MANN
LIBRARY
New York
State Colleges
OF
Agriculture and
Home Economics
Cornell University
DATE DUE
ia-8rv
1.--
..^ir^9^^
YLORD
NC 740.D7
1903
3 1924
COMPOSITION
A SERIES OF EXERCISES SELECTED
FROM A NEW SYSTEM OF
ART EDUCATION
BY
ARTHUR
W.
DOW
New
York
4iWPWfflf
PART
FIFTH EDITION
NEW YORK
W. Dow.
CONTENTS
PAGE
NOTE
Squares
Variation
III. Examples of Beautiful Straight Line Arrangement
IV. Landscape
V. Examples of Pictures Composed on Rectangular Lines
VI. Repetition Oblique Lines
VII. Landscape Arrangement
i6
I.
i8
II.
..........
.......
.......
,
21
24
27
29
32
DARK-AND-LIGHT COMPOSITION
Notan
Notan of Line
VIII.
IX.
XI.
...
........
......
FLOWER COMPOSITION
XII. Line and Notan of Two Tones
36
38
41
44
46
DARK-AND-LIGHT COMPOSITION
XIII.
50
FLOWER COMPOSITION
XV.
XVI.
......
........
......
56
58
60
BOOK-PAGE COMPOSITION
XVIII.
.....
62
64
PAGE
LANDSCAPE COMPOSITION
XIX.
DARK-AND-LIGHT COMPOSITION
Three Tones
Three Tones Flowers
XXII. Three Tones Landscape
XX.
XXI.
68
72
75
BOOK ILLUSTRATION
XXIII.
76
ADVANCED COMPOSITION
XXIV.
Many Tones
79
83
NOTE
THE
title
NOTE The
modern days, an
the theories of Leonardo
art-instruction of
out-growth of
da Vinci, and the practice of later Renaissance and French academic artists, is too
largely scientific. The pupil, from the
very beginning, is forced to concentrate
his energies
of
pression
expression, or in other
words, a composition. Unless appreciation has developed despite the crowding
skill in artistic
But
new
and hand
we
power
of expres-
sion.
drawing will
come as a natural growth, and knowledge
of perspective and all other requisites
During
tion,
and
find that
it
rest.
It is
not
my
from which
by which an instructor
can be guided, and exercises and examples suggestive of ways of carrying out
offer a principle
the principle.
mode of self-education.
The author is greatly indebted to his pupils, who have so kindly offered examples
of their
have
in
ways
who
York, 1898
THE
coes, or they
may
The
line of
and
2, is
bold and strong, and varies with each object drawn. The character and texture of
houses, rocks, trees and marsh grass are
suggested in the line.
The line of Sesshu, Nos. 3 and 4, is angular, rugged, and vibrating with the nervous force of the artist's hand.
The line of Kano Yusho, No. 5, is graceful, but sharp and crisp.
The school of Kano Tanyu, Nos. 6, 7, 8,
and 9, is readily recognized by the peculiar
quality of the slap-dash, picturesque line.
Okumura Masanobu, No. 10, puts into his
simple curves the classic purity of Greek
line.
N?
6 TC
perhuman beings
compositions.
Leonardo's, No. 12, combine delicacy and
absolute power.
Millet's strength lies largely in his line.
There is more than truth in it; there is
beauty and character and intense meaning. (No. 13.)
To produce lines so expressive requires
complete control of the hand, guided by
a disciplined creative mind. It therefore
seems proper that the student should, at
the outset, enter upon a training that will
give him such control and discipline.
of his
LINE-
DRAWING
AND
MATERIALS
MATERIALS
There are many implements
drawing
and so
tion:
ing, or
it
will
crumble
to pieces.
and
the tone.
it
laid
can be
or
clined.
tion,
Lir\4
or
WAh
steadying
it
Japanese paper
is
to be preferred, as
Mannei'
it is
o[-
holdmo
th<
6i'ush
LINES BY
VARIOUS
MASTERS
(See page
yj
in the
Museum
of
No.
No.
2.
Soga
I.
Shubun
Sog-a
Shubun, Japanese,
XV
No.
3.
LINES BY
VARIOUS
MASTERS
(See page
7)
No.
No. 9.
Page 10
4.
Sesshu (Japanese)
Kano
XV
century
No.
No.
5.
