COLOR

[pg 100]COLORXIV.—COLOR THEORYColor, with its infinity of relations, is baffling; its finer harmonies, like those of music, can be grasped by the appreciations only, not by reasoning or analysis. Color, in art, is a subject not well understood as yet, and there are violent differences of opinion among artists, teachers and critics, as to what constitutes good color-instruction. The most that I can do here is to outline a simple method of study. The usual advice of the academic painter to“keep trying,”is discouraging to the beginner and increases his confusion; it is not in accord with good sense either, for the other arts are not attacked through timid and aimless experiment. An artist may say that a certain group of colors is a harmony; the pupil cannot see it, but he takes the master's word for it. The artist is not teaching successfully unless he points the way to appreciation, however hard or long it may be.A systematic study of line and tone is very profitable, as we have seen; I believe that color may be approached in like manner, and I shall attempt now to relate the treatment of the color-element (chapter I) to that of the other two, and to give some results of personal experience.Those who have but little time for work in color, can spend it best in copying, under guidance, examples of acknowledged excellence, like Japanese prints, Oriental rugs, and reproductions of masterpieces. Contact with these, even looking at them (if the pupil is taught what to look for), will strengthen the powers of color perception. In schools where the art periods are short and few, this may be the only method possible. (See p. 13 and chap. XVI.) For those who intend to use color in creative work a certain amount of theory is indispensable, as it simplifies the subject and opens up a few definite lines of research. The word“theory”has become a kind of academic bugbear, yet Leonardo da Vinci said that the painter who works without a theory is like the sailor who goes to sea without a compass. Well-ordered thought is as necessary in art as in any other field. Theory is a help to clear thinking and gives direction and purpose to practice. Color, however complicated, may be reduced to three simple elements:HUE,—as yellow, blue-green,NOTAN (or Value),—as dark red, light red,INTENSITY (or Bright-to-gray-ness)—as intense blue, dull blue.Color harmony depends upon adjustments in this three-fold nature. If a color-scheme is discordant, the fault may[pg 101]be discovered in,—wrong selection of hues or weak values, or ill-matched intensities, or all three. This simple classification reduces the perplexities that beset the student, by showing him where to look for the cause of failure. The words“Value”and“Chroma”are used in this connection by Albert H. Munsell, to whose book“A Color Notation”the reader is referred for a very convincing exposition of color theory.Mr. Munsell has invented a photometer to measure values of light and color, and has prepared scales, spheres, charts and pigments for school use. My own experiments in making circles of hues and scales of notan and intensities, were based upon the old theory—Red, Blue and Yellow as primaries, Green, Orange and Violet as secondaries, etc. At that time (1890) the progression from bright to gray was not recognized as a distinct element of color, but in art-educational works difference of intensity was confused with dark-and-light; spectra for school use contained hues in violent contrast as to brilliancy and value.Science determined long since that the fundamental color impressions are not red, blue and yellow, but Red, Green and Violet-blue. Mr. Munsell adopts these and two secondaries, Yellow and Purple—five hues in all—as the basis of all color expression in art. This seems very simple and quite sufficient for working out all problems in color scheming. Note. Experiments as outlined below, are intended only to set the student thinking, in an orderly way, about the three dimensions of color.Dimensions of ColorEXERCISESHUE. To judge of the effect of one hue upon another, arrange the whole five, Red, Yellow, Green, Blue, Purple, in a circle making them equal in value and equal in degree of brightness, thus eliminating notan and intensity. In the centre of the circle (N) paint a note of middle value, chosen from the scale, p. 88. Then paint the other divisions R, Y, G, B, P with the five hues. When this is well done if the circle were photographed upon a color-blind plate, the result would be a flat tone of middle gray. No pigment is of the exact quality needed; red that is neither yellow-red nor purple-red can be mixed from Vermilion and Crimson; Prussian Blue is greenish, New Blue is reddish; some pigments are too light, others too dark. This exercise requires study of great importance to the painter, giving him a better acquaintance with his materials.Next, make a circle of intermediates, No. 63, by mixing adjoining hues; this gives five more notes—yellow-red, green-yellow, blue-green, purple-blue, red-purple. Bear in mind that these circles are[pg 102]only statements of relations, of the same use as a scale. The question now is of the art-use of them, of composing a harmony with them.APPLICATION. Choose a line-design, and paint the spaces with colors from the second circle. The effect will be peculiar because there are no differences of dark-and-light or intensity; the only harmony possible comes from interplay of hues, a kind of iridescence and vibration; see opposite page.Colors that stand opposite in circle—as blue, yellow-red; or red, blue-green—will, if placed side by side, increase each other's power and produce violent contrast. Opposition of Color is analogous to Opposition of Line (page 21) and Opposition of Notan (black and white). To unite these extremes of difference, bring in a third hue related to each, for example,—red, green-yellow, blue-green; yellow, yellow-red, purple-blue. This is the principle of Transition (page 22); see also page 82, three values.Practice in composing with few and simple elements, of deciding when contrasting colors are of equal value, or equal intensity, is of direct use in art. The landscape painter opposes the whole sky to the whole ground; he wants a vibration of color in each, without disturbing the values; the designer in stained glass sometimes desires to fill a space with iridescent color, perhaps as a background for figures.The student may, if he likes, use black with these colors, producing a very brilliant effect like a Cairo window; but here the hues are measured against black, rather than against each other. In No. 63 are shown two experiments in composing with HUE.NOTAN of COLOR. Draw in outline six scales, as shown in the diagram. Paint N in white, black and three grays (see page 88). In the spaces marked (a) paint each of the five hues—red, yellow, green, blue and purple, middle value and equal intensity.Notan of ColorNext, paint a lighter value (b) and a darker (c) making a notan-scale of each hue,—light red, middle red, dark red, etc. Observe that intensity diminishes toward light and dark. If the intermediates, yellow-red, green-yellow and the rest, are also arranged in this way from light to dark, you will have a set of notes for application in composition.APPLICATION. A line design may now be colored from one of the scales, say Blue. Hue and Intensity being eliminated, the whole effort is centred upon notan of color. This is an exercise in three values (page 83) using color instead of neutral gray. No. 64, p. 105.[pg 103]No. 63. Color Theory, HUE.[pg 104]No. 64. Color Theory, NOTAN of Color.[pg 105][pg 106][pg 107][pg 108]No. 64. Color Theory, INTENSITY, scales and exercises.[pg 109]More applications can be made than in the case of Hue; historic art is full of them. Dutch tiles, Japanese prints and blue towels, Abruzzi towels, American blue quilts, etc., are examples of harmony built up with several values of one hue. With two hues innumerable variations are possible. Japanese prints of the“red and green”period are compositions in light yellow-red, middle green, black, and white. Other examples can be easily found in the world's art. The student should apply the scale-notes to his own designs, not using, at this stage, more than two hues, with perhaps black and white.INTENSITY. Color varies not only in hue and value, but in intensity,—ranging from bright to gray. Every painter knows that a brilliant bit of color, set in grayer tones of the same or neighboring hues, will illuminate the whole group,—a distinguished and elusive harmony. The fire opal has a single point of intense scarlet, melting into pearl; the clear evening sky is like this when from the sunken sun the red-orange light grades away through yellow and green to steel-gray.This rarely beautiful quality of color can be better understood by isolating it and testing it in designs (as has been done with each principle, from Line onward; see page 21).Paint a scale with one hue, say Vermilion, keeping each space of the same value, but grading the intensity down to neutral gray.APPLICATION. Arrange these notes in a line design. As Hue and Notan are eliminated, the only harmony will be that of bright points floating in grayish tones (No.65). Other hues may be scaled and tested in like manner. Combine two hues in one design, all values equal,—adding contrast of hue to contrast of intensity. Examples abound in painting. To cite a few: the element of intensity gives breadth and tonal harmonies in stained glass, Persian rugs, Cazin's foregrounds, the prints of Harunobu, Kiyonaga and Shunsho.COMPOSITIONS in HUE, NOTAN, INTENSITY. In all color-schemes these three will be found in combination. Analysis of a few compositions will be worth while; for example, the print, No. 69, p. 124, and the print and textile, page 13. Note (1) the number of hues; (2) the number of values of each hue, whether dark, light or medium; (3) the degrees of intensity of each hue, whether very bright, bright, medium or dull; (4) the quantity of each color and its distribution in the design; (5) the amount and effect of black, white and neutral gray. For a simple exercise in composition the student might color a line design in several ways, using three hues, varying the dark-and-light distribution and the quantity of bright and gray tones. Follow this with other designs in color.—flower panels, repeating patterns, figures in costume, and landscape. A little of this kind of work will cultivate good[pg 110]judgment as to color relations, and will stimulate invention. Color Theory does not ensure harmony but is a help toward it, as it shows where balance and adjustment are needed.Note. It is next to impossible to reproduce colors with perfect accuracy, and even if the hues, values and intensities could be exactly copied, it is doubtful if the inks would remain absolutely unchanged for a great length of time. The plates of Color Theory here shown are intended only as statements of the fundamental color-relations. They are not scientifically accurate, nor do they need to be,–they are to be used in art, not in science. Their purpose is to show the pupil how to study color, how to make scales and apply them in art, rather than to furnish a standard to be copied.“The Gundalow”, study in three values.[pg 111][pg 112]No. 66. Color derived from NOTAN.[pg 113]XV.—COLOR DERIVED FROM NOTANOne 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 followingEXERCISEPrepare 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-green2.Flower—middle red-yellow3.Background—light yellowAdd 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.Examples are many; two kinds only need be mentioned now,—American Indian pottery, and landscapes in black, gray and vermilion red from Hokusai's“Mangwa,”(p. 57.)ONE HUE in TWO and THREE VALUES. The next step would be to replace two grays with two values of one hue, making scales like these:White WhiteLight greenMiddle greenDark grayBlackWhiteLight purpleMiddle grayDark purpleBlackFollow by eliminating all the grays, and the scale might be like this:WhiteLight blue-greenMiddle blue-greenDark blue-greenBlackChoice of color will depend upon the nature of the design. The medium may be crayon, wash, opaque water color or oil paint.TWO and THREE HUES. If two hues are introduced the complexity will be greater, but there will be more chances for invention and variation. With at least ten hues to choose from—R, YR, Y, GY, G, BG, B, PB, P, RP—each one of which might have perhaps four degrees of intensity (from very bright to dull) the student has material to compose in any key. Two typical scales are given below:Two hues—WhiteLight yellowMiddle grayDark greenBlackThree hues—WhiteLight yellowMiddle gray-greenDark gray-purpleBlackHARMONYWill the exercises in the foregoing chapters ensure a harmony? No, they are only helps to a better understanding of color. Harmony depends upon (a) good line design, (b) choice of hues, (c) quantity of each, (d) a dominating color, (e) notan values, (f) fine relations of intensity, (g) quality of surface, (h) handling. All these in perfect synthesis will be found in the works of the greatest masters. It is also true that simple harmonies are not difficult to realize, as is witnessed by primitive art and the best work of students.With practice in the ways suggested here, two other things are necessary,—advice from an experienced and appreciative instructor, and acquaintance with fine examples of color.[pg 115][pg 116]No. 67. Color schemes from Japanese prints—Applications to Design.[pg 117]XVI.