I. LINE NOTAN COLOR

Previous

Architecture, Sculpture, Painting, Music and Poetry are the principal fine arts. Of these the first three are called Space arts, and take the various forms of arranging, building, constructing, designing, modelling and picture-painting. In the space arts there are three structural elements with which harmonies may be built up:

1. LINE. The chief element of beauty in architecture, sculpture, metal work, etching, line design and line drawings. Nos. 1, 2, 3, 6, 23, 38.
2. NOTAN. The chief element in illustration, charcoal drawing, mezzotint, Oriental ink painting and architectural light and shade. Nos. 5, 59, 60, 61.
3. COLOR. The chief element in painting, Japanese prints, textile design, stained glass, embroidery, enamelling and pottery decoration. Nos. 8, 9, and Chap. XIV.

The term LINE refers to boundaries of shapes and the interrelations of lines and spaces. Line-beauty means harmony of combined lines or the peculiar quality imparted by special treatment. The term NOTAN, a Japanese word meaning “dark, light”, refers to the quantity of light reflected, or the massing of tones of different values. Notan-beauty means the harmony resulting from the combination of dark and light spaces—whether colored or not—whether in buildings, in pictures, or in nature.

[pg 8]
No. 3 LINE. Harmony of rhythmic curves. From book of prints by Okumura Masanobu, Japanese, 18th century.
No. 3 LINE. Harmony of rhythmic curves. From book of prints by Okumura Masanobu, Japanese, 18th century.

Careful distinction should be made between NOTAN, an element of universal beauty, and LIGHT AND SHADOW, a single fact of external nature. The term COLOR refers to quality of light.

These three structural elements are intimately related. Good color is dependent upon good notan, and that in turn is dependent upon good spacing. It seems reasonable then that a study of art should begin with line. One should learn to think in terms of line, and be somewhat familiar with simple spacing before attempting notan or color. There is danger, however, of losing interest by dwelling upon one subject too long. Dark-and-light massing will reveal the mistakes in spacing and stimulate to renewed effort. Color will reveal the weakness of [pg 9] dark-and-light. Very young pupils should begin with color but the instructor will take pains to include spacing and notan in each lesson. In general, however, the best plan is to take up exercises in each element in turn; then go back to them separately and make more detailed studies; then combine them, proceeding toward advanced compositions. Whatever be the choice of progression, there must be a thorough grounding in the elementary relations of space cutting and simple massings of dark-and-light. This is essential to successful work in designing, drawing, modelling, painting, architecture and the crafts.

[pg 10] [pg 11]
No. 6. Examples of Line Harmony. Greek Sculpture, Aphrodite. Gothic Sculpture, Mary.
No. 6. Examples of Line Harmony. Greek Sculpture, Aphrodite. Gothic Sculpture, Mary.
[pg 12] [pg 13]
No. 8. Examples of Color Harmony. HIROSHIGE. “Taki no gawa at Oji”
No. 8. Examples of Color Harmony. HIROSHIGE. “Taki no gawa at Oji”
No. 9. Examples of Color Harmony. Persian Woolen, ancient
No. 9. Examples of Color Harmony. Persian Woolen, ancient
[pg 14] [pg 15]

LINE DRAWING

                                                                                                                                                                                                                                                                                                           

Clyx.com


Top of Page
Top of Page