8.
century (fragment)
(fragment)
LINES BY
VARIOUS
MASTERS
(See page
Michelangelo
No.
7.
Kano Yasunobu,
XVII
century (fragment)
Michelangelo
Page
II
7)
LINES BY
VARIOUS
MASTERS
(See page
7)
%r
<4:,
PSf jk'V,?^,
No.
12
^^n
id
No.
No.
Page
12
13.
J.
F. Millet
II.
Michelangelo
Dip it into the ink, and holding it perpendicular to the paper, draw your line. It
must be held in a perpendicular position
in order to move freely in all directions
as does the etcher's needle.
The line is not drawn with the fingers, but
by a movement of the wholehandand^arm
in
force.
little
finger
on the
paper.
start,
down
till it
weakness
tionable
uality
Poor
lines
weAK
Brush
may add to
and
Good
13
from
in
line*
wronQ
- tju(c/c/y
fosU'ton
dr&vwr\
LINE
DRAWING
AND
MATERIALS
LINE-
Examples
DRAWING
AND
are
shown
of
EXERCISE
MATERIALS As
<
M
A STARTING POINT
A
is
work
of fine art, in
PrtcKi,
imti''
(rUu.cew Jt)
cation
14
and experience.
that
I.
LINE
2.
3-
COLOR.
membered
is,
shapes.
(The
first
two only
will be considered in
this book.)
Study
in
Proportion
effect
it
must be
re-
Tower.
not the only starting point. There
others, but we will choose this
and begin our series with Straight Line
Composition.
This
are
is
many
of di fere nt ^pAcinc;'
dnJ g'l-ouping
15
LINE
DRAWING
AND
MATERIALS
STARTING POINT
LINE COMPOSITION
I.
.AINTING
SQUARES
make, keepingthe same general plan. This
is
exercise may be much prolonged, if necessary, but the pupil must constantly set
The
We
straight lines
If
No. 14
as
and grouped
it is
is
in outline only.
areas.
But with
room
metrically
line;
if
new
tracing.
in
EXERCISE
may be
irregu-
for inventive
selected drawings
tistic quality.
genius,
The
still further improved; then stretch Japanese paper smoothly over them and trace
in firm, black ink-lines, with the unaided
hand. Continue the tracing until the drawings are as good as possible in proportion
and the line executed with feeling for ar-
ly
judgment.
a square
This exercise
if
others.
carried on under compe-
have begun
in a small
way a development of
1. The Inventive Faculties.
Appreciation of Beauty, and
3. Power of Expression,
being purely and wholly an artistic effort.
2.
16
Nvy
V4riil(on
of-
N?
17
LINE COMPOSITION
II.VARIATION
THE
The
ways
times
when
is
creator.
tends to the very opposite of the convento a findtional and the commonplace'
ing for one's self ever new ways of ex-
pression.
EXERCISE
In the last chapter Variation was introduced, but only in the interior lines, as a
square is not variable. A step beyond this
is to choose a shape where both the
boundary and the interior lines are variable. The Rectangle is one such shape,
it is self-evident that the modifications
of its proportions can be numberless. The
composition of lines in this shape can be
treated in two ways:
1. The Rectangles being made all of the
same size and proportion, but interior lines
varied, as in No. i8.
2. The same Interior system but the
border varied, as in No. ig.
The
instructor chooses
some simple
ar-
possibilities of his
within a rectangle, sketches the idea upon the blackboard for the class to draw in
pencil or charcoal, and requires them to
mind, and
boundless
teach him to avoid the conventional and
i8
LINE COM
POSITION
_:~ y^^^^"
TION
make
The
Page
20
one
may
be very slight
it
beautiful
can be
felt,
LINE COMPOSITION
III.
AN
is
work
of fine
LINE ARRANGEMENT
changes
and
variations.
The
main
lines of the
structure.
and the best way A Venetian palace of early period. No. 21,
to help the pupil to see and appreciate that presents this rectangular beauty in an
beauty is to call his attention to it as an entirely different way. First, a vertical
illustration of a principle. Let him see line divides the fagade into two unequal
what a master has done with the very but balanced proportions; each of these
problem which he is trying to work out. is again divided by horizontal lines and
If you have given him curved line comby windows and balconies into smaller
as
a
show
him
one
of
the
position
subject,
spaces, the whole forming a perfect harbest examples of it that the world has mony
each part related to, and affected
ever known, theVictory of Samothrace. by, every other part.
