an individual
element will simplify the difficulties of
tone-composition and open the way for
growth in power
54
LETTERING. When forming part of low). Having suggested that Lettering, NOTAN
an artistic composition, in books, posters, including Printing, as an art, is a prob¬ VIII
55
NOTAN XXXXX
vm XXXXX
XXXXX
XXXXX
XXXXX
ftps'. .:•!❖
Wxiiiii iniiiH
Aw* «ts«-:-l-!-
nT'iia'
56
NOTAN
VIII
57.
notan
IX.
TWOVALUES
HISTORIC
EXAMPLES
'A 4mi» f.
n h
I 4P,
VENETlAi‘4 Latce
METApUWorK XiiandXlllcent Ctut'v FatIs
No.42
58
NOTAN
IX.—TWO VALUES-VARIATIONS —DESIGN
6o
tectural ornament. The use of these two nese brush, short and thick, is best for NOTAN
simple tones is as universal as-Art itself, this work. Nos. 43 and 44. IX
They appear in the black vine on the Pupils should be warned against mis-
white marble floor of the Church of the taking mere inventive action for art. The
Miracoli at Venice; on the wall of the teacher must guide the young mind to
Arabian Mosque, and the frieze of the perceive the difference between creating
Chinese temple. They have come into beautiful patterns, and mere fantastic
favor on book covers and page borders, play.
Aubrey Beardsley went scarcely beyond Those gifted with little aesthetic percep-
them. R. Anning Bell and other artists tion may go far astray in following the
have boldly carried them into pictorial two-tone idea. It is very easy and some-
work in the illustration of children’s what fascinating to darken parts of de¬
books. signs with black ink. The late poster
These facts will show the beginner that craze showed to what depth of vulgarity
no terms are too simple for artistic this can be carried. The pupil must be
genius to use. Moreover a limited field taught that all two-tone arrangements
often stimulates to greater inventive ’ are not fine, and that the very purpose
activity. ' of this exercise is so to develop his ap¬
preciation that he may be able to tell the
EXERCISE difference between the good, the com-
Choose a simple line-design fine in pro- monplace, and the ugly. His only guides
portion, and add to it this new kind of must be his own innate taste, and his
beauty, — as much of it as can be ex- instructor’s experience,
pressed by.the extremes of Notan, black
against white. It is apparent that we
pS-*!
cannot reduce Dark-and-Light to sim¬ ! r*" :
■ M eji
pler terms than these two values.
The principle of Variation comes into fes j a tisj
this exercise with special force, for each
line-design admits of several Notan ar¬
-
rangements. The student should be given
at first a subject with few lines. Let him 1.. Rsn.. p
use one of his own (chapter V), or draw
one from the instructor’s sketch, but the
essential point is to have his design as
good as possible in space-proportion be¬
mHm
fore adding the ink.
Make several tracings, then darken cer¬
IHi—,
I jg ml R li
tain spaces with black. A round Japa- No -^4-
61
NOTAN
IX
63
64
#
41
Ai>%iiL «►
65
NOT AN
IX
No.46
8I<kIc FrinC
P2
\w
i s
66
TEXTILE PATTERNS AND RUGS ment” in most of such books is of a NOTAN
TWO VALUES flamboyant and decadent sort. IX
to another. For purposes of study, how¬ Italian of the XVth or XVIth century;
ever, it is necessary to isolate each ele¬ copy or trace the line and play upon thi§
ment, and even the separate principles several notan-schemes of two values.
of each. You will at once discover how superb
In the present instance. Notan can be the spacing is in these designs, but your
separated from Line by taking a line- main thought is the creation of new dark-
design of acknowledged excellence and and-light ideas upon the fine old pattern ;
making many Notan variations of it; p. 65.
being sure of beauty of line, the only The Oriental rug affords an excellent
problem is to create beauty of tone. line-scheme for practice in notan. As
As this brings in historic art, let me composition it is a combination of two
note that the works of the past are best principles Subordination and Repetition.
