XV.—COLOR DERIVED FROM NOTAN
One approach to Color may be through Notan, either before or after studying color theory. By clustering lines tone is produced (page 54); by tingeing neutral grays Color is produced. In monochrome itself fine relations of notan will suggest color. Japanese ink painters enhance the harmonies of tone-composition by mingling slight quantities of hue with the ink. Faint washes of yellow in foregrounds, of green in foliage, of blue in sea and sky, of red and other colors in buildings and costumes, convey impressions of full color-keys.
Etchers and lithographers often add a few touches of color not only as a contrast to the grays, but to cause the beholder to imagine the whole color-scheme. The effect of modifying neutrals with hue may be observed in the following
EXERCISE
Prepare a set of three gray washes, light, medium, and dark (page 83) in three white dishes. Japanese ink will not mix with our water colors; use Ivory Black with a touch of Burnt Sienna to bring it to neutrality.
Having settled upon a color arrangement for some simple design, mix a small quantity of color into each dish. Suppose the subject to be a tulip panel in three values:
| 1. | Leaves—middle yellow-green |
|---|---|
| 2. | Flower—middle red-yellow |
| 3. | Background—light yellow |
Add to 1st dish a yellow green (Prussian Blue and Gamboge); to the 2nd Vermilion and Gamboge; to the 3rd Raw Sienna. Paint these notes upon the design. (See opposite page.) Make a half dozen tracings of the same design. As each one is painted add more color to the washes until the last one has a very small quantity of gray. The result is a series in which color grows gradually from neutrals. No. 66. Next, use bright and gray tones of the same hue, an effect like faded rugs and age-stained Japanese prints. Dulling colors with gray may not harmonize them. One who appreciates fine quality is not deceived by those who “antique” rugs or prints with coffee and chemicals. A design poor in proportion, weak in notan and harsh in color cannot be saved by toning—the faults are only a little less apparent.
ONE HUE and NEUTRALS. Another approach to color, from notan, is through substitution of hues for grays. This might (in a short course) follow exercises in five or more values (page 89.) Referring now to the scales of five and seven values, for application to a design, [pg 114] substitute a hue for one of these grays, carefully keeping the value. If the subject be a variation of a Coptic textile, a warm red or yellow-green may be chosen; for a flower panel, bright yellow, yellow-red or emerald green. Excellence in result will depend upon distribution of the one hue among neutral tones.