Clear black against clear white is a strong contrast; even the best of such work has some harshness, despite a sparkling brilliancy. A tone of gray, midway between these two extremes, changes their relations and opens up a whole new field for creative activity. Now we must think of different degrees of Notan,—the “value” of one tone against another. This simple set of three notes is the basis of the mezzotint, aquatint, charcoal sketch and wash drawing. The old masters drew on gray paper with black and white.

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 property of painted shapes, whereby they “take their places” one beyond another in a picture, is aerial perspective, not values. It is a desirable quality of Representation, and often becomes a kind of deception most agreeable to the mind unappreciative of art. Those who have little perception of harmonies of tone and color, wish to see objects “stand out” in the picture “as if they were real.”

Whistler protested against this, holding that the portrait painter is not an artist unless he can give the opposite effect; that a portrait that stands out beyond its frame is bad.

The word “values” refers to harmony of tone-structure; the value of a mass is its degree of light or dark in relation to its neighbors.

EXERCISE

The student comes now to a new exercise of judgment in determining the middle value between black and white, or between light and dark gray. He has to mix this tone, and decide when it is of the right depth; here, for the first time, he begins to paint.

For this painting-exercise will be needed white dishes in which to mix the ink tones, and flat Japanese (ha-ke) brushes. The best paper is Japanese, well sized. The thin coating of glue keeps the edge of the wash from drying before the brush can take it up.

The first difficulty is the laying of a flat wash; this requires dexterity and much practice. Paper must be stretched or thumb-tacked perfectly smooth; ink-stone, dishes and brushes must be clean. For a beginning take a simple line pattern; decide which parts shall be white; then wash a middle tone of gray over the rest. When dry, paint in the black spaces.

The reason for keeping a tone flat is that the value of a whole space can be judged better; if it is sloppy and uneven it loses force and interest. In beginners' work, [pg 83] and in design, flatness is necessary, but in picture-painting purely flat tones would rarely be used.

THREE GRAYS, A SCALE

The next step is to mix three values, light, medium and dark, in three white dishes. The intervals can be tested by painting the spaces of a simple scale. This need not have an outline, as three brush-strokes will suffice. Apply these tones to a design; make several arrangements, for the effect, and to discover the possibilities in three values. The subjects might be the same as in notan of two values, pages 63—68. The examples below illustrate the method and results. See scale, p. 88, also p. 9. In addition to original composition, the student should copy from masterpieces of design and pictorial art, translating them into three values.

LANDSCAPE AND PICTURES

For three-value studies one may use ink, charcoal or oil paint. The two latter are particularly suitable for landscape designs and illustrative work. Charcoal should be used lightly and very freely. It gives effects of vibration, atmosphere, envelope and light, but the handling requires special study and much practice.

The first few exercises in charcoal landscape may be in flat tones (see No. 55, page 85), and the student may find it well to make a scale of three values in this medium; he must learn however to feel outlines without drawing them, and to handle charcoal firmly but loosely.

Cover the paper with a very sketchy tone of soft charcoal; pass over it lightly with a paper stump or piece of cotton cloth. Be careful not to grind the black into the paper, making an opaque smoky tone. Charcoal paper is made rough, to let the [pg 84] warm white shine between the little particles of black that lie upon the points of the surface.

When a luminous middle-gray is obtained, sketch in the darks with soft charcoal and take out the lights with bread or rubber; this effect is like a mezzotint, Nos. 55, 57, and p. 57. After the principle of three values has been demonstrated, and the student can appreciate definite intervals of tone, the instructor should allow great freedom in execution, not even limiting to three notes but adding one or two others if necessary to good expression.

For oil painting, mix the three tones in quantity sufficient to paint several studies. Ivory Black and Burnt Sienna will give a good neutral gray. For the color of blue china or the Abruzzi towels, use Prussian Blue, Black and White. Opinions differ as to the use of diluting mediums, and sizes of brushes, for oil painting. I should advise thinning the color with linseed oil and turpentine (half and half), and using large flat bristle brushes. Canvas should be fairly rough in texture. If the surface to be painted on is smooth,—either wood, pasteboard, or canvas,—prepare a ground with thick paint, leaving brush-marks.

APPLICATIONS, THREE VALUES

Use of the principle of three values in out-door sketching and in illustration, has been explained above. There is one application, among others, that should be made by the student at this point—composition of a book-page.

The usual illustrated page is an arrangement in three tones,—white paper, gray type, dark picture. The value to the publisher depends quite as much upon the picturesque effect of the illustration as upon its drawing. Size and placing, disposition of type, amount of margin, are matters of Line Composition; but choice of type, and the tone of the illustration belong to Notan Composition. Hence the student will gain much from designing pages, in ink, charcoal or oil, using as pictures the copies from masters, or original studies. Picture, title, initial letter, and body of type must be so composed that the result will be effective and harmonious, No. 58.

Reference should be made to examples of early printing, to the works of William Morris, and to the best modern printing.