used, in teaching, as illustrations of com¬ Copying a part or the whole of some
position, (p. 40). good rug—in line and color—is the best
While the knowledge of a “ style ” may way to become aquainted with the spac¬
have a commercial value, it has no art- ing, motives and quality. Then design
value unless the designer can make a rug with border and centre, the shapes
original and fine variations of it, not to be pure inventions or symbols. Bor¬
imitations. der and centre must differ, and there are
The first essential is to appreciate the many ways of doing this even in two
quality-of historic examples, hence the values, for instance:
student should work from the objects Border: Black figures on white ground.
themselves, from photographic copies, Centre :White figures on black ground.
from tracings, or from casts. The com¬ Border: White figures on black ground.
monplace lithographic plates and rude Centre: Black figures on white ground.
wood cuts in some books of design are Border: Small figures.
useless for our purpose. They give no Centre : One large figure.
hint of the original. If the actual paint¬ The illustrations, pp. 65, 66, give some
ing on an Egyptian mummy case is com- idea of the possibilities of tone-com¬
" pared with a page of one of these books, position in textiles and rugs. The exercise
the poor quality of the latter is instantly points to one good way of using museum
apparent. Chinese and Japanese “ orna¬ collections and art books.
67
NOTAN
X
N^4-7 9m
*
68
NOTAN
X.-TWO VALUES-LANDSCAPE AND PICTURES
>
JTWiUel Corot
7X
NOTAN work with landscape, still life or figures. the brush-touch must be charged with
X Sketching from nature with brush and meaning; it is of direct practical value
ink is a means of interpreting sub¬ in- illustration as such sketches are
jects in a very broad way, obliging effective and easily reproduced. It is
one to select and reject, to keep only almost the only method for painting
the essentials. It cultivates apprecia¬ on pottery, as the absorbent glaze
tion of texture and character and brings admits of no gradation, emendation or
out the" power of doing much with erasure; the touch must be decisive
little,— of making a few vigorous strokes and characterful. Examples of brush¬
convey impressions of form and com¬ sketching from nature are given in
plexity. It leads to oil painting where No. 48 on opposite page.
72
4
No. 48 Sketches fram ivj.ture two values
73
NOTAN
XI.
"jDes^n wooclrWocfc-|)rintcdL
Jjoctterri — a^licdtvon o^t^vo{ues.
Rcjjdtituyi
notan-■^*1 values Su.bordLMsoLt’icm 0Cn<L
Variation ofu moti| Refietitior*
74
NOTAN
XL —TWO VALUES —GOTHIC SCULPTURE
JAPANESE DESIGN BOOKS.
APPLICATIONS OF TWO VALUES
83
NOTAN warm white shine between the little The usual illustrated page is an arrange¬
XII particles of black that lie upon the points ment in three tones,—white paper, gray
of the surface. type, dark picture. The value to the pub¬
When a luminous middle-gray is ob¬ lisher depends quite as much upon the
tained, sketch in the darks with soft char¬ picturesque effect of the illustration as
coal and take out the lights with bread upon its drawing. Size and placing, dis¬
or rubber; this effect is like a mezzotint, position of type, amount of margin, are
Nos. 55,;57. and p. 57. matters of Line Composition; but choice
After the principle of three values has of type, and the tone of the illustration
been demonstrated, and the student can belong to Notan Composition. Hence
appreciate definite intervals of tone, the the student will gain much from design¬
instructor should allow great freedom in ing pages, in ink, charcoal or oil, using as
execution, not even limiting to three notes pictures the copies from masters, or orig¬
but adding one or two others if necessary inal studies. Picture, title, initial letter,
to good expression. and body of type must be so composed
For oil painting, mix the three tones in that the result will be effective and har¬
quantity sufficient to paint several stud¬ monious, No. 58.
ies. Ivory Black and Burnt Sienna will Reference should be made to examples
give a good neutral gray. For the color of early printing, to the works of William
of blue china or the Abruzzi towels, use Morris, and to the best modern printing.
