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.
EXERCISE
Choose a textile of the best period, say Italian of the XVth or XVIth century; copy or trace the line and play upon this several notan-schemes of two values. You will at once discover how superb the spacing is in these designs, but your main thought is the creation of new dark-and-light ideas upon the fine old pattern; p. 65.
The Oriental rug affords an excellent line-scheme for practice in notan. As composition it is a combination of two principles: Subordination and Repetition. Copying a part or the whole of some good rug—in line and color—is the best way to become aquainted with the spacing, motives and quality. Then design a rug with border and centre, the shapes to be pure inventions or symbols. Border and centre must differ, and there are many ways of doing this even in two values, for instance: Border: Black figures on white ground. Centre: White figures on black ground. Border: White figures on black ground. Centre: Black figures on white ground. Border: Small figures. Centre: One large figure. The illustrations, pp. 65, 66, give some idea of the possibilities of tone-composition in textiles and rugs. The exercise points to one good way of using museum collections and art books.