His previous efforts to evolve compo-, The wall of honor of a Japanese room is
sitions of curves will at once give him
arranged in this same rectangular fashion.
the key to an appreciation of the statue. No. 22. A vertical line, as in the Venetian
The purpose of the present exercise is to palace facade, divides the whole space
show the student how the simple straight- into two one of these is further divided
line beauty of which we have been speakinto shelved recesses, or cabinets with
ing may appear in things great and small, sliding doors the other is for pictures
from a cathedral tower to a cupboard shelf. (kakemono), no more than three of which
The campanile of the Cathedral of Flor- are hung at a time.
art is that
it is
beautiful
21
LINE COMPOSITION
III.
EX-
AMPLES OF
BEAUTIFUL
STRAIGHT
LINE ARRANGE-
MENT
No. 23 shows three of these shelf arrangements. As in their other design, the Japanese manifest no end of invention in the
manner of filling this space. They publish books with hundreds of designs, no
two
Tl
. J
N?ZO
alike.
(
EXERCISE
trdced from
better
way
can he be made to
feel their
and a strengthening
faculty,
is
of the creative
making the most exact copies posany measurement whatever), the pupil must invent designs of his
own, on the same general plan, but varied
After
sible (without
he can originate.
This, and all these exercises,
summed up in two words
APPRECIATE
ORIGINATE
may
be
it
<^
-3
n
1
IzittM-J-Jh
'-I'zyjiUh'!
m&in
Li
H
tiiM>-ftrac<l)
'
2.1
i<ilr
ccmpositten
SiJebeud
of
XVctnT. ar^tfj
xjh
,-c (>toto
(nrmriri
y^'''^t49}.1,
>
Nns
____
L___
J
Page
23
LINE COMPOSITION
IV.
^HE
modern
LANDSCAPE
arbitrary division of
Even
a portrait was first of all a composiwith the facts and the truth subordinate to the greater idea of a beauty of aesthetic structure. Training in the fundamentalprinciples of Composition gavethe
artists a wide field
they were at once
tion,
picture-painters,
and
decorators,
architects
embody
his
Campanile of Florence.
Following this thought of the oneness of
of the peerless
Abstract design
is,
as
it
In the picture they are not so obvious, being found in complex interrelations and
The
of painting, in
pictures.
sition
Insistence
24
of Arrange-
tion
lowing:
EXERCISE
No. 24
this
of a large drawing.)
Then to experience
the creation of fine rectangular proportions in landscape, and the setting of the
subject into a space
arrange this in rectangles of varying shape, some nearly
whole landscape
must be retained
change the
in order
not to
subject.
way.
It should be clearly understood that we
are here using landscape merely as an il-
lustration.
The
art of
landscape painting
is
proach
it is
ercises.
it,
whether
25
LINE COMPOSITION
IV. LANDSCAPE
Page
26
LINE COMPOSITION
v. EXAMPLES OF PICTURES COMPOSED ON
RECTANGULAR LINES
GREAT
were not
and designers
the only ones to use this
simple line-idea
the masters of
architects
lines, cutting
beautiful proportion.
Puvis de Chavannes,
in his
mural paint-
majesty and
repose by the vertical lines of his Elysian
Cut No.
examples need further explanaare beautiful, even when divested of color and dark-and-light, because they are built upon a few straight
lines, finely related, and a few delicately
of these
tion.
They
proportioned areas.
EXERCISE
These examples can be treated in the following manner:
1
Copy exactly as nearly as can be done
by the eye, without measurement.
2. Draw enlarged, keeping the same rela-
tive proportions.
3. Vary each of them by changing the
proportion of the boundary and interior
lines.
4.
Find
in
Draw
a;
27
all
Hir"QtJlg'
Ctrfet^i f i->-.
C9lor4L ^n>.t
NT7
,)
*,
T>ie
Aiir.anaction
Piero
<icll<l
Frc.rvccst4.(tr4clii^)
ifc?
^ f4
(IMmn
1
A^
Wf^
Hiroi'i +riit
Five
Page
28
frK y GlotCO
exAmpl5
ot
(tr.u'n^)
recttn^ulir
som|>*jllin,
(5*Vf<<i7)
5KK^ Irom Ap,ci\ire
fe^
whisfler
N?i6
LINE COMPOSITION
VI. REPETITION OBLIQUE LINES
WE
have thus
far kept to
one
way
The development of this kind of compositaken up in connection with Darkand-Light, in Section XIV. Consult also
tion
each
is
of
sidered.