—COLOR SCHEMES FROM JAPANESE PRINTS AND FROM TEXTILESIn the quest for harmony, what better course could be taken than to copy harmonies? Nothing so sharpens color perception as contact with the best examples. The attempt to reach a master's style, peculiar color-feeling, refinements of tone and methods of handling, brings both knowledge and appreciation. For ordinary use Japanese prints are most convenient and inspiring color-models.COPYING JAPANESE PRINTS. In the best of these the color has a peculiar bloom due to the process of printing from wood blocks. The paper is pressed upon forms cut on the flat side of a board; the grain of the wood, the rough surface of the“baren”with which the paper is rubbed down, and the fibrous texture of the paper combine to make a luminous vibrating tone. Particles of color lie upon the tops of silken filaments, allowing the undertone of the paper to shine through,—precisely the quality sought by painters in using a rough canvas and thin washes, or thick color put on with small brushes. In the print the vibration is not obvious, but the effect is that of color over which floats a thin golden envelope.Ordinary charcoal paper is good for copies, as it has a roughness that aids in producing atmospheric tones. Rub a slight quantity of charcoal over the surface, very lightly; wipe it off with chamois or cotton rag, leaving little points of black in the hollows of the paper.Isolate the desired color-passage, by cutting an opening in a sheet of white paper and laying it upon the face of the print. Copy with washes of water color. If the print is age-stained, tone your charcoal paper with Raw Sienna and Ivory Black.AUTHORS. Good color-schemes can be found anywhere in the range of Japanese color-printing, from Okumura Masanobu in the middle of the XVIIIth century to modern days, but the rarity and great value of early prints puts them out of reach of those who have not access to museum collections. I can mention here but a few names, with which the student is most likely to meet:Torii Kiyonobu and his fellows of the“red-and-green period”(first half of the XVIIIth century); Harunobu, Koriusai, Kiyonaga and Shunsho, who worked in sunny yellows and reds, pearly greens and pale purples, often most cleverly opposed with transparent black and cool silvery grays; then Utamaro and Toyokuni I., strong but less fine.Among XLXth century men Hiroshige (page 13) and Hokusai are preëminent[pg 118]as colorists. Both have strongly influenced Occidental painters. Hiroshige designed series after series of prints,—scenes famous for their beauty or historic interest; stations on the two great highways, the Tokaido and the Kisokaido; effects of wind, rain, snow and twilight; flowers, birds, and a few figures. He would recompose the same series again and again in different size and color-scheme. His design is full of delightful surprises; his artistic power and inventiveness are astonishing. A prodigious amount of work is signed by his name; some critics hold that there was a second, and even a third Hiroshige, but Fenollosa believed in one only, whose manner naturally varied during a long life (1790—1858).Hokusai's color is strange and imaginative; sometimes delicate almost to neutrality, sometimes startling and daring. His pupils Hokkei, Hokuju and the rest are more gentle.The figure prints most commonly seen are by Kunisada (Toyokuni II), Kuniyoshi and other pupils of Toyokuni I., and Keisai Yeisen. Here, as in most Japanese figure prints, color effects are produced by skilful combinations of patterns upon costumes. Every kind of color-key is possible, by this means, with infinite variations;—impressionist painting with wood blocks. The student is warned that poor prints abound,—impressions from worn-out blocks, cheap modern reprints, and imitations. Bright, fresh color, however, need not be taken to mean imitation; some of the early editions have been kept in albums in store houses, and the color has not changed. Experience and appreciation are after all the only safeguards.APPLICATION. Having made the copy of the color-scheme, apply the same colors to several tracings of one design, (No. 67). One of the things taught by this exercise is that distribution and proportion of color affect harmonic relations. Colors that harmonize as they stand in the print may seem discordant when used in different quantities; they will surely be so if the design is badly spaced. With a good design, and correct judgment as to hue, notan and intensity, the chances are that each variation will be satisfactory.Copies from Hiroshige are of special value to the landscape painter. These may be made in oil as a study of quality and vibration. The procedure is a little different from the preceding. It is better, in oil painting, to copy whole prints. Over the surface of a large rough canvas scrub a thin gray, of the color of the paper of the print. Draw the design in a few vigorous lines, omitting all details. Paint in, at arm's length, the principal color notes, not covering the whole surface or filling in outlines. Mix colors beforehand, taking time to copy each hue and value exactly. The painting, with each color ready upon the palette, should be swift and vigorous. Place the print above the canvas; stand while painting; make comparisons at a distance.[pg 119]Copying Japanese prints is recommended for practice in color; it does not replace nature-painting or original design, though it will be a help to both.COPYING COLOR from TEXTILES. The exercises described above may be taken with textiles. Beauty of color in the finest of these is due to good composition, the softening of dust and age-stain, and the atmospheric envelope caused by reflection of light from the minute points of the web. For some kinds of textile the charcoal paper, as above, may be useful; for others, gray paper and wax crayons.The latter are excellent for copying rugs and can be used in original designs for rugs.As to models, work from originals in museums,—Persian carpets and rugs, Coptic and Peruvian tapestries, mediaeval tapestries, Italian, Spanish and French textiles XIIIth to XVIIIth centuries, etc. In the“rag-fairs”of Europe, and in antique shops, one may find scraps of the woven and printed stuffs of the best periods. The South Kensington Museum has published colored reproductions of textiles. Art libraries will have Fischbach's, Mumford's, the Kelekian Collection and others in full color.[pg 120]COMPOSITIONXVII.—IN DESIGN AND PAINTINGThe test of any system of art-study lies in what you can do with it. Harmony-building has been the theme of the foregoing pages, with progressive exercises in structural line, dark-and-light and color. The product should be power,—power to appreciate, power to do something worth while. Practice in simple harmonies gives control of the more complex relations, and enables one to create with freedom in any field of art. Such training is the best foundation for work in design, architecture, the crafts, painting, sculpture and teaching. After this should come special training; for the designer, architect, craftsman, study of historic styles, severe drill in drawing (freehand and mechanical), knowledge of materials; for the painter and sculptor, long practice in drawing and modelling, acquirement of technique; for the teacher, drill in drawing, painting, designing and modelling, study of educational principles, knowledge of school conditions and public needs, practice teaching. In a word, first cultivate the mind, set the thoughts in order, utilize the power within; then the eye and the hand can be trained effectively, with a definite end in view. The usual way, in our systems of art-instruction, is to put drill first, leaving thought and appreciation out of account.Applications of structural principles are many; I can mention and illustrate but a few:WOOD BLOCK PRINTINGFOR STUDY OF PATTERN AND COLOR. The art of wood block printing has been practised for ages in Oriental countries. Our word“calico”is from the name of an Indian town, Calicut, whence printed patterns were brought to England. The older Indian designs, now very rare, had great beauty of line and color. These ancient cotton prints are used by the Japanese for outer coverings of pieces of precious pottery,—first a silk brocade bag, then one of Indian calico enveloping a wooden box in which is the bowl wrapped in plain cotton cloth. The process of wood block printing is very simple, and in my opinion of special educational value. After observation of the craft in India in 1904 I determined to introduce it into art courses—both for adults and children. The method is outlined below:1.Design the pattern in pencil or ink.2.Draw the unit, with attention to its shape and proportions and the effect when repeated.3.Paste this face down upon a wood block; pine, gum wood, or a hard wood of close grain.4.Cut away the white spaces, clearing with a gouge. As the block is to be used as a stamp, the corners and all outside the design, must be removed.5.Printing. Lay a piece of felt upon a slate, or upon a glass, pour a few drops of mucilage upon the felt, and mix with it either common water color, or dry color. Distribute this evenly with a flat bristle brush. Make a large pad, say 22 x 28 or 14 x 20, by tacking cambric upon a drawing board. Under the cambric should be one thickness of felt.PRINTING on PAPER. A slightly rough absorbent surface prints well. Wrapping paper can be found in many colors, tones and textures, and is inexpensive. Damp paper will give clear-cut impressions.Lay the paper upon the large pad; charge the block upon the small pad, and stamp the pattern. If the impression is poor, the cause may be:—(a) Face of block is not level; rub it upon a sheet of fine sand-paper; (b) large pad is uneven; (c) paper is wrinkled or is too glossy; (d) color is too thick or too wet. Practice will overcome these small difficulties.PRINTING on CLOTH. The best effects are obtained with dyes, but their manipulation is not easy, and their permanence is doubtful unless one has expert knowledge of the processes of dyeing. The most convenient medium for the student is oil color thinned with turpentine (to which may be added a very little acetic acid and oil of wintergreen). This, when dry, is permanent and can be washed,—but not with hot water or strong soap.With the design in fixed form upon the block, effort can be concentrated upon the make-up of the pattern, and the color-harmony. By cutting a block for each color the designer may vary the schemes almost to infinity. Where choices are many and corrections easy, invention can have free play.Examples of students' printing on paper are given on page 121.PICTURE PRINTING is a more difficult, but fascinating form of this art-craft. Here must be gradation, transparent and vibrating color, atmospheric over-tone binding all together. For these qualities the Japanese process is best, with its perfected tools and methods. In theory it is very simple: The outline is drawn in ink upon thin paper, and the sheet pasted face down upon the flat side of a board; the block is then engraved with a knife and gouges, the drawing being left in relief; the paper is removed from the lines with a damp cloth, and the block charged with ink. Dry black mixed with mucilage and water, or any black water color will answer. For charging, the Japanese use a thick short brush,—a round bristle brush will serve the purpose. When ink is scrubbed evenly over the whole surface, the block is ready for printing. A sheet of Japanese paper, slightly[pg 126]dampened, is laid upon the block and rubbed gently with a circular pad called a“baren.”This wonderful instrument draws the ink up into the paper, giving a clear rich soft line. The baren is made of a leaf of bamboo stretched over a saucer-like disk of pasteboard, within which is coiled a braided fibre-mat.If the block has been properly cleared, and the baren is moved in level sweeps, the paper will not be soiled by ink between the lines. After printing a number of outlines the colors are painted upon them and color-blocks engraved. It is possible to have several colors upon the same board, if widely separated. Accurate registry is obtained by two marks at the top of the board and one at the side. The paper must be kept of the same degree of moisture, otherwise it will shrink and the last impressions will be out of register.Dry colors mixed with water and a little mucilage, or better still, common water colors, may be used. No. 69 is a reproduction of a print made in the Japanese way. (In 1895 I exhibited at the Boston Museum of Fine Arts a collection of my wood block prints. Professor Fenollosa wrote the introduction to the catalogue, discussing the possibilities, for color and design, of this method, then new to America. In“Modern Art”for July, 1896, I described the process in full, with illustrations, one in color.)STENCILLING, like wood block printing, invites variation of rhythm and color combination. Stencilling is often done without sufficient knowledge of the craft. The student should understand that a stencil is simply a piece of perforated water proof paper or metal to be laid upon paper or cloth and scrubbed over with a thick brush charged with color; long openings must be bridged with“ties,”and all openings must be so shaped that their edges will remain flat when the brush passes over them.Japanese Stencil.Stencil units are usually large, offering good opportunities for Subordination (page 23), Symmetry, and Proportion (page 28). A unit must not only be complete in itself but must harmonize with itself in Repetition (pp. 36, 66). Stencils may be cut upon thick manila paper which is then coated with shellac; or upon oiled paper. If stencil brushes cannot be obtained one may use a common, round, house-painter's brush, wound with string to within an inch of the end.Colors may be,—oil thinned with turpentine; dyes; or dry colors ground on a slab with water and mucilage. Charge the brush with thin, thoroughly mixed[pg 127]pigment; if there is too much it will scrape off under the edges of the stencil and spoil the print. Unprinted wall paper (“lining paper”) is cheap and very satisfactory for stencilling. It should be tinted with a thin solution of color to which a little mucilage has been added. Use a large flat brush about four inches wide, applying the color with rapid vertical and horizontal strokes.COLORED CHARCOAL. This is a further development of the method described in Chapter XIII (see also page 113). Lay in the picture in light values of charcoal, remembering that the colorwashes will darken every tone. Too much rubbing with the stump gives muddiness, too little charcoal may weaken the values and you will have a“washout.”When the notan-scheme is right, the drawing may be fixed. It can be colored without fixing if the stump has been used.Color is applied in thin washes allowing the charcoal texture to shine through. Notan plays the larger part, furnishing the structure of the composition and giving a harmonic basis for the color. If the hues are well-chosen, the result should be a harmony of atmospheric depth, with soft but glowing colors.PAINTING in FULL COLOR. In a book devoted to the study of art-structure not much space can be given to comparison of mediums, or to professional problems of technique in advanced painting. They will be mentioned to show the unity of the progressive series, to suggest to the student some lines of research and experiment, and to help him in choosing his field of art-work.WATER COLOR. This medium is used in many different ways: as a thin transparent stain, like the work of David Cox, Cotman, De Wint; as a combination of opaque color and wash, with which J. M. W. Turner painted air, distance, infinity, the play of light over the world; as flat wash filling in outlines, like the drawings of Millet and Boutet de Monvel; as the modern Dutch use it, in opaque pastel-like strokes on gray paper, or scrubbed in with a bristle brush; as premier coup painting with no outline (both drawing and painting) like much Japanese work.In all these, line is the basis, whether actually drawn, as by Millet and Rembrandt, or felt, as by the Japanese and Turner. The best painting has form and character in every brush-touch.OIL COLOR. Instruction in oil painting is usually limited to what might be called drawing in paint. Of course the student must know his pigments, how to obtain hues and values by mixing, how to use brushes, how to sketch in, and all the elementary details,—but this is but a beginning. Expression of an idea or emotion depends upon appreciation of art structure; the point is not so much[pg 128]how to paint, as how to paint well. Artists often say that it matters not how you get an effect, if you only get it. This is misleading; it does matter,—the greatest painters get their effects in a fine way.Methods of handling oil color may be reduced to two general classes: (a) the paint is used thin, as a wash, on a prepared canvas, or (b) it is put on in thick opaque touches. In either case the aim is the same—to paint for depth, vibration, illusion of light and color. If brush strokes are to be left intact, each of them must have shape and meaning,—that is, line; if color is put on in a thin wash, then its value, gradation, hue and texture are the main points,—and these belong to structural harmony. Mural painting is the highest form of the art, demanding perfect mastery of Composition. The subject takes visible form in terms of Line; then is added the mystery, the dramatic counter-play of Notan, and the illumination of Color. The creative spirit moves onward absorbing in its march all drawing, perspective, anatomy, principles of design, color theory—everything contributing to Power.

