A line‐scheme underlies every notan composition, and a notan‐scheme
underlies every color composition. The three elements have the closest
relation one to another. For purposes of study, however, it is necessary
to isolate each element, and even the separate principles of each.
In the present instance, Notan can be separated from Line by taking a
line‐design of acknowledged excellence and making many Notan variations of
it; being sure of beauty of line, the only problem is to create beauty of
tone. As this brings in historic art, let me note that the works of the
past are best used, in teaching, as illustrations of composition, (p. 40).
While the knowledge of a “style” may have a commercial value, it has no
art‐value unless the designer can make original and fine variations of it,
not imitations.
The first essential is to appreciate the quality of historic examples,
hence the student should work from the objects themselves, from
photographic copies, from tracings, or from casts. The commonplace
lithographic plates and rude wood cuts in some books of design are useless
for our purpose. They give no hint of the original. If the actual painting
on an Egyptian mummy case is compared with a page of one of these books,
the poor quality of the latter is instantly apparent. Chinese and Japanese
“ornament” in most of such books is of a flamboyant and decadent sort. The
facsimile copies of Greek vases usually belong in this same category.