Nos.
scape shown in Nos. 31, 32 and 33. Repea line-music of a very different
character from that wehavesofar studied.
It is, perhaps, the oldest form of design
the savage uses it when he ornaments his
pottery with rows of straight marks.
tition is
EXERCISE
The oblique line only will be studied here.
copy the examples of brackets, and
the designs where an oblique line is
drawn or suggested for the sake of softening a right angle. Then find other examples in photograph, cast, books, buildings,
First
all
few
lines as possible.
Indian pottery
found at
I^iwUK Mas*.
29
churches
TITIONOBLIQUE
pavement
LINES
of the Cathedral of
scription of their
color,
how
would demonstrate
great an art
may
to the student
lie in
these appar-
high order.
Those design-
"^iV
IJ'J7
\y\?
LINE COMPOSITION
VII.
LANDSCAPE ARRANGEMENT
IN
bination of lines for an aesthetic combination. There is no special virtue in a rectangular scheme or any other in itself; it
is the treatment of it that makes it art or
not art. Many a commonplace architect
has designed a tower similar to Giotto's,
a:nd many a dauber of oil paint has constructed a w^ood interior on a line-plan resembling that of Puvis. So the mere do-
32
here
is
and
he must do by
this
art.
His
art will
mean
ideas
don't
to learn at once."
them
Page
33
LINE COMPOSITION
VII. LAND-
SCAPE
ARRANGE-
MENT
EXERCISE
The problem
which
is,
teaching. He can
bring the pupils up to the height of his
own appreciation, and perhaps no farther. The best of systems is valueless
without this personal artistic guidance.
At this stage of landscape composition,
the idea of Grouping can be brought in, as
a help in arranging sizes and shapes.
very core of
all art
34
There is a certain beauty existing in a contrast of large and small. It is the opposite
of Monotony. For instance, compare a
street where there is variety in the sizes
of buildings and trees, with another of
rows of dull ugly tenement blocks.
Ranges of hills, spires and pinnacles,
clumps of large and small trees, clusters
of haystacks, or even the disposition of
things on a mantel, will serve to illustrate
this idea.
(i.e.
rule out of
principal and
are
all alike,
or nearly so
for example,
and 33,
in
to
rows
of willows, or
Nos.
31, 32
Section VI.
o___/^
1
DARK-AND-LIGHT COMPOSITION
VIII.
NOTAN
WE
The
study of
the separate principles, also the whole
poning
subject of Curved Line, and the composition of other varieties of Line except as
they appear in the landscapes, flowers
and patterns
of these exercises.
LINE
DARK-AND-LIGHT
COLOR
We
we may
word
Orientals,
who have
never consid-
Some
of
Dark-and-Light
that
not considered in
school curricula, except in its limited application to the representation of things.
The study of "light and shade" has for
its aim, not the creation of a beautiful
idea in terms of contrasting masses of
light and dark, but merely the accurate
rendering of certain facts of nature,
hence is a scientific rather than an artistic exercise.
The pupil who begins in
this way will be embarrassed in advanced
work by lack of experience in arranging
and differentiating tones. Worse than
that, it tends to cut him off from the apis
preciation of one
works
" effect,"
As
of art.
whole
class of great
in the case of Line, so
again in this
36
is
tion.
and
The
art.
To
attain
power
an appreciation
to create with
of
Notan, and
the following
fundamental fact must be understood,
namely, that a placing together of masses
of dark and light, synthetically related,
conveys to the eye an impression of
it,
mere
where there
is
but a
hint of facts.
The modern
may be overcome
1.
By acknowledging Notan
ment
as an ele-
2.
By
distinct
attempting
tion.
As in the case
of Line, isolate
its
simplest
lems.
37
DARK-ANDLIGHT COMPOSITION
VIII.
NOTAN
DARK-AND-LIGHT COMPOSITION
IX.