[pg 100]COLORXIV.—COLOR THEORYColor, with its infinity of relations, is baffling; its finer harmonies, like those of music, can be grasped by the appreciations only, not by reasoning or analysis. Color, in art, is a subject not well understood as yet, and there are violent differences of opinion among artists, teachers and critics, as to what constitutes good color-instruction. The most that I can do here is to outline a simple method of study. The usual advice of the academic painter to“keep trying,”is discouraging to the beginner and increases his confusion; it is not in accord with good sense either, for the other arts are not attacked through timid and aimless experiment. An artist may say that a certain group of colors is a harmony; the pupil cannot see it, but he takes the master's word for it. The artist is not teaching successfully unless he points the way to appreciation, however hard or long it may be.A systematic study of line and tone is very profitable, as we have seen; I believe that color may be approached in like manner, and I shall attempt now to relate the treatment of the color-element (chapter I) to that of the other two, and to give some results of personal experience.Those who have but little time for work in color, can spend it best in copying, under guidance, examples of acknowledged excellence, like Japanese prints, Oriental rugs, and reproductions of masterpieces. Contact with these, even looking at them (if the pupil is taught what to look for), will strengthen the powers of color perception. In schools where the art periods are short and few, this may be the only method possible. (See p. 13 and chap. XVI.) For those who intend to use color in creative work a certain amount of theory is indispensable, as it simplifies the subject and opens up a few definite lines of research. The word“theory”has become a kind of academic bugbear, yet Leonardo da Vinci said that the painter who works without a theory is like the sailor who goes to sea without a compass. Well-ordered thought is as necessary in art as in any other field. Theory is a help to clear thinking and gives direction and purpose to practice. Color, however complicated, may be reduced to three simple elements:HUE,—as yellow, blue-green,NOTAN (or Value),—as dark red, light red,INTENSITY (or Bright-to-gray-ness)—as intense blue, dull blue.Color harmony depends upon adjustments in this three-fold nature. If a color-scheme is discordant, the fault may[pg 101]be discovered in,—wrong selection of hues or weak values, or ill-matched intensities, or all three. This simple classification reduces the perplexities that beset the student, by showing him where to look for the cause of failure. The words“Value”and“Chroma”are used in this connection by Albert H. Munsell, to whose book“A Color Notation”the reader is referred for a very convincing exposition of color theory.Mr. Munsell has invented a photometer to measure values of light and color, and has prepared scales, spheres, charts and pigments for school use. My own experiments in making circles of hues and scales of notan and intensities, were based upon the old theory—Red, Blue and Yellow as primaries, Green, Orange and Violet as secondaries, etc. At that time (1890) the progression from bright to gray was not recognized as a distinct element of color, but in art-educational works difference of intensity was confused with dark-and-light; spectra for school use contained hues in violent contrast as to brilliancy and value.Science determined long since that the fundamental color impressions are not red, blue and yellow, but Red, Green and Violet-blue. Mr. Munsell adopts these and two secondaries, Yellow and Purple—five hues in all—as the basis of all color expression in art. This seems very simple and quite sufficient for working out all problems in color scheming. Note. Experiments as outlined below, are intended only to set the student thinking, in an orderly way, about the three dimensions of color.Dimensions of ColorEXERCISESHUE. To judge of the effect of one hue upon another, arrange the whole five, Red, Yellow, Green, Blue, Purple, in a circle making them equal in value and equal in degree of brightness, thus eliminating notan and intensity. In the centre of the circle (N) paint a note of middle value, chosen from the scale, p. 88. Then paint the other divisions R, Y, G, B, P with the five hues. When this is well done if the circle were photographed upon a color-blind plate, the result would be a flat tone of middle gray. No pigment is of the exact quality needed; red that is neither yellow-red nor purple-red can be mixed from Vermilion and Crimson; Prussian Blue is greenish, New Blue is reddish; some pigments are too light, others too dark. This exercise requires study of great importance to the painter, giving him a better acquaintance with his materials.Next, make a circle of intermediates, No. 63, by mixing adjoining hues; this gives five more notes—yellow-red, green-yellow, blue-green, purple-blue, red-purple. Bear in mind that these circles are[pg 102]only statements of relations, of the same use as a scale. The question now is of the art-use of them, of composing a harmony with them.APPLICATION. Choose a line-design, and paint the spaces with colors from the second circle. The effect will be peculiar because there are no differences of dark-and-light or intensity; the only harmony possible comes from interplay of hues, a kind of iridescence and vibration; see opposite page.Colors that stand opposite in circle—as blue, yellow-red; or red, blue-green—will, if placed side by side, increase each other's power and produce violent contrast. Opposition of Color is analogous to Opposition of Line (page 21) and Opposition of Notan (black and white). To unite these extremes of difference, bring in a third hue related to each, for example,—red, green-yellow, blue-green; yellow, yellow-red, purple-blue. This is the principle of Transition (page 22); see also page 82, three values.Practice in composing with few and simple elements, of deciding when contrasting colors are of equal value, or equal intensity, is of direct use in art. The landscape painter opposes the whole sky to the whole ground; he wants a vibration of color in each, without disturbing the values; the designer in stained glass sometimes desires to fill a space with iridescent color, perhaps as a background for figures.The student may, if he likes, use black with these colors, producing a very brilliant effect like a Cairo window; but here the hues are measured against black, rather than against each other. In No. 63 are shown two experiments in composing with HUE.NOTAN of COLOR. Draw in outline six scales, as shown in the diagram. Paint N in white, black and three grays (see page 88). In the spaces marked (a) paint each of the five hues—red, yellow, green, blue and purple, middle value and equal intensity.Notan of ColorNext, paint a lighter value (b) and a darker (c) making a notan-scale of each hue,—light red, middle red, dark red, etc. Observe that intensity diminishes toward light and dark. If the intermediates, yellow-red, green-yellow and the rest, are also arranged in this way from light to dark, you will have a set of notes for application in composition.APPLICATION. A line design may now be colored from one of the scales, say Blue. Hue and Intensity being eliminated, the whole effort is centred upon notan of color. This is an exercise in three values (page 83) using color instead of neutral gray. No. 64, p. 105.[pg 103]No. 63. Color Theory, HUE.[pg 104]No. 64. Color Theory, NOTAN of Color.[pg 105][pg 106][pg 107][pg 108]No. 64. Color Theory, INTENSITY, scales and exercises.[pg 109]More applications can be made than in the case of Hue; historic art is full of them. Dutch tiles, Japanese prints and blue towels, Abruzzi towels, American blue quilts, etc., are examples of harmony built up with several values of one hue. With two hues innumerable variations are possible. Japanese prints of the“red and green”period are compositions in light yellow-red, middle green, black, and white. Other examples can be easily found in the world's art. The student should apply the scale-notes to his own designs, not using, at this stage, more than two hues, with perhaps black and white.INTENSITY. Color varies not only in hue and value, but in intensity,—ranging from bright to gray. Every painter knows that a brilliant bit of color, set in grayer tones of the same or neighboring hues, will illuminate the whole group,—a distinguished and elusive harmony. The fire opal has a single point of intense scarlet, melting into pearl; the clear evening sky is like this when from the sunken sun the red-orange light grades away through yellow and green to steel-gray.This rarely beautiful quality of color can be better understood by isolating it and testing it in designs (as has been done with each principle, from Line onward; see page 21).Paint a scale with one hue, say Vermilion, keeping each space of the same value, but grading the intensity down to neutral gray.APPLICATION. Arrange these notes in a line design. As Hue and Notan are eliminated, the only harmony will be that of bright points floating in grayish tones (No.65). Other hues may be scaled and tested in like manner. Combine two hues in one design, all values equal,—adding contrast of hue to contrast of intensity. Examples abound in painting. To cite a few: the element of intensity gives breadth and tonal harmonies in stained glass, Persian rugs, Cazin's foregrounds, the prints of Harunobu, Kiyonaga and Shunsho.COMPOSITIONS in HUE, NOTAN, INTENSITY. In all color-schemes these three will be found in combination. Analysis of a few compositions will be worth while; for example, the print, No. 69, p. 124, and the print and textile, page 13. Note (1) the number of hues; (2) the number of values of each hue, whether dark, light or medium; (3) the degrees of intensity of each hue, whether very bright, bright, medium or dull; (4) the quantity of each color and its distribution in the design; (5) the amount and effect of black, white and neutral gray. For a simple exercise in composition the student might color a line design in several ways, using three hues, varying the dark-and-light distribution and the quantity of bright and gray tones. Follow this with other designs in color.—flower panels, repeating patterns, figures in costume, and landscape. A little of this kind of work will cultivate good[pg 110]judgment as to color relations, and will stimulate invention. Color Theory does not ensure harmony but is a help toward it, as it shows where balance and adjustment are needed.Note. It is next to impossible to reproduce colors with perfect accuracy, and even if the hues, values and intensities could be exactly copied, it is doubtful if the inks would remain absolutely unchanged for a great length of time. The plates of Color Theory here shown are intended only as statements of the fundamental color-relations. They are not scientifically accurate, nor do they need to be,–they are to be used in art, not in science. Their purpose is to show the pupil how to study color, how to make scales and apply them in art, rather than to furnish a standard to be copied.“The Gundalow”, study in three values.[pg 111][pg 112]No. 66. Color derived from NOTAN.[pg 113]XV.—COLOR DERIVED FROM NOTANOne 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 followingEXERCISEPrepare 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-green2.Flower—middle red-yellow3.Background—light yellowAdd 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.Examples are many; two kinds only need be mentioned now,—American Indian pottery, and landscapes in black, gray and vermilion red from Hokusai's“Mangwa,”(p. 57.)ONE HUE in TWO and THREE VALUES. The next step would be to replace two grays with two values of one hue, making scales like these:White WhiteLight greenMiddle greenDark grayBlackWhiteLight purpleMiddle grayDark purpleBlackFollow by eliminating all the grays, and the scale might be like this:WhiteLight blue-greenMiddle blue-greenDark blue-greenBlackChoice of color will depend upon the nature of the design. The medium may be crayon, wash, opaque water color or oil paint.TWO and THREE HUES. If two hues are introduced the complexity will be greater, but there will be more chances for invention and variation. With at least ten hues to choose from—R, YR, Y, GY, G, BG, B, PB, P, RP—each one of which might have perhaps four degrees of intensity (from very bright to dull) the student has material to compose in any key. Two typical scales are given below:Two hues—WhiteLight yellowMiddle grayDark greenBlackThree hues—WhiteLight yellowMiddle gray-greenDark gray-purpleBlackHARMONYWill the exercises in the foregoing chapters ensure a harmony? No, they are only helps to a better understanding of color. Harmony depends upon (a) good line design, (b) choice of hues, (c) quantity of each, (d) a dominating color, (e) notan values, (f) fine relations of intensity, (g) quality of surface, (h) handling. All these in perfect synthesis will be found in the works of the greatest masters. It is also true that simple harmonies are not difficult to realize, as is witnessed by primitive art and the best work of students.With practice in the ways suggested here, two other things are necessary,—advice from an experienced and appreciative instructor, and acquaintance with fine examples of color.[pg 115][pg 116]No. 67. Color schemes from Japanese prints—Applications to Design.[pg 117]XVI.—COLOR SCHEMES FROM JAPANESE PRINTS AND FROM TEXTILESIn the quest for harmony, what better course could be taken than to copy harmonies? Nothing so sharpens color perception as contact with the best examples. The attempt to reach a master's style, peculiar color-feeling, refinements of tone and methods of handling, brings both knowledge and appreciation. For ordinary use Japanese prints are most convenient and inspiring color-models.COPYING JAPANESE PRINTS. In the best of these the color has a peculiar bloom due to the process of printing from wood blocks. The paper is pressed upon forms cut on the flat side of a board; the grain of the wood, the rough surface of the“baren”with which the paper is rubbed down, and the fibrous texture of the paper combine to make a luminous vibrating tone. Particles of color lie upon the tops of silken filaments, allowing the undertone of the paper to shine through,—precisely the quality sought by painters in using a rough canvas and thin washes, or thick color put on with small brushes. In the print the vibration is not obvious, but the effect is that of color over which floats a thin golden envelope.Ordinary charcoal paper is good for copies, as it has a roughness that aids in producing atmospheric tones. Rub a slight quantity of charcoal over the surface, very lightly; wipe it off with chamois or cotton rag, leaving little points of black in the hollows of the paper.Isolate the desired color-passage, by cutting an opening in a sheet of white paper and laying it upon the face of the print. Copy with washes of water color. If the print is age-stained, tone your charcoal paper with Raw Sienna and Ivory Black.AUTHORS. Good color-schemes can be found anywhere in the range of Japanese color-printing, from Okumura Masanobu in the middle of the XVIIIth century to modern days, but the rarity and great value of early prints puts them out of reach of those who have not access to museum collections. I can mention here but a few names, with which the student is most likely to meet:Torii Kiyonobu and his fellows of the“red-and-green period”(first half of the XVIIIth century); Harunobu, Koriusai, Kiyonaga and Shunsho, who worked in sunny yellows and reds, pearly greens and pale purples, often most cleverly opposed with transparent black and cool silvery grays; then Utamaro and Toyokuni I., strong but less fine.Among XLXth century men Hiroshige (page 13) and Hokusai are preëminent[pg 118]as colorists. Both have strongly influenced Occidental painters. Hiroshige designed series after series of prints,—scenes famous for their beauty or historic interest; stations on the two great highways, the Tokaido and the Kisokaido; effects of wind, rain, snow and twilight; flowers, birds, and a few figures. He would recompose the same series again and again in different size and color-scheme. His design is full of delightful surprises; his artistic power and inventiveness are astonishing. A prodigious amount of work is signed by his name; some critics hold that there was a second, and even a third Hiroshige, but Fenollosa believed in one only, whose manner naturally varied during a long life (1790—1858).Hokusai's color is strange and imaginative; sometimes delicate almost to neutrality, sometimes startling and daring. His pupils Hokkei, Hokuju and the rest are more gentle.The figure prints most commonly seen are by Kunisada (Toyokuni II), Kuniyoshi and other pupils of Toyokuni I., and Keisai Yeisen. Here, as in most Japanese figure prints, color effects are produced by skilful combinations of patterns upon costumes. Every kind of color-key is possible, by this means, with infinite variations;—impressionist painting with wood blocks. The student is warned that poor prints abound,—impressions from worn-out blocks, cheap modern reprints, and imitations. Bright, fresh color, however, need not be taken to mean imitation; some of the early editions have been kept in albums in store houses, and the color has not changed. Experience and appreciation are after all the only safeguards.APPLICATION. Having made the copy of the color-scheme, apply the same colors to several tracings of one design, (No. 67). One of the things taught by this exercise is that distribution and proportion of color affect harmonic relations. Colors that harmonize as they stand in the print may seem discordant when used in different quantities; they will surely be so if the design is badly spaced. With a good design, and correct judgment as to hue, notan and intensity, the chances are that each variation will be satisfactory.Copies from Hiroshige are of special value to the landscape painter. These may be made in oil as a study of quality and vibration. The procedure is a little different from the preceding. It is better, in oil painting, to copy whole prints. Over the surface of a large rough canvas scrub a thin gray, of the color of the paper of the print. Draw the design in a few vigorous lines, omitting all details. Paint in, at arm's length, the principal color notes, not covering the whole surface or filling in outlines. Mix colors beforehand, taking time to copy each hue and value exactly. The painting, with each color ready upon the palette, should be swift and vigorous. Place the print above the canvas; stand while painting; make comparisons at a distance.[pg 119]Copying Japanese prints is recommended for practice in color; it does not replace nature-painting or original design, though it will be a help to both.COPYING COLOR from TEXTILES. The exercises described above may be taken with textiles. Beauty of color in the finest of these is due to good composition, the softening of dust and age-stain, and the atmospheric envelope caused by reflection of light from the minute points of the web. For some kinds of textile the charcoal paper, as above, may be useful; for others, gray paper and wax crayons.The latter are excellent for copying rugs and can be used in original designs for rugs.As to models, work from originals in museums,—Persian carpets and rugs, Coptic and Peruvian tapestries, mediaeval tapestries, Italian, Spanish and French textiles XIIIth to XVIIIth centuries, etc. In the“rag-fairs”of Europe, and in antique shops, one may find scraps of the woven and printed stuffs of the best periods. The South Kensington Museum has published colored reproductions of textiles. Art libraries will have Fischbach's, Mumford's, the Kelekian Collection and others in full color.

