Line melts into Tone through the clustering of many lines. Direct study of
tone‐intervals begins with composition in two values—the simplest form of
Notan. There may be several starting‐points; one might begin by blotting
ink or charcoal upon paper, by copying the darks and lights from
photographs of masterpieces, or by making scales. Experience has shown
that the straight‐line design and the flat black ink wash are most
satisfactory for earlier exercises in two values. Instead of black and
white, or black and gray, one might use two grays of different values, or
two values of one color (say light blue and dark blue) according to need.
The aim being to understand Notan as something by which harmony may be
created, it is best to avoid Representation at first. Notan must not be
confounded with Light and Shade, Modelling or anything that refers to
imitation of natural objects.
The beginner may imagine that not much can be done with flat black against
flat white, but let him examine the decorative design of the world. He
will find the black and white check and patterns derived from it, in old
velvets of Japan, in the woven and printed textiles of all nations, in
marble floors, inlaid boxes and architectural [NOTAN IX. No. 43.]
ornament. The use of these two simple tones is as universal as Art itself.
They appear in the black vine on the white marble floor of the Church of
the Miracoli at Venice; on the wall of the Arabian Mosque, and the frieze
of the Chinese temple. They have come into favor on book covers and page
borders. Aubrey Beardsley went scarcely beyond them. R. Anning Bell and
other artists have boldly carried them into pictorial work in the
illustration of children’s books.
These facts will show the beginner that no terms are too simple for
artistic genius to use. Moreover a limited field often stimulates to
greater inventive activity.
[No. 44.]