NOTAN
AS
who
have recourse to
They widen lines, vary
lines,
this principle.
their depth of
tone, glorify
that
EXERCISE
Choose some
of the previous
line patterns,
lines, as illustrated in
geometric
of the
the plate. Inciden-
OF LINE
good brush
drawn
at
of the brush
practice,
one stroke.
down
to the
EXAMPLES
OF NOTAN
(See Section VIII)
No.
40.
10)
M^^'l
No.
42.
Kakei
No.
41.
Page
39
Page 40
DARK-AND-LIGHT COMPOSITION
X.
NOTAN
THE
OF
last
Dark-and-
we
In this
and
blot-
lights
from photographs
and the
black ink
wash as more in harmony with our series,
and a starting point that experience has
proved to be satisfactory.
The aim must be to feel and understand Notan as something by which beauty may be created, hence it is best to avoid
Representation at first
not to confound
"
Notan with light and shade," " modelling," or anything that refers to the imitation of natural objects.
Having found a straight-line pattern
which is fine in its proportions, we will
add to it this new kind of beauty, and as
much of it as can be expressed by the extremes of Notan, black against white. It
is apparent that we cannot reduce Darkand-Lightto simplerterms than these two
straight-line pattern
flat
and other
work
boldly carried
them
in the illustration of
children's books.
These
facts will
genius to use. Moreover a limited field often stimulates to greater inventive activity.
artistic
EXERCISE
Theprinciple of Variation comes into this
exercise with special force, for each linedesign admits of several Notan arrangements. The student should be given at
Let him
first a pattern with few lines.
draw
tones.
artists have
into pictorial
DARK-AND.
LIGH COMPOSITION
X. NOTAN
OF TWO
TONES
STRAIGHT.
LINE PAT-
TERNS
add the ink wash. Having once obtained a good pencil drawing,
let him make several tracings from it, and
then darken certain spaces with clear
black ink. A round Japanese brush,
short and thick, will be needed for this
work.
The examples show how this kind of
problem has been handled.
fore he begins to
warn the students that mere inventive acnot art. Any one can, with patience, evolve a multitude of straight-line
shapes that may serve in a rug border.
No end of grotesque and ugly designs can
be produced. The teacher must guide
the young mind to perceive the difference
between creating beautiful patterns, and
tion
is
mere
fantastic play.
In like
RUGS
The
manner those
Border
Border
Centre
Small
One
figures.
large figure.
Large figures.
Centre Small surface pattern, etc.
Copying the design of some good rug
would be valuable practice preliminary to
Border
this exercise.
The
it
necessary to
gifted with
Centre
little
'ii^y^V,*,'/^
1>%L
4f
MSSit
DARK-AND-LIGHT COMPOSITION
XI.
EAUTY
TWO TONESVARIATION
the actual painting on an Egyptianmummy case is compared with a page of one
of these books, the poor quality of the
latter is instantly apparent. Chinese and
The
With
these are
of old textiles.
44
it.
HIP
4|
Bl
rWaBBB
HlkMnl"
win
Jie
^:J|iig|SJs
51
;^i
A hand
pji
FLOWER COMPOSITION
XII.
jects for
and sculptors since the beginning of Art, and the treatment has
ranged from abstractions to extreme realism from the refinements of lotus-derived friezes to the poppy and rosewall-
OF
The
may
be rendered realistically, as
in some Japanese design, or reduced to
an abstract suggestion, as in the Greek,
without in the least affecting the purpose
in view, namely, the setting of its lines
into a space in such a way that beauty
shall result
in other words, making it
serve as a subject for a composition exflower
ercise.
It is
EXERCISE
The
confusing detail, and giving the characsimply 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
ter as
botanical correctness.
and
compositions
sought,
that can be left to the botanist
but rather an irregular pattern of lines
for painters
TWO TONES
46
at
1^^^
JdjiAriese
Jifxi^neie
fa,ba.acac
Page
47
Page
48
In* this
with shapes of
ment
dark, occupies the attention, rather than
shading, or the rendering of shadows.
of
shapes of
light
Hence
use his
49
own
COMPOSI-
TION
FLQWER
subject matter.
XII. LINE,
ANDNOTAN
OF
TWO
TONES
DARK-AND-LIGHT COMPOSITION
XIII.
NOTAN OF LANDSCAPE
THE
ly to the
TWO TONES
attention
upon
the
them to
of,
comprehend the
It
eesthetic quality
Moreover, to
William Morris Hunt.
spend so much effort upon modelling is
of doubtful value, for Painting is essen-
two dimensions.