XIV.—COLOR THEORYColor, with its infinity of relations, is baffling; its finer harmonies, like those of music, can be grasped by the appreciations only, not by reasoning or analysis. Color, in art, is a subject not well understood as yet, and there are violent differences of opinion among artists, teachers and critics, as to what constitutes good color-instruction. The most that I can do here is to outline a simple method of study. The usual advice of the academic painter to“keep trying,”is discouraging to the beginner and increases his confusion; it is not in accord with good sense either, for the other arts are not attacked through timid and aimless experiment. An artist may say that a certain group of colors is a harmony; the pupil cannot see it, but he takes the master's word for it. The artist is not teaching successfully unless he points the way to appreciation, however hard or long it may be.A systematic study of line and tone is very profitable, as we have seen; I believe that color may be approached in like manner, and I shall attempt now to relate the treatment of the color-element (chapter I) to that of the other two, and to give some results of personal experience.Those who have but little time for work in color, can spend it best in copying, under guidance, examples of acknowledged excellence, like Japanese prints, Oriental rugs, and reproductions of masterpieces. Contact with these, even looking at them (if the pupil is taught what to look for), will strengthen the powers of color perception. In schools where the art periods are short and few, this may be the only method possible. (See p. 13 and chap. XVI.) For those who intend to use color in creative work a certain amount of theory is indispensable, as it simplifies the subject and opens up a few definite lines of research. The word“theory”has become a kind of academic bugbear, yet Leonardo da Vinci said that the painter who works without a theory is like the sailor who goes to sea without a compass. Well-ordered thought is as necessary in art as in any other field. Theory is a help to clear thinking and gives direction and purpose to practice. Color, however complicated, may be reduced to three simple elements:HUE,—as yellow, blue-green,NOTAN (or Value),—as dark red, light red,INTENSITY (or Bright-to-gray-ness)—as intense blue, dull blue.Color harmony depends upon adjustments in this three-fold nature. If a color-scheme is discordant, the fault may[pg 101]be discovered in,—wrong selection of hues or weak values, or ill-matched intensities, or all three. This simple classification reduces the perplexities that beset the student, by showing him where to look for the cause of failure. The words“Value”and“Chroma”are used in this connection by Albert H. Munsell, to whose book“A Color Notation”the reader is referred for a very convincing exposition of color theory.Mr. Munsell has invented a photometer to measure values of light and color, and has prepared scales, spheres, charts and pigments for school use. My own experiments in making circles of hues and scales of notan and intensities, were based upon the old theory—Red, Blue and Yellow as primaries, Green, Orange and Violet as secondaries, etc. At that time (1890) the progression from bright to gray was not recognized as a distinct element of color, but in art-educational works difference of intensity was confused with dark-and-light; spectra for school use contained hues in violent contrast as to brilliancy and value.Science determined long since that the fundamental color impressions are not red, blue and yellow, but Red, Green and Violet-blue. Mr. Munsell adopts these and two secondaries, Yellow and Purple—five hues in all—as the basis of all color expression in art. This seems very simple and quite sufficient for working out all problems in color scheming. Note. Experiments as outlined below, are intended only to set the student thinking, in an orderly way, about the three dimensions of color.Dimensions of ColorEXERCISESHUE. To judge of the effect of one hue upon another, arrange the whole five, Red, Yellow, Green, Blue, Purple, in a circle making them equal in value and equal in degree of brightness, thus eliminating notan and intensity. In the centre of the circle (N) paint a note of middle value, chosen from the scale, p. 88. Then paint the other divisions R, Y, G, B, P with the five hues. When this is well done if the circle were photographed upon a color-blind plate, the result would be a flat tone of middle gray. No pigment is of the exact quality needed; red that is neither yellow-red nor purple-red can be mixed from Vermilion and Crimson; Prussian Blue is greenish, New Blue is reddish; some pigments are too light, others too dark. This exercise requires study of great importance to the painter, giving him a better acquaintance with his materials.Next, make a circle of intermediates, No. 63, by mixing adjoining hues; this gives five more notes—yellow-red, green-yellow, blue-green, purple-blue, red-purple. Bear in mind that these circles are[pg 102]only statements of relations, of the same use as a scale. The question now is of the art-use of them, of composing a harmony with them.APPLICATION. Choose a line-design, and paint the spaces with colors from the second circle. The effect will be peculiar because there are no differences of dark-and-light or intensity; the only harmony possible comes from interplay of hues, a kind of iridescence and vibration; see opposite page.Colors that stand opposite in circle—as blue, yellow-red; or red, blue-green—will, if placed side by side, increase each other's power and produce violent contrast. Opposition of Color is analogous to Opposition of Line (page 21) and Opposition of Notan (black and white). To unite these extremes of difference, bring in a third hue related to each, for example,—red, green-yellow, blue-green; yellow, yellow-red, purple-blue. This is the principle of Transition (page 22); see also page 82, three values.Practice in composing with few and simple elements, of deciding when contrasting colors are of equal value, or equal intensity, is of direct use in art. The landscape painter opposes the whole sky to the whole ground; he wants a vibration of color in each, without disturbing the values; the designer in stained glass sometimes desires to fill a space with iridescent color, perhaps as a background for figures.The student may, if he likes, use black with these colors, producing a very brilliant effect like a Cairo window; but here the hues are measured against black, rather than against each other. In No. 63 are shown two experiments in composing with HUE.NOTAN of COLOR. Draw in outline six scales, as shown in the diagram. Paint N in white, black and three grays (see page 88). In the spaces marked (a) paint each of the five hues—red, yellow, green, blue and purple, middle value and equal intensity.Notan of ColorNext, paint a lighter value (b) and a darker (c) making a notan-scale of each hue,—light red, middle red, dark red, etc. Observe that intensity diminishes toward light and dark. If the intermediates, yellow-red, green-yellow and the rest, are also arranged in this way from light to dark, you will have a set of notes for application in composition.APPLICATION. A line design may now be colored from one of the scales, say Blue. Hue and Intensity being eliminated, the whole effort is centred upon notan of color. This is an exercise in three values (page 83) using color instead of neutral gray. No. 64, p. 105.[pg 103]No. 63. Color Theory, HUE.[pg 104]No. 64. Color Theory, NOTAN of Color.[pg 105][pg 106][pg 107][pg 108]No. 64. Color Theory, INTENSITY, scales and exercises.[pg 109]More applications can be made than in the case of Hue; historic art is full of them. Dutch tiles, Japanese prints and blue towels, Abruzzi towels, American blue quilts, etc., are examples of harmony built up with several values of one hue. With two hues innumerable variations are possible. Japanese prints of the“red and green”period are compositions in light yellow-red, middle green, black, and white. Other examples can be easily found in the world's art. The student should apply the scale-notes to his own designs, not using, at this stage, more than two hues, with perhaps black and white.INTENSITY. Color varies not only in hue and value, but in intensity,—ranging from bright to gray. Every painter knows that a brilliant bit of color, set in grayer tones of the same or neighboring hues, will illuminate the whole group,—a distinguished and elusive harmony. The fire opal has a single point of intense scarlet, melting into pearl; the clear evening sky is like this when from the sunken sun the red-orange light grades away through yellow and green to steel-gray.This rarely beautiful quality of color can be better understood by isolating it and testing it in designs (as has been done with each principle, from Line onward; see page 21).Paint a scale with one hue, say Vermilion, keeping each space of the same value, but grading the intensity down to neutral gray.APPLICATION. Arrange these notes in a line design. As Hue and Notan are eliminated, the only harmony will be that of bright points floating in grayish tones (No.65). Other hues may be scaled and tested in like manner. Combine two hues in one design, all values equal,—adding contrast of hue to contrast of intensity. Examples abound in painting. To cite a few: the element of intensity gives breadth and tonal harmonies in stained glass, Persian rugs, Cazin's foregrounds, the prints of Harunobu, Kiyonaga and Shunsho.COMPOSITIONS in HUE, NOTAN, INTENSITY. In all color-schemes these three will be found in combination. Analysis of a few compositions will be worth while; for example, the print, No. 69, p. 124, and the print and textile, page 13. Note (1) the number of hues; (2) the number of values of each hue, whether dark, light or medium; (3) the degrees of intensity of each hue, whether very bright, bright, medium or dull; (4) the quantity of each color and its distribution in the design; (5) the amount and effect of black, white and neutral gray. For a simple exercise in composition the student might color a line design in several ways, using three hues, varying the dark-and-light distribution and the quantity of bright and gray tones. Follow this with other designs in color.—flower panels, repeating patterns, figures in costume, and landscape. A little of this kind of work will cultivate good[pg 110]judgment as to color relations, and will stimulate invention. Color Theory does not ensure harmony but is a help toward it, as it shows where balance and adjustment are needed.Note. It is next to impossible to reproduce colors with perfect accuracy, and even if the hues, values and intensities could be exactly copied, it is doubtful if the inks would remain absolutely unchanged for a great length of time. The plates of Color Theory here shown are intended only as statements of the fundamental color-relations. They are not scientifically accurate, nor do they need to be,–they are to be used in art, not in science. Their purpose is to show the pupil how to study color, how to make scales and apply them in art, rather than to furnish a standard to be copied.“The Gundalow”, study in three values.[pg 111][pg 112]No. 66. Color derived from NOTAN.