Prussian Blue, Black and White. Opin¬
ions differ as to the use of diluting medi¬
ums, and sizes of brushes, for oil painting.
I should advise thinning the color with
linseed oil and turpentine (half and half),
and using large flat bristle brushes. Can¬
vas should be fairly rough in texture. If
the surface to be painted on is smooth,—
either wood, pasteboard, or canvas,—
prepare a ground with thick paint, leav¬
ing brush-marks.
85
NOTAN
XII
86
NOTAN
XIII White
88
NOTAN
XIIL —MORE THAN THREE VALUES
No. ^8
91
NOTAN
XIII
92
NOTAN
XIII
No. 59
T
NOTAN
XIII
94
it; and the reed pen closely approaches shading being only suggested. These NOTAN
the brush as a line-implement. darks, whether meant for shadows, lo¬ XIII
The brush may be used as a pen, values cal tone, or color, will form a “ spotting ”
and massing being obtained by blots and to which is largely due the interest of the
clustering of lines. Two examples are sketch.
given below; see also pp. 7, g, 19. If shading is attempted, the tones, wheth-..
er gray or dark, are made by laying lines
side by side, not by cross-hatching or
PENCIL SKETCHING going over twice. A pencil sketch must
Much that has been said of etching and be off-hand, premier coup, brilliant and
pen drawing is equally true of the hard characterful. Two examples are given
lead pencil; but the soft pencil has many as hints for handling. No. 60. It is not
of the qualities of charcoal. It may possible here to discuss pencil, pen or
even be made to resemble the ink wash. etching, at length; they are only touched
The most successful pencil work is upon in their relation to composition of
that in which line is the main thing, line and notan.
NOTAN INK PAINTING of the world-story, of the Nativity, the
XIII Supreme excellence in the use of ink was Passion, and the joys of heaven.
attained by the Chinese and Japanese Some of these priest-artists of the Zen,
masters. Impressionism is by no means Mokkei, Kakei, Bayen in China; Shubun,
a modern art (except as to color-vibra¬ Sesshu in Japan, rank with the great
tions) for suggestiveness was highly painters of all time. They, and such
prized in China a thousand years ago. pupils as Sesson, Soami, Motonobu and
The painter expected the beholder to cre¬ Tanyu, were classic leaders who have
ate with him, in a sense, therefore he put given us the purest types of the art of
upon paper the fewest possible lines and ink-painting. To them we look for the
tones; just enough to cause form, texture truly artistic interpretation of nature; for
and effect to be felt. Every brush-touch dramatic, mysterious, elusive tone-har¬
must be full-charged with meaning, and mony; for supreme skill in brush-work.
useless detail eliminated. Put together
all the good points in such a method, and
you have the qualities of the highest art;
for what more do we require of the mas¬
ter than simplicity, unity, powerful hand¬
ling, and that mysterious force that lays
hold upon the imagination.
Why the Buddhist priests of the Zen sect
became painters, and why they chose
monochrome are questions involving a
knowledge of the doctrines of Buddhism
and of the Zen philosophy. It is suffi¬
cient to say here that contemplation of
the powers and existences of external
nature, with a spiritual interpretation
of them, was the main occupation of
Zen thought. Nature’s lessons could be
learned by bringing the soul to her, and
Japanese sketch of the massing in a painting
letting it behold itself as in a mirror; the
by an old master
teaching could be passed on to others by
means of art — mainly the art of land¬ Ink-painting is both an art and a craft;
scape painting. Religious emotion was it has refinements and possibilities that
the spring of art-power in the East, as it can be realized only by working with a
was in the West. Landscape painting Japanese artist. He starts with a paper
as religious art, has its parallel in Greek of low tone — it may be its natural state,
and Gothic sculpture, in Italian painting or he may wash it over with thin ink
I
NOTAN
XIII
No. 6l
97
NOTAN
XIII.