"When a painter makes roundness and
solidity the chief aim of his work, he goes
outside of his art and enters the province
In the best
Dark-and-Light.
In a mural painting extreme roundness is
a fatal defect a striking illustration is afforded in the Pantheon at Paris, where
;
50
Page
51
DARK-ANDLIGHT COMPOSITION
XIII. NO-
TAN OF
LANDSCAPE
TWO
TONES
but
all
of line, tone,
illusion
and
of his
seem
landscape.
The
and
other
to
interested
EXERCISE
them must
tones.
To more
ways
1. The student sets it into a border, and
when its proportions are satisfactory he
traces it on several sheets of paper and
the effect of painting certain spaces
tries
black.
in this kind
great
not
all will
be
fine.
Not number
is
re-
into borders
purpose
we
showing the arrangement of Dark-andLight reduced to two tones. This will give
explain both
tones.
a hint of these
So
52
(MiGn^ 1rl>0)
liepolo
ScuvU
N?49
EJTIansT
On
ih
Bh
y^.
Stymour Ha4*a
(cTchiaf
A.M&uve.
Fortuity
JFMiilet
Corot
She/)-h4rcrs
'
T-"
SnikKt -Cli4rinr
IS.
JvKSgSWiJS
*.
.^
Section VI Repetition was mentioned as one principle by which linemusic may be composed; a simple
kind of beauty to which even the savage
gives expression, instinctively, by rows
of lines upon his pottery or his blankets.
(See No. 30, page 29). That primitive
pattern easily developes into the design
known as the "meander" or "Greek
fret," one of the oldest ornamental devices. Its severe beauty is found in perfection in Greek design but the Egyptians, Chinese, Aztecs, and others, the
IN
EXERCISE
The problem
ways:
I. Taking as elements a row of straight
marks, or lines and dots,
develope, by means of repetition, both
borders and surface patterns. No. 51 il'
lustrates the
manner
'
'
'
'
"
2.
OF
TWO TONES
meanest kind.
Invention is desirable, but a great number of designs thoughtlessly produced
will be of no value.
First make sure
tnat the unit or the theme which you intend to repeat is itself beautiful. If it is
composed of a few lines, see that they are
well proportioned, one to the other, and
delicately spaced. Then you may use
Repetition to give a subtle quality of
musical movement.
The
line patterns
two
tones.
may be translated
into
etc.)
working. In this
part of the exercise no area is enclosed by
the lines the beauty is that of a rhythmical marking off of space. This kind of
design is particularly adapted to textile
of
fabrics.
56
Cflptic
Border
:i:
11
l:
:|:
:|:
:|:
f[l[![!!l!!!l
fitiilehliliiH
14^ IH^..,.
xxxxx
xxxxx
xxxxx
xxxxx
xxxxx
N5i
^v^^
r52
N54
iiAJiSlLi^
hfiJtiJK'M
NS3
Page
57
FLOWER COMPOSITION
XV.
BORDERS
ex-
in
ercise in the
arrangement
of shapes,
IN
TWO TONES
ficult;
it
is
enough
for
him now
to let the
EXERCISE
The examples accompanying
this exer-
These
compositions can be worked out in charcoal or ink. Many small rough sketches
or plans of the arrangement should be
made first and the best of these chosen
for further elaboration.
may
If
Page
59
FLOWER COMPOSITION
XVI.
DEMONSTRATION by means of
always a powerful
impressing an idea upon
illustration is
means
of
know
of
IV,
As
many
We
of art.
60
^f
9^
Page
6i
BOOK
cover
is
first
the
question
division
is
into
possible.
its
Each
letter
elements (as
lines),
design.
may
The
be reduced
to a set of three
a part of the
Notan-scheme of a book-page.
Considering the text as a gray
J tone, combined with a white
margin, the initial comes between the
two as a sort of focal point or accent,
like the sharp touches of black in ancient
are
beautiful
to
NITIALS
like
any
line
62
pages ii and
EXERCISE
rUDENTSshouldmakemany
small preliminary sketches for
book covers, not attempting a
large drawingtill a definite and
satisfactory plan of arrangement has
been reached. Let them study good
examples in the libraries. Reproductions or photographs of the fine old
bindings will be valuable illustrations
of dignity of style.
title
(see
THE
IMACINAI\Y
MAGAZINE
A
Collection oF Desi^MS
for BooK. Ulust rations
v/*-/*^
IVo. I, Deceml^er,
MDCCC XC
VIII.