Color, with its infinity of relations, is baffling; its finer harmonies, like those of music, can be grasped by the appreciations only, not by reasoning or analysis. Color, in art, is a subject not well understood as yet, and there are violent differences of opinion among artists, teachers and critics, as to what constitutes good color-instruction. The most that I can do here is to outline a simple method of study. The usual advice of the academic painter to“keep trying,”is discouraging to the beginner and increases his confusion; it is not in accord with good sense either, for the other arts are not attacked through timid and aimless experiment. An artist may say that a certain group of colors is a harmony; the pupil cannot see it, but he takes the master's word for it. The artist is not teaching successfully unless he points the way to appreciation, however hard or long it may be.A systematic study of line and tone is very profitable, as we have seen; I believe that color may be approached in like manner, and I shall attempt now to relate the treatment of the color-element (chapter I) to that of the other two, and to give some results of personal experience.Those who have but little time for work in color, can spend it best in copying, under guidance, examples of acknowledged excellence, like Japanese prints, Oriental rugs, and reproductions of masterpieces. Contact with these, even looking at them (if the pupil is taught what to look for), will strengthen the powers of color perception. In schools where the art periods are short and few, this may be the only method possible. (See p. 13 and chap. XVI.) For those who intend to use color in creative work a certain amount of theory is indispensable, as it simplifies the subject and opens up a few definite lines of research. The word“theory”has become a kind of academic bugbear, yet Leonardo da Vinci said that the painter who works without a theory is like the sailor who goes to sea without a compass. Well-ordered thought is as necessary in art as in any other field. Theory is a help to clear thinking and gives direction and purpose to practice. Color, however complicated, may be reduced to three simple elements:HUE,—as yellow, blue-green,NOTAN (or Value),—as dark red, light red,INTENSITY (or Bright-to-gray-ness)—as intense blue, dull blue.Color harmony depends upon adjustments in this three-fold nature. If a color-scheme is discordant, the fault may[pg 101]be discovered in,—wrong selection of hues or weak values, or ill-matched intensities, or all three. This simple classification reduces the perplexities that beset the student, by showing him where to look for the cause of failure. The words“Value”and“Chroma”are used in this connection by Albert H. Munsell, to whose book“A Color Notation”the reader is referred for a very convincing exposition of color theory.Mr. Munsell has invented a photometer to measure values of light and color, and has prepared scales, spheres, charts and pigments for school use. My own experiments in making circles of hues and scales of notan and intensities, were based upon the old theory—Red, Blue and Yellow as primaries, Green, Orange and Violet as secondaries, etc. At that time (1890) the progression from bright to gray was not recognized as a distinct element of color, but in art-educational works difference of intensity was confused with dark-and-light; spectra for school use contained hues in violent contrast as to brilliancy and value.Science determined long since that the fundamental color impressions are not red, blue and yellow, but Red, Green and Violet-blue. Mr. Munsell adopts these and two secondaries, Yellow and Purple—five hues in all—as the basis of all color expression in art. This seems very simple and quite sufficient for working out all problems in color scheming. Note. Experiments as outlined below, are intended only to set the student thinking, in an orderly way, about the three dimensions of color.Dimensions of Color

Color, with its infinity of relations, is baffling; its finer harmonies, like those of music, can be grasped by the appreciations only, not by reasoning or analysis. Color, in art, is a subject not well understood as yet, and there are violent differences of opinion among artists, teachers and critics, as to what constitutes good color-instruction. The most that I can do here is to outline a simple method of study. The usual advice of the academic painter to“keep trying,”is discouraging to the beginner and increases his confusion; it is not in accord with good sense either, for the other arts are not attacked through timid and aimless experiment. An artist may say that a certain group of colors is a harmony; the pupil cannot see it, but he takes the master's word for it. The artist is not teaching successfully unless he points the way to appreciation, however hard or long it may be.

A systematic study of line and tone is very profitable, as we have seen; I believe that color may be approached in like manner, and I shall attempt now to relate the treatment of the color-element (chapter I) to that of the other two, and to give some results of personal experience.

Those who have but little time for work in color, can spend it best in copying, under guidance, examples of acknowledged excellence, like Japanese prints, Oriental rugs, and reproductions of masterpieces. Contact with these, even looking at them (if the pupil is taught what to look for), will strengthen the powers of color perception. In schools where the art periods are short and few, this may be the only method possible. (See p. 13 and chap. XVI.) For those who intend to use color in creative work a certain amount of theory is indispensable, as it simplifies the subject and opens up a few definite lines of research. The word“theory”has become a kind of academic bugbear, yet Leonardo da Vinci said that the painter who works without a theory is like the sailor who goes to sea without a compass. Well-ordered thought is as necessary in art as in any other field. Theory is a help to clear thinking and gives direction and purpose to practice. Color, however complicated, may be reduced to three simple elements:

Color harmony depends upon adjustments in this three-fold nature. If a color-scheme is discordant, the fault may[pg 101]be discovered in,—wrong selection of hues or weak values, or ill-matched intensities, or all three. This simple classification reduces the perplexities that beset the student, by showing him where to look for the cause of failure. The words“Value”and“Chroma”are used in this connection by Albert H. Munsell, to whose book“A Color Notation”the reader is referred for a very convincing exposition of color theory.

Mr. Munsell has invented a photometer to measure values of light and color, and has prepared scales, spheres, charts and pigments for school use. My own experiments in making circles of hues and scales of notan and intensities, were based upon the old theory—Red, Blue and Yellow as primaries, Green, Orange and Violet as secondaries, etc. At that time (1890) the progression from bright to gray was not recognized as a distinct element of color, but in art-educational works difference of intensity was confused with dark-and-light; spectra for school use contained hues in violent contrast as to brilliancy and value.

Science determined long since that the fundamental color impressions are not red, blue and yellow, but Red, Green and Violet-blue. Mr. Munsell adopts these and two secondaries, Yellow and Purple—five hues in all—as the basis of all color expression in art. This seems very simple and quite sufficient for working out all problems in color scheming. Note. Experiments as outlined below, are intended only to set the student thinking, in an orderly way, about the three dimensions of color.