INK
PAINTING
98
and color. Into this atmospheric under¬ If this is not within reach, a good sub¬ NOTAN
tone he plays gradations, sharp-edged stitute may be made by sizing manila XIII.
INK
strokes, drops of black, and vibrating paper with a thin solution of alum. Jap¬
PAINTING
washes,— only touching upon forms, but anese paper should be wet, and pasted,
clearly marking planes of aerial perspec¬ by the edges, upon a board. Manila pa¬
tive. No. 6i. per, after wetting, may be tacked upon a
stretcher. Japanese ink and ink-stone,
(Chapter II) round and flat brushes, soft
charcoal, and a set of white dishes will
be needed. Sketch in the subject lightly
with the charcoal, dust it off and draw
the main lines with pale thin vermilion
water color. Wash in the broad masses,
relying upon strengthening by many
overtones. Put in the darks last, being
very careful that they are not too sharp-
edged. No. 62.
» t
-S. - .*• . r . ■♦»
It ■ r
Ni* li
' L*'' “^ = ■ •
z
•^ lvT- ’■*.
I'/., tt.
.■# ^ ,.
* ^ ^
i : I J -jL
%
t Sf*
’ f‘
»;. ' A.
>.• * t'
',* • ■
V . r ‘ i,-
• • 7 *
5d
□▼c<
► <
iZikSS
!
m
t V
n
More applications can be made than in APPLICATION. Arrange these notes COLOR
the case of Hue; historic art is full of them. in a line design. As Hue and Notan are THEORY
XIV
Dutch tiles, Japanese prints and blue tow¬ eliminated, the only harmony will be
els, Abruzzi towels, American blue quilts, that of bright points floating in grayish
etc., are examples of harmony built up tones (N0.65). Other hues may be scaled
with several values of one hue. and tested in like manner.
With two hues innumerable variations Combine two hues in one design, all val¬
are possible. Japanese prints of the “ red ues equal,— adding contrast of hue to
and green” period are compositions in contrast of intensity.
light yellow-red, middle green, black, Examples abound in painting. To cite*
and white. Other examples can be easily a few: the element of intensity gives
found in the world’s art. The student breadth and tonal harmonies in stained
should apply the scale-notes to his own glass, Persian rugs, Cazin’s foregrounds,
designs, not using, at this stage, more the prints of Harunobu, Kiyonaga and
than two hues, with perhaps black and Shunsho.
white.
COMPOSITIONS in HUE, NOTAN,
INTENSITY. Color varies not only in INTENSITY. In all color-schemes
hue and value, but in intensity,—ranging these three will be found in combination.
from bright to gray. Every painter Analysis of a few compositions will be
knows that a brilliant bit of color, set in worth while; for example, the print. No.
grayer tones of the same or neighboring 69, p. 124, and the print and textile, page
hues, will illuminate the whole group,— 13. Note (i) the number of hues; (2)
a distinguished and elusive harmony. the number of values of each hue, whether
The fire opal has a single point of intense dark, light or medium; (3) the degrees
scarlet, melting into pearl; the clear of intensity of each hue, whether very
evening sky is like this when from the bright, bright, medium or dull; (4) the
sunken sun the red-orange light grades quantity of each color and its distribu¬
away through yellow and green to steel- tion in the design; (5) the amount and
gray. effect of black, white and neutral gray.
This rarely beautiful quality of color can For a simple exercise in composition the
be better understood by isolating it and student might color a line design in sev¬
testing it in designs (as has been done eral ways, using three hues, varying the
with each principle, from Line onward; dark-and-light distribution and the quan¬
see page 21). tity of bright and gray tones.