BOOK-PAGE COMPOSITION
XVIII.
THE
art in
book
illustration lies
be of irregular shape,
edges require
may be
blend well with
its
the type.
As a beginning in illustration the student
ought first to practice setting an outline
landscape upon a page, following this
work.
No. 57,
black and
No. 55 exemplifies the outline
No. 56, two tones with border.
two tones with no border.
(
LANDSCAPE COMPOSITION
XIX. TWO TONES JAPANESE EXAMPLES
They
in "spotting," to aid
the
memory
of those
who had
himself.
Nos.
62, 63,
more recent
and the
rest,
are examples of
N58
Two sKeUhei
of
compositions by
old mdsfers
tf
XVm tenT
P.ge
85
From
Pmge 66
J<iba,iiesG
boofc.^
X YH/
c-^ntvry
iMdttMiauiVMiiWA
N'^GQ
N'^GI Thc'spoUmo'ofa
(Irom
see
N"62
0r(^'(n4l
a sketchbook
pajes
jMcturcby Scsshu,
of TKe Tdnyu. School^
J,;0,37.}Q aliof>-5'3.
N''63
compo
SitiOnS from a
SKetch book oi
the Shijo school
Page
67
DARK-AND-LIGHT COMPOSITION
XX.
THREE
black
CLEAR
strong
a
work
whole new
in these
With
TONES
real."
darkness by which
to
it
lightness or
affects the tone next
is its
it.
ment
EXERCISE
For
ed two
new
Page
69
To illasbdte Sec XX
Page
70
when
sloppy and
uneven it loses force and interest. In beginners' work and in decorative design
flatness is necessary. But of course in ac-
judged
it is flat.
If it is
Coiv\(3ostion by
"Ribot
- Jce
Section
Vm
Page
71
DARK-ANDLIGHT COMPOSITION
XX. THREE
TONES
DARK-AND-LIGHT COMPOSITION
XXL THREE TONES FLOWERS
THE
examples with
sufficiently
explain
comparison
this section
themselves.
with the
The
of these
a place in book-illustration.
irregular shapes in flower composition will probably necessitate the use of
Page
72
Flowers to
tl-
XX
see pp. 70 Jl
la^trdtc Sec
Lan<i5Ca,pG5 to
la^triite
see
tl-
Sec.XXll
pp-l^jr
Page
73
;%
t.
^>!!
i^-^'--
p.
'''*!'
'^"''\
'^M!^
i?iiiuy
"*
'
I'll
'"I
iSiliiiiiiM^^^^
'^^aM^cv
DARK-AND-LIGHT COMPOSITION
XXII. THREE TONES LANDSCAPE
EXERCISE
IN
his attention
above
aquatint.
all else.
Many
In
It
duced.
75
is
BOOK ILLUSTRATION
XXIIL THREE
THIS
rangement
MORNING
...
may
IN THE
MARSHES
"fcl^
^'^:'k
tM^^ri,
Page
iiiri
"''-"
78
ADVANCED COMPOSITION
XXIV.
MANY TONES
Advanced composition
is
only a working
more com-
to attempt
line
We
Michelangelo's
Its
etchers.
description in words.
plex
its
nard.
this
tury),
larly
kawa Moronobu
79
i8th),
to Hiroshige.
ject in a
sketches for pictures, worked out in charcoal by young students in the author's
to
of
ADVANCED
This section
COMPOSITION
XXIV.
MANY
TONES
is
illustrated
with a few
Page
80
JV
**'"-...
composition
to
nately as Representation.
Jf\e
Page
8l
Di'uid priests
vvors/iippino a1
suni'is*^
Page
82
ISkelch
u three tohe^l
called this book Part I, because other treatises may follow, taking up the subjects more in detail, including principles not here mentioned,
and giving still fuller illustration of the
system's development in Line, Notan
and Color.
I have purposely kept
to a broad and
general survey of the field of composition, as a more detailed consideration of
composing
rightly
ways
hence, in order to be
special explanation
6i)
and
embodied
in the
mode
of expression.
Such a detailed
would make
vague
subject of Composition.
illustration, for
Page
83