Dimensions of Color

EXERCISESHUE. To judge of the effect of one hue upon another, arrange the whole five, Red, Yellow, Green, Blue, Purple, in a circle making them equal in value and equal in degree of brightness, thus eliminating notan and intensity. In the centre of the circle (N) paint a note of middle value, chosen from the scale, p. 88. Then paint the other divisions R, Y, G, B, P with the five hues. When this is well done if the circle were photographed upon a color-blind plate, the result would be a flat tone of middle gray. No pigment is of the exact quality needed; red that is neither yellow-red nor purple-red can be mixed from Vermilion and Crimson; Prussian Blue is greenish, New Blue is reddish; some pigments are too light, others too dark. This exercise requires study of great importance to the painter, giving him a better acquaintance with his materials.Next, make a circle of intermediates, No. 63, by mixing adjoining hues; this gives five more notes—yellow-red, green-yellow, blue-green, purple-blue, red-purple. Bear in mind that these circles are[pg 102]only statements of relations, of the same use as a scale. The question now is of the art-use of them, of composing a harmony with them.APPLICATION. Choose a line-design, and paint the spaces with colors from the second circle. The effect will be peculiar because there are no differences of dark-and-light or intensity; the only harmony possible comes from interplay of hues, a kind of iridescence and vibration; see opposite page.Colors that stand opposite in circle—as blue, yellow-red; or red, blue-green—will, if placed side by side, increase each other's power and produce violent contrast. Opposition of Color is analogous to Opposition of Line (page 21) and Opposition of Notan (black and white). To unite these extremes of difference, bring in a third hue related to each, for example,—red, green-yellow, blue-green; yellow, yellow-red, purple-blue. This is the principle of Transition (page 22); see also page 82, three values.Practice in composing with few and simple elements, of deciding when contrasting colors are of equal value, or equal intensity, is of direct use in art. The landscape painter opposes the whole sky to the whole ground; he wants a vibration of color in each, without disturbing the values; the designer in stained glass sometimes desires to fill a space with iridescent color, perhaps as a background for figures.The student may, if he likes, use black with these colors, producing a very brilliant effect like a Cairo window; but here the hues are measured against black, rather than against each other. In No. 63 are shown two experiments in composing with HUE.NOTAN of COLOR. Draw in outline six scales, as shown in the diagram. Paint N in white, black and three grays (see page 88). In the spaces marked (a) paint each of the five hues—red, yellow, green, blue and purple, middle value and equal intensity.Notan of ColorNext, paint a lighter value (b) and a darker (c) making a notan-scale of each hue,—light red, middle red, dark red, etc. Observe that intensity diminishes toward light and dark. If the intermediates, yellow-red, green-yellow and the rest, are also arranged in this way from light to dark, you will have a set of notes for application in composition.APPLICATION. A line design may now be colored from one of the scales, say Blue. Hue and Intensity being eliminated, the whole effort is centred upon notan of color. This is an exercise in three values (page 83) using color instead of neutral gray. No. 64, p. 105.[pg 103]No. 63. Color Theory, HUE.[pg 104]No. 64. Color Theory, NOTAN of Color.[pg 105][pg 106][pg 107][pg 108]No. 64. Color Theory, INTENSITY, scales and exercises.[pg 109]More applications can be made than in the case of Hue; historic art is full of them. Dutch tiles, Japanese prints and blue towels, Abruzzi towels, American blue quilts, etc., are examples of harmony built up with several values of one hue. With two hues innumerable variations are possible. Japanese prints of the“red and green”period are compositions in light yellow-red, middle green, black, and white. Other examples can be easily found in the world's art. The student should apply the scale-notes to his own designs, not using, at this stage, more than two hues, with perhaps black and white.INTENSITY. Color varies not only in hue and value, but in intensity,—ranging from bright to gray. Every painter knows that a brilliant bit of color, set in grayer tones of the same or neighboring hues, will illuminate the whole group,—a distinguished and elusive harmony. The fire opal has a single point of intense scarlet, melting into pearl; the clear evening sky is like this when from the sunken sun the red-orange light grades away through yellow and green to steel-gray.This rarely beautiful quality of color can be better understood by isolating it and testing it in designs (as has been done with each principle, from Line onward; see page 21).Paint a scale with one hue, say Vermilion, keeping each space of the same value, but grading the intensity down to neutral gray.APPLICATION. Arrange these notes in a line design. As Hue and Notan are eliminated, the only harmony will be that of bright points floating in grayish tones (No.65). Other hues may be scaled and tested in like manner. Combine two hues in one design, all values equal,—adding contrast of hue to contrast of intensity. Examples abound in painting. To cite a few: the element of intensity gives breadth and tonal harmonies in stained glass, Persian rugs, Cazin's foregrounds, the prints of Harunobu, Kiyonaga and Shunsho.COMPOSITIONS in HUE, NOTAN, INTENSITY. In all color-schemes these three will be found in combination. Analysis of a few compositions will be worth while; for example, the print, No. 69, p. 124, and the print and textile, page 13. Note (1) the number of hues; (2) the number of values of each hue, whether dark, light or medium; (3) the degrees of intensity of each hue, whether very bright, bright, medium or dull; (4) the quantity of each color and its distribution in the design; (5) the amount and effect of black, white and neutral gray. For a simple exercise in composition the student might color a line design in several ways, using three hues, varying the dark-and-light distribution and the quantity of bright and gray tones. Follow this with other designs in color.—flower panels, repeating patterns, figures in costume, and landscape. A little of this kind of work will cultivate good[pg 110]judgment as to color relations, and will stimulate invention. Color Theory does not ensure harmony but is a help toward it, as it shows where balance and adjustment are needed.Note. It is next to impossible to reproduce colors with perfect accuracy, and even if the hues, values and intensities could be exactly copied, it is doubtful if the inks would remain absolutely unchanged for a great length of time. The plates of Color Theory here shown are intended only as statements of the fundamental color-relations. They are not scientifically accurate, nor do they need to be,–they are to be used in art, not in science. Their purpose is to show the pupil how to study color, how to make scales and apply them in art, rather than to furnish a standard to be copied.“The Gundalow”, study in three values.[pg 111][pg 112]No. 66. Color derived from NOTAN.

HUE. To judge of the effect of one hue upon another, arrange the whole five, Red, Yellow, Green, Blue, Purple, in a circle making them equal in value and equal in degree of brightness, thus eliminating notan and intensity. In the centre of the circle (N) paint a note of middle value, chosen from the scale, p. 88. Then paint the other divisions R, Y, G, B, P with the five hues. When this is well done if the circle were photographed upon a color-blind plate, the result would be a flat tone of middle gray. No pigment is of the exact quality needed; red that is neither yellow-red nor purple-red can be mixed from Vermilion and Crimson; Prussian Blue is greenish, New Blue is reddish; some pigments are too light, others too dark. This exercise requires study of great importance to the painter, giving him a better acquaintance with his materials.

Next, make a circle of intermediates, No. 63, by mixing adjoining hues; this gives five more notes—yellow-red, green-yellow, blue-green, purple-blue, red-purple. Bear in mind that these circles are[pg 102]only statements of relations, of the same use as a scale. The question now is of the art-use of them, of composing a harmony with them.

APPLICATION. Choose a line-design, and paint the spaces with colors from the second circle. The effect will be peculiar because there are no differences of dark-and-light or intensity; the only harmony possible comes from interplay of hues, a kind of iridescence and vibration; see opposite page.

Colors that stand opposite in circle—as blue, yellow-red; or red, blue-green—will, if placed side by side, increase each other's power and produce violent contrast. Opposition of Color is analogous to Opposition of Line (page 21) and Opposition of Notan (black and white). To unite these extremes of difference, bring in a third hue related to each, for example,—red, green-yellow, blue-green; yellow, yellow-red, purple-blue. This is the principle of Transition (page 22); see also page 82, three values.

Practice in composing with few and simple elements, of deciding when contrasting colors are of equal value, or equal intensity, is of direct use in art. The landscape painter opposes the whole sky to the whole ground; he wants a vibration of color in each, without disturbing the values; the designer in stained glass sometimes desires to fill a space with iridescent color, perhaps as a background for figures.

The student may, if he likes, use black with these colors, producing a very brilliant effect like a Cairo window; but here the hues are measured against black, rather than against each other. In No. 63 are shown two experiments in composing with HUE.

NOTAN of COLOR. Draw in outline six scales, as shown in the diagram. Paint N in white, black and three grays (see page 88). In the spaces marked (a) paint each of the five hues—red, yellow, green, blue and purple, middle value and equal intensity.

Notan of Color

Next, paint a lighter value (b) and a darker (c) making a notan-scale of each hue,—light red, middle red, dark red, etc. Observe that intensity diminishes toward light and dark. If the intermediates, yellow-red, green-yellow and the rest, are also arranged in this way from light to dark, you will have a set of notes for application in composition.

APPLICATION. A line design may now be colored from one of the scales, say Blue. Hue and Intensity being eliminated, the whole effort is centred upon notan of color. This is an exercise in three values (page 83) using color instead of neutral gray. No. 64, p. 105.

No. 63. Color Theory, HUE.

No. 64. Color Theory, NOTAN of Color.

No. 64. Color Theory, INTENSITY, scales and exercises.

More applications can be made than in the case of Hue; historic art is full of them. Dutch tiles, Japanese prints and blue towels, Abruzzi towels, American blue quilts, etc., are examples of harmony built up with several values of one hue. With two hues innumerable variations are possible. Japanese prints of the“red and green”period are compositions in light yellow-red, middle green, black, and white. Other examples can be easily found in the world's art. The student should apply the scale-notes to his own designs, not using, at this stage, more than two hues, with perhaps black and white.

INTENSITY. Color varies not only in hue and value, but in intensity,—ranging from bright to gray. Every painter knows that a brilliant bit of color, set in grayer tones of the same or neighboring hues, will illuminate the whole group,—a distinguished and elusive harmony. The fire opal has a single point of intense scarlet, melting into pearl; the clear evening sky is like this when from the sunken sun the red-orange light grades away through yellow and green to steel-gray.

This rarely beautiful quality of color can be better understood by isolating it and testing it in designs (as has been done with each principle, from Line onward; see page 21).

Paint a scale with one hue, say Vermilion, keeping each space of the same value, but grading the intensity down to neutral gray.

APPLICATION. Arrange these notes in a line design. As Hue and Notan are eliminated, the only harmony will be that of bright points floating in grayish tones (No.65). Other hues may be scaled and tested in like manner. Combine two hues in one design, all values equal,—adding contrast of hue to contrast of intensity. Examples abound in painting. To cite a few: the element of intensity gives breadth and tonal harmonies in stained glass, Persian rugs, Cazin's foregrounds, the prints of Harunobu, Kiyonaga and Shunsho.

COMPOSITIONS in HUE, NOTAN, INTENSITY. In all color-schemes these three will be found in combination. Analysis of a few compositions will be worth while; for example, the print, No. 69, p. 124, and the print and textile, page 13. Note (1) the number of hues; (2) the number of values of each hue, whether dark, light or medium; (3) the degrees of intensity of each hue, whether very bright, bright, medium or dull; (4) the quantity of each color and its distribution in the design; (5) the amount and effect of black, white and neutral gray. For a simple exercise in composition the student might color a line design in several ways, using three hues, varying the dark-and-light distribution and the quantity of bright and gray tones. Follow this with other designs in color.—flower panels, repeating patterns, figures in costume, and landscape. A little of this kind of work will cultivate good[pg 110]judgment as to color relations, and will stimulate invention. Color Theory does not ensure harmony but is a help toward it, as it shows where balance and adjustment are needed.

Note. It is next to impossible to reproduce colors with perfect accuracy, and even if the hues, values and intensities could be exactly copied, it is doubtful if the inks would remain absolutely unchanged for a great length of time. The plates of Color Theory here shown are intended only as statements of the fundamental color-relations. They are not scientifically accurate, nor do they need to be,–they are to be used in art, not in science. Their purpose is to show the pupil how to study color, how to make scales and apply them in art, rather than to furnish a standard to be copied.

“The Gundalow”, study in three values.

No. 66. Color derived from NOTAN.