Paint a scale with one hue, say Vermil¬ Follow this with other designs in color.
ion, keeping each space of the same val¬ — flower panels, repeating patterns, fig¬
ue, but grading the intensity down to ures in costume, and landscape. A little
neutral gray. of this kind of work will cultivate good
109
COLOR judgment as to color relations, and will changed for a great length of time. The
THEORY
stimulate invention. Color Theory does plates of Color Theory here shown are
XIV
not ensure harmony but is a help toward intended only as statements of the fun¬
it, as it shows where balance and ad¬ damental color-relations. They are not
justment are needed. scientifically accurate, nor do they need
Note. It is next to impossible to repro¬ to be,— they are to be used in art, not in
duce colors with perfect accuracy, and science. Their purpose is to show the
even if the hues, values and intensities pupil how to study color, how to make
could be exactly copied, it is doubtful if scales and apply them in art, rather than
the inks would remain absolutely un¬ to furnish a standard to be copied.
no
k
rf-
■'jo
9
& • 1 »
COLOR
XV.—COLOR DERIVED FROM NOTAN
#4
I N the quest for harmony, what better slight quantity of charcoal over the sur¬
course could be taken than to copy face, very lightly ; wipe it off with cha¬
harmonies? Nothing so sharpens mois or cotton rag, leaving little points of*
color perception as contact with the best black in the hollows of the paper.
examples. The attempt to reach a mas¬ Isolate the desired color-passage, by cut¬
ter’s style, peculiar color-feeling, refine¬ ting an opening in a sheet of white paper
ments of tone and methods of handling, and laying it upon the face of the print.
brings both knowledge and appreciation. Copy with washes of water color. If the
For ordinary use Japanese prints are print is. age-stained, tone your char¬
most convenient and inspiring color- coal paper with Raw Sienna and Ivory
models. Black.
COPYING JAPANESE PRINTS. In AUTHORS. Good color-schemes can
the best of these the color has a peculiar be found anywhere in the range of Japa¬
bloom due to the process of printing from nese color-printing, from Okumura Ma-
wood blocks. The paper is pressed upon sanobu in the middle of the XVIIIth
forms cut on the flat side of a board; the century to modern days, but the rarity
grain of the wood, the rough surface of and great value of early prints puts them
the “baren” with which the paper is out of reach of those who have not access
rubbed down, and the fibrous texture of to museum collections. I can mention
the paper combine to make a luminous here but a few names, with which the
vibrating tone. Particles of color lie upon student is most likely to meet:
the tops of silken filaments, allowing the Torii Kiyonobu and his fellows of the
undertone of the paper to shine through, “red-and-green period” (first half of the
— precisely the quality sought by paint¬ XVIIIth century); Harunobu, Koriusai,
ers in using a rough canvas and thin Kiyonaga and Shunsho, who worked in
washes, or thick color put on with small sunny yellows and reds, pearly greens
brushes. In the print the vibration is not and pale purples, often most cleverly op¬
obvious, but the effect is that of color over posed with transparent black and cool
which floats a thin golden envelope. silvery grays; then Utamaro and Toyo-
Ordinary charcoal paper is good for cop¬ kuni I., strong but less fine.
ies, as it has a roughness that aids in Among XIXth century men Hiroshige
producing atmospheric tones. Rub a (page 13) and Hokusai are preeminent
117
COLOR as colorists. Both have strongly influ- some of the early editions have been kept
XVI
enced Occidental painters.' in albums in store houses, and the color
Hiroshige designed series after series of has not changed. Experience and appre-
prints, — scenes famous for their beauty ciation are after all the only safeguards,
or historic interest; stations on the two
great highways, the Tokaido and the
Kisokaido; effects of wind, rain, snow APPLICATION. Having made the
and twilight; flowers, birds, and a few copy of the color-scheme, apply the same
figures. He would recompose the same colors to several tracings of one design,
series again and again in different size (No. 67). One of the things taught by this
and color-scheme. His design is full of exercise is that distribution and propor-
delightful surprises; his artistic power tion of color affect harmonic relations-
and inventiveness are astonishing. A Colors that harmonize as they stand in
prodigious amount of work is signed by the print may seem discordant when used
his name; some critics hold that there in different quantities; they will surely
was a second, and even a third Hiroshi- be so if the design is badly spaced. With
ge, but Fenollosa believed in one only, a good design, and correct judgment as
whose manner naturally varied during to hue, notan and intensity, the chances
a long life (1790 —1858). are that each variation will be satisfac-
Hokusai’s color is strange and imagina- tory.
