The instructor chooses one of the best flower compositions done under
Line, or draws a flower in large firm outlines on the blackboard, avoiding
confusing detail, and giving the character as simply as possible. The
pupil first copies the instructor’s drawing, then he decides upon the
shape into which to compose this subject—a square or rectangle will be
best for the beginner. He makes several trial arrangements roughly, with
pencil or charcoal. Having chosen the best of these, he improves and
refines them, first on his trial paper, and later by tracing with brush
and ink on thin Japanese paper. Effort must be concentrated on the
arrangement, not on botanical correctness.
[Flower Compositions.]
Many line compositions can be derived from one flower subject, but each of
these can in turn be made the source of a great variety of designs by
carrying the exercise farther, into the field of Dark‐and‐Light. Paint
certain of the areas black, and at once a whole new series suggests
itself, from a single line design. To the beauty of the line is added the
beauty of opposing and intermingling masses of black and white; see below
and p. 64.
In this part of the exercise the arrangement of shapes of light with
shapes of dark, occupies the attention, rather than shading, or the
rendering of shadows. Hence the flowers and leaves and stems, or parts of
them, may be black or white, according to the feeling of the student. Let
him choose out of his several drawings those which he considers best. The
instructor can then criticise, pointing out the best and the worst, and
explaining why they are so. A mere aimless or mechanical blackening of
paper, without effort to arrange, will result in nothing of importance.
The examples show the variety of effects produced by flowers of different
shapes, and the beauty resulting from schemes of Dark‐and‐Light in two
values.
[Flower Compositions.]
[Notan variations on lines of fine old textiles. Rug designs in two
values.]
[NOTAN IX.]