[pg 113]XV.—COLOR DERIVED FROM NOTANOne 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 followingEXERCISEPrepare 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-green2.Flower—middle red-yellow3.Background—light yellowAdd 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.Examples are many; two kinds only need be mentioned now,—American Indian pottery, and landscapes in black, gray and vermilion red from Hokusai's“Mangwa,”(p. 57.)ONE HUE in TWO and THREE VALUES. The next step would be to replace two grays with two values of one hue, making scales like these:White WhiteLight greenMiddle greenDark grayBlackWhiteLight purpleMiddle grayDark purpleBlackFollow by eliminating all the grays, and the scale might be like this:WhiteLight blue-greenMiddle blue-greenDark blue-greenBlackChoice of color will depend upon the nature of the design. The medium may be crayon, wash, opaque water color or oil paint.TWO and THREE HUES. If two hues are introduced the complexity will be greater, but there will be more chances for invention and variation. With at least ten hues to choose from—R, YR, Y, GY, G, BG, B, PB, P, RP—each one of which might have perhaps four degrees of intensity (from very bright to dull) the student has material to compose in any key. Two typical scales are given below:Two hues—WhiteLight yellowMiddle grayDark greenBlackThree hues—WhiteLight yellowMiddle gray-greenDark gray-purpleBlackHARMONYWill the exercises in the foregoing chapters ensure a harmony? No, they are only helps to a better understanding of color. Harmony depends upon (a) good line design, (b) choice of hues, (c) quantity of each, (d) a dominating color, (e) notan values, (f) fine relations of intensity, (g) quality of surface, (h) handling. All these in perfect synthesis will be found in the works of the greatest masters. It is also true that simple harmonies are not difficult to realize, as is witnessed by primitive art and the best work of students.With practice in the ways suggested here, two other things are necessary,—advice from an experienced and appreciative instructor, and acquaintance with fine examples of color.[pg 115][pg 116]No. 67. Color schemes from Japanese prints—Applications to Design.

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

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

EXERCISEPrepare 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-green2.Flower—middle red-yellow3.Background—light yellowAdd 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.

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:

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.Examples are many; two kinds only need be mentioned now,—American Indian pottery, and landscapes in black, gray and vermilion red from Hokusai's“Mangwa,”(p. 57.)ONE HUE in TWO and THREE VALUES. The next step would be to replace two grays with two values of one hue, making scales like these:White WhiteLight greenMiddle greenDark grayBlackWhiteLight purpleMiddle grayDark purpleBlackFollow by eliminating all the grays, and the scale might be like this:WhiteLight blue-greenMiddle blue-greenDark blue-greenBlackChoice of color will depend upon the nature of the design. The medium may be crayon, wash, opaque water color or oil paint.TWO and THREE HUES. If two hues are introduced the complexity will be greater, but there will be more chances for invention and variation. With at least ten hues to choose from—R, YR, Y, GY, G, BG, B, PB, P, RP—each one of which might have perhaps four degrees of intensity (from very bright to dull) the student has material to compose in any key. Two typical scales are given below:Two hues—WhiteLight yellowMiddle grayDark greenBlackThree hues—WhiteLight yellowMiddle gray-greenDark gray-purpleBlack

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.

Examples are many; two kinds only need be mentioned now,—American Indian pottery, and landscapes in black, gray and vermilion red from Hokusai's“Mangwa,”(p. 57.)

ONE HUE in TWO and THREE VALUES. The next step would be to replace two grays with two values of one hue, making scales like these:

Follow by eliminating all the grays, and the scale might be like this:

Choice of color will depend upon the nature of the design. The medium may be crayon, wash, opaque water color or oil paint.

TWO and THREE HUES. If two hues are introduced the complexity will be greater, but there will be more chances for invention and variation. With at least ten hues to choose from—R, YR, Y, GY, G, BG, B, PB, P, RP—each one of which might have perhaps four degrees of intensity (from very bright to dull) the student has material to compose in any key. Two typical scales are given below:

Two hues—

Three hues—

HARMONYWill the exercises in the foregoing chapters ensure a harmony? No, they are only helps to a better understanding of color. Harmony depends upon (a) good line design, (b) choice of hues, (c) quantity of each, (d) a dominating color, (e) notan values, (f) fine relations of intensity, (g) quality of surface, (h) handling. All these in perfect synthesis will be found in the works of the greatest masters. It is also true that simple harmonies are not difficult to realize, as is witnessed by primitive art and the best work of students.With practice in the ways suggested here, two other things are necessary,—advice from an experienced and appreciative instructor, and acquaintance with fine examples of color.[pg 115][pg 116]No. 67. Color schemes from Japanese prints—Applications to Design.

Will the exercises in the foregoing chapters ensure a harmony? No, they are only helps to a better understanding of color. Harmony depends upon (a) good line design, (b) choice of hues, (c) quantity of each, (d) a dominating color, (e) notan values, (f) fine relations of intensity, (g) quality of surface, (h) handling. All these in perfect synthesis will be found in the works of the greatest masters. It is also true that simple harmonies are not difficult to realize, as is witnessed by primitive art and the best work of students.

With practice in the ways suggested here, two other things are necessary,—advice from an experienced and appreciative instructor, and acquaintance with fine examples of color.

No. 67. Color schemes from Japanese prints—Applications to Design.

XVI.—COLOR SCHEMES FROM JAPANESE PRINTS AND FROM TEXTILESIn the quest for harmony, what better course could be taken than to copy harmonies? Nothing so sharpens color perception as contact with the best examples. The attempt to reach a master's style, peculiar color-feeling, refinements of tone and methods of handling, brings both knowledge and appreciation. For ordinary use Japanese prints are most convenient and inspiring color-models.COPYING JAPANESE PRINTS. In the best of these the color has a peculiar bloom due to the process of printing from wood blocks. The paper is pressed upon forms cut on the flat side of a board; the grain of the wood, the rough surface of the“baren”with which the paper is rubbed down, and the fibrous texture of the paper combine to make a luminous vibrating tone. Particles of color lie upon the tops of silken filaments, allowing the undertone of the paper to shine through,—precisely the quality sought by painters in using a rough canvas and thin washes, or thick color put on with small brushes. In the print the vibration is not obvious, but the effect is that of color over which floats a thin golden envelope.Ordinary charcoal paper is good for copies, as it has a roughness that aids in producing atmospheric tones. Rub a slight quantity of charcoal over the surface, very lightly; wipe it off with chamois or cotton rag, leaving little points of black in the hollows of the paper.Isolate the desired color-passage, by cutting an opening in a sheet of white paper and laying it upon the face of the print. Copy with washes of water color. If the print is age-stained, tone your charcoal paper with Raw Sienna and Ivory Black.AUTHORS. Good color-schemes can be found anywhere in the range of Japanese color-printing, from Okumura Masanobu in the middle of the XVIIIth century to modern days, but the rarity and great value of early prints puts them out of reach of those who have not access to museum collections. I can mention here but a few names, with which the student is most likely to meet:Torii Kiyonobu and his fellows of the“red-and-green period”(first half of the XVIIIth century); Harunobu, Koriusai, Kiyonaga and Shunsho, who worked in sunny yellows and reds, pearly greens and pale purples, often most cleverly opposed with transparent black and cool silvery grays; then Utamaro and Toyokuni I., strong but less fine.Among XLXth century men Hiroshige (page 13) and Hokusai are preëminent[pg 118]as colorists. Both have strongly influenced Occidental painters. Hiroshige designed series after series of prints,—scenes famous for their beauty or historic interest; stations on the two great highways, the Tokaido and the Kisokaido; effects of wind, rain, snow and twilight; flowers, birds, and a few figures. He would recompose the same series again and again in different size and color-scheme. His design is full of delightful surprises; his artistic power and inventiveness are astonishing. A prodigious amount of work is signed by his name; some critics hold that there was a second, and even a third Hiroshige, but Fenollosa believed in one only, whose manner naturally varied during a long life (1790—1858).Hokusai's color is strange and imaginative; sometimes delicate almost to neutrality, sometimes startling and daring. His pupils Hokkei, Hokuju and the rest are more gentle.The figure prints most commonly seen are by Kunisada (Toyokuni II), Kuniyoshi and other pupils of Toyokuni I., and Keisai Yeisen. Here, as in most Japanese figure prints, color effects are produced by skilful combinations of patterns upon costumes. Every kind of color-key is possible, by this means, with infinite variations;—impressionist painting with wood blocks. The student is warned that poor prints abound,—impressions from worn-out blocks, cheap modern reprints, and imitations. Bright, fresh color, however, need not be taken to mean imitation; some of the early editions have been kept in albums in store houses, and the color has not changed. Experience and appreciation are after all the only safeguards.APPLICATION. Having made the copy of the color-scheme, apply the same colors to several tracings of one design, (No. 67). One of the things taught by this exercise is that distribution and proportion of color affect harmonic relations. Colors that harmonize as they stand in the print may seem discordant when used in different quantities; they will surely be so if the design is badly spaced. With a good design, and correct judgment as to hue, notan and intensity, the chances are that each variation will be satisfactory.Copies from Hiroshige are of special value to the landscape painter. These may be made in oil as a study of quality and vibration. The procedure is a little different from the preceding. It is better, in oil painting, to copy whole prints. Over the surface of a large rough canvas scrub a thin gray, of the color of the paper of the print. Draw the design in a few vigorous lines, omitting all details. Paint in, at arm's length, the principal color notes, not covering the whole surface or filling in outlines. Mix colors beforehand, taking time to copy each hue and value exactly. The painting, with each color ready upon the palette, should be swift and vigorous. Place the print above the canvas; stand while painting; make comparisons at a distance.[pg 119]Copying Japanese prints is recommended for practice in color; it does not replace nature-painting or original design, though it will be a help to both.COPYING COLOR from TEXTILES. The exercises described above may be taken with textiles. Beauty of color in the finest of these is due to good composition, the softening of dust and age-stain, and the atmospheric envelope caused by reflection of light from the minute points of the web. For some kinds of textile the charcoal paper, as above, may be useful; for others, gray paper and wax crayons.The latter are excellent for copying rugs and can be used in original designs for rugs.As to models, work from originals in museums,—Persian carpets and rugs, Coptic and Peruvian tapestries, mediaeval tapestries, Italian, Spanish and French textiles XIIIth to XVIIIth centuries, etc. In the“rag-fairs”of Europe, and in antique shops, one may find scraps of the woven and printed stuffs of the best periods. The South Kensington Museum has published colored reproductions of textiles. Art libraries will have Fischbach's, Mumford's, the Kelekian Collection and others in full color.