tive; sometimes delicate almost to neu- Copies from Hiroshige are of special
trality, sometimes startling and daring, value to the landscape painter. These
His pupils Hokkei, Hokuju and the rest may be made in oil as a study of quality
are more gentle. and vibration. The procedure is a little
The figure prints most commonly seen different from the preceding. It is better,
are by Kunisada (Toyokuni II), Kuni- in oil painting, to copy whole prints,
yoshi and other pupils of Toyokuni I., Over the surface of a large rough canvas
and Keisai Yeisen. Here, as in most scrub a thin gray, of the color of the paper
Japanese figure prints, color effects are of the print. Draw the design in a few
produced by skilful combinations of pat- vigorous lines, omitting all details. Paint
terns upon costumes. Every kind of in, at arm’s length, the principal color
color-key is possible, by this means, notes, not covering the whole surface
with infinite variations ; — impressionist or filling in outlines. Mix colors before¬
painting with wood blocks. hand, taking time to copy each hue and
The student is warned that poor prints value exactly. The painting, with each
abound, — impressions from worn-out color ready upon the palette, should be
blocks, cheap modern reprints, and imi- swift and vigorous. Place the print above
tations. Bright, fresh color, however, the canvas; stand while painting; make
need not be taken to mean imitation; comparisons at a distance.
118
Copying Japanese prints is recommend¬ The latter are excellent for copying rugs COLOR
ed for practice in color ; it does not re¬ and can be used in original designs for XVI
place nature-painting or original design, rugs.
though it will be a help to both. As to models, work from originals in mu¬
seums,—Persian carpets and rugs, Coptic
and Peruvian tapestries, mediaeval tap¬
COPYING COLOR from TEXTILES. estries, Italian, Spanish and French tex¬
The exercises described above may be tiles Xlllth to XVIIIth centuries, etc. In
taken with textiles. Beauty of color in the the “ rag-fairs” of Europe, and in antique
finest of these is due to good composition, shops, one may find scraps of the woven
the softening of dust and age-stain, and and printed stuff’s of the best periods.
the atmospheric envelope caused by re¬ The South Kensington Museum has
flection of light from the minute points of published colored reproductions of tex¬
the web. For some kinds of textile the tiles. Art libraries will have Fischbach’s,
charcoal paper, as above, may be useful; Mumford’s, the Kelekian Collection and
for others, gray paper and wax crayons. others in full color.
V
COMPOSITION
XVII. —IN DESIGN AND PAINTING
Li ww
■;• • "
'i m
1 %*
->^-
%#
•*
m a iHfl
1 /V
*:r J2
4- Cut away the white spaces, clear¬ student is oil color thinned with turpen¬ COMPOSI¬
TION
ing with a gouge. As the block is tine (to which may be added a very little XVII.—WOOD
to be used as a stamp, the corners acetic acid and oil of wintergreen). This, BLOCK
and all outside the design, must be when dry, is permanent and can be PRINTING
removed. washed,— but not with hot water or
5. Printing. Lay a piece of felt upon strong soap. ,,
a slate, or upon a glass, pour a few With the design in fixed form upon the
drops of mucilage upon the felt, and block, effort can be concentrated upon
mix with it either common water the make-up of the pattern, and the col¬
color, or dry color. Distribute this or-harmony. By cutting a block for each
evenly with a flat bristle brush. color the designer may vary the schemes
Make a large pad, say 22x28 or almost to infinity. Where choices are
14 X 20, by tacking cambric upon a many and corrections easy, invention
drawing board. Under the cam¬ can have free play.
bric should be one thickness of Examples of students’ printing on paper
felt. are given on page 121.
THE END
128
4
4
Date Due
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HUNTTINC—1320
^ composition ; a series of
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