In the quest for harmony, what better course could be taken than to copy harmonies? Nothing so sharpens color perception as contact with the best examples. The attempt to reach a master's style, peculiar color-feeling, refinements of tone and methods of handling, brings both knowledge and appreciation. For ordinary use Japanese prints are most convenient and inspiring color-models.COPYING JAPANESE PRINTS. In the best of these the color has a peculiar bloom due to the process of printing from wood blocks. The paper is pressed upon forms cut on the flat side of a board; the grain of the wood, the rough surface of the“baren”with which the paper is rubbed down, and the fibrous texture of the paper combine to make a luminous vibrating tone. Particles of color lie upon the tops of silken filaments, allowing the undertone of the paper to shine through,—precisely the quality sought by painters in using a rough canvas and thin washes, or thick color put on with small brushes. In the print the vibration is not obvious, but the effect is that of color over which floats a thin golden envelope.Ordinary charcoal paper is good for copies, as it has a roughness that aids in producing atmospheric tones. Rub a slight quantity of charcoal over the surface, very lightly; wipe it off with chamois or cotton rag, leaving little points of black in the hollows of the paper.Isolate the desired color-passage, by cutting an opening in a sheet of white paper and laying it upon the face of the print. Copy with washes of water color. If the print is age-stained, tone your charcoal paper with Raw Sienna and Ivory Black.AUTHORS. Good color-schemes can be found anywhere in the range of Japanese color-printing, from Okumura Masanobu in the middle of the XVIIIth century to modern days, but the rarity and great value of early prints puts them out of reach of those who have not access to museum collections. I can mention here but a few names, with which the student is most likely to meet:Torii Kiyonobu and his fellows of the“red-and-green period”(first half of the XVIIIth century); Harunobu, Koriusai, Kiyonaga and Shunsho, who worked in sunny yellows and reds, pearly greens and pale purples, often most cleverly opposed with transparent black and cool silvery grays; then Utamaro and Toyokuni I., strong but less fine.Among XLXth century men Hiroshige (page 13) and Hokusai are preëminent[pg 118]as colorists. Both have strongly influenced Occidental painters. Hiroshige designed series after series of prints,—scenes famous for their beauty or historic interest; stations on the two great highways, the Tokaido and the Kisokaido; effects of wind, rain, snow and twilight; flowers, birds, and a few figures. He would recompose the same series again and again in different size and color-scheme. His design is full of delightful surprises; his artistic power and inventiveness are astonishing. A prodigious amount of work is signed by his name; some critics hold that there was a second, and even a third Hiroshige, but Fenollosa believed in one only, whose manner naturally varied during a long life (1790—1858).Hokusai's color is strange and imaginative; sometimes delicate almost to neutrality, sometimes startling and daring. His pupils Hokkei, Hokuju and the rest are more gentle.The figure prints most commonly seen are by Kunisada (Toyokuni II), Kuniyoshi and other pupils of Toyokuni I., and Keisai Yeisen. Here, as in most Japanese figure prints, color effects are produced by skilful combinations of patterns upon costumes. Every kind of color-key is possible, by this means, with infinite variations;—impressionist painting with wood blocks. The student is warned that poor prints abound,—impressions from worn-out blocks, cheap modern reprints, and imitations. Bright, fresh color, however, need not be taken to mean imitation; some of the early editions have been kept in albums in store houses, and the color has not changed. Experience and appreciation are after all the only safeguards.APPLICATION. Having made the copy of the color-scheme, apply the same colors to several tracings of one design, (No. 67). One of the things taught by this exercise is that distribution and proportion of color affect harmonic relations. Colors that harmonize as they stand in the print may seem discordant when used in different quantities; they will surely be so if the design is badly spaced. With a good design, and correct judgment as to hue, notan and intensity, the chances are that each variation will be satisfactory.Copies from Hiroshige are of special value to the landscape painter. These may be made in oil as a study of quality and vibration. The procedure is a little different from the preceding. It is better, in oil painting, to copy whole prints. Over the surface of a large rough canvas scrub a thin gray, of the color of the paper of the print. Draw the design in a few vigorous lines, omitting all details. Paint in, at arm's length, the principal color notes, not covering the whole surface or filling in outlines. Mix colors beforehand, taking time to copy each hue and value exactly. The painting, with each color ready upon the palette, should be swift and vigorous. Place the print above the canvas; stand while painting; make comparisons at a distance.[pg 119]Copying Japanese prints is recommended for practice in color; it does not replace nature-painting or original design, though it will be a help to both.COPYING COLOR from TEXTILES. The exercises described above may be taken with textiles. Beauty of color in the finest of these is due to good composition, the softening of dust and age-stain, and the atmospheric envelope caused by reflection of light from the minute points of the web. For some kinds of textile the charcoal paper, as above, may be useful; for others, gray paper and wax crayons.The latter are excellent for copying rugs and can be used in original designs for rugs.As to models, work from originals in museums,—Persian carpets and rugs, Coptic and Peruvian tapestries, mediaeval tapestries, Italian, Spanish and French textiles XIIIth to XVIIIth centuries, etc. In the“rag-fairs”of Europe, and in antique shops, one may find scraps of the woven and printed stuffs of the best periods. The South Kensington Museum has published colored reproductions of textiles. Art libraries will have Fischbach's, Mumford's, the Kelekian Collection and others in full color.

In the quest for harmony, what better course could be taken than to copy harmonies? Nothing so sharpens color perception as contact with the best examples. The attempt to reach a master's style, peculiar color-feeling, refinements of tone and methods of handling, brings both knowledge and appreciation. For ordinary use Japanese prints are most convenient and inspiring color-models.

COPYING JAPANESE PRINTS. In the best of these the color has a peculiar bloom due to the process of printing from wood blocks. The paper is pressed upon forms cut on the flat side of a board; the grain of the wood, the rough surface of the“baren”with which the paper is rubbed down, and the fibrous texture of the paper combine to make a luminous vibrating tone. Particles of color lie upon the tops of silken filaments, allowing the undertone of the paper to shine through,—precisely the quality sought by painters in using a rough canvas and thin washes, or thick color put on with small brushes. In the print the vibration is not obvious, but the effect is that of color over which floats a thin golden envelope.

Ordinary charcoal paper is good for copies, as it has a roughness that aids in producing atmospheric tones. Rub a slight quantity of charcoal over the surface, very lightly; wipe it off with chamois or cotton rag, leaving little points of black in the hollows of the paper.

Isolate the desired color-passage, by cutting an opening in a sheet of white paper and laying it upon the face of the print. Copy with washes of water color. If the print is age-stained, tone your charcoal paper with Raw Sienna and Ivory Black.

AUTHORS. Good color-schemes can be found anywhere in the range of Japanese color-printing, from Okumura Masanobu in the middle of the XVIIIth century to modern days, but the rarity and great value of early prints puts them out of reach of those who have not access to museum collections. I can mention here but a few names, with which the student is most likely to meet:

Torii Kiyonobu and his fellows of the“red-and-green period”(first half of the XVIIIth century); Harunobu, Koriusai, Kiyonaga and Shunsho, who worked in sunny yellows and reds, pearly greens and pale purples, often most cleverly opposed with transparent black and cool silvery grays; then Utamaro and Toyokuni I., strong but less fine.

Among XLXth century men Hiroshige (page 13) and Hokusai are preëminent[pg 118]as colorists. Both have strongly influenced Occidental painters. Hiroshige designed series after series of prints,—scenes famous for their beauty or historic interest; stations on the two great highways, the Tokaido and the Kisokaido; effects of wind, rain, snow and twilight; flowers, birds, and a few figures. He would recompose the same series again and again in different size and color-scheme. His design is full of delightful surprises; his artistic power and inventiveness are astonishing. A prodigious amount of work is signed by his name; some critics hold that there was a second, and even a third Hiroshige, but Fenollosa believed in one only, whose manner naturally varied during a long life (1790—1858).

Hokusai's color is strange and imaginative; sometimes delicate almost to neutrality, sometimes startling and daring. His pupils Hokkei, Hokuju and the rest are more gentle.

The figure prints most commonly seen are by Kunisada (Toyokuni II), Kuniyoshi and other pupils of Toyokuni I., and Keisai Yeisen. Here, as in most Japanese figure prints, color effects are produced by skilful combinations of patterns upon costumes. Every kind of color-key is possible, by this means, with infinite variations;—impressionist painting with wood blocks. The student is warned that poor prints abound,—impressions from worn-out blocks, cheap modern reprints, and imitations. Bright, fresh color, however, need not be taken to mean imitation; some of the early editions have been kept in albums in store houses, and the color has not changed. Experience and appreciation are after all the only safeguards.

APPLICATION. Having made the copy of the color-scheme, apply the same colors to several tracings of one design, (No. 67). One of the things taught by this exercise is that distribution and proportion of color affect harmonic relations. Colors that harmonize as they stand in the print may seem discordant when used in different quantities; they will surely be so if the design is badly spaced. With a good design, and correct judgment as to hue, notan and intensity, the chances are that each variation will be satisfactory.

Copies from Hiroshige are of special value to the landscape painter. These may be made in oil as a study of quality and vibration. The procedure is a little different from the preceding. It is better, in oil painting, to copy whole prints. Over the surface of a large rough canvas scrub a thin gray, of the color of the paper of the print. Draw the design in a few vigorous lines, omitting all details. Paint in, at arm's length, the principal color notes, not covering the whole surface or filling in outlines. Mix colors beforehand, taking time to copy each hue and value exactly. The painting, with each color ready upon the palette, should be swift and vigorous. Place the print above the canvas; stand while painting; make comparisons at a distance.

Copying Japanese prints is recommended for practice in color; it does not replace nature-painting or original design, though it will be a help to both.

COPYING COLOR from TEXTILES. The exercises described above may be taken with textiles. Beauty of color in the finest of these is due to good composition, the softening of dust and age-stain, and the atmospheric envelope caused by reflection of light from the minute points of the web. For some kinds of textile the charcoal paper, as above, may be useful; for others, gray paper and wax crayons.

The latter are excellent for copying rugs and can be used in original designs for rugs.

As to models, work from originals in museums,—Persian carpets and rugs, Coptic and Peruvian tapestries, mediaeval tapestries, Italian, Spanish and French textiles XIIIth to XVIIIth centuries, etc. In the“rag-fairs”of Europe, and in antique shops, one may find scraps of the woven and printed stuffs of the best periods. The South Kensington Museum has published colored reproductions of textiles. Art libraries will have Fischbach's, Mumford's, the Kelekian Collection and others in full color.

[pg 120]COMPOSITIONXVII.—IN DESIGN AND PAINTINGThe test of any system of art-study lies in what you can do with it. Harmony-building has been the theme of the foregoing pages, with progressive exercises in structural line, dark-and-light and color. The product should be power,—power to appreciate, power to do something worth while. Practice in simple harmonies gives control of the more complex relations, and enables one to create with freedom in any field of art. Such training is the best foundation for work in design, architecture, the crafts, painting, sculpture and teaching. After this should come special training; for the designer, architect, craftsman, study of historic styles, severe drill in drawing (freehand and mechanical), knowledge of materials; for the painter and sculptor, long practice in drawing and modelling, acquirement of technique; for the teacher, drill in drawing, painting, designing and modelling, study of educational principles, knowledge of school conditions and public needs, practice teaching. In a word, first cultivate the mind, set the thoughts in order, utilize the power within; then the eye and the hand can be trained effectively, with a definite end in view. The usual way, in our systems of art-instruction, is to put drill first, leaving thought and appreciation out of account.Applications of structural principles are many; I can mention and illustrate but a few:WOOD BLOCK PRINTINGFOR STUDY OF PATTERN AND COLOR. The art of wood block printing has been practised for ages in Oriental countries. Our word“calico”is from the name of an Indian town, Calicut, whence printed patterns were brought to England. The older Indian designs, now very rare, had great beauty of line and color. These ancient cotton prints are used by the Japanese for outer coverings of pieces of precious pottery,—first a silk brocade bag, then one of Indian calico enveloping a wooden box in which is the bowl wrapped in plain cotton cloth. The process of wood block printing is very simple, and in my opinion of special educational value. After observation of the craft in India in 1904 I determined to introduce it into art courses—both for adults and children. The method is outlined below:1.Design the pattern in pencil or ink.2.Draw the unit, with attention to its shape and proportions and the effect when repeated.3.Paste this face down upon a wood block; pine, gum wood, or a hard wood of close grain.4.Cut away the white spaces, clearing with a gouge. As the block is to be used as a stamp, the corners and all outside the design, must be removed.5.Printing. Lay a piece of felt upon a slate, or upon a glass, pour a few drops of mucilage upon the felt, and mix with it either common water color, or dry color. Distribute this evenly with a flat bristle brush. Make a large pad, say 22 x 28 or 14 x 20, by tacking cambric upon a drawing board. Under the cambric should be one thickness of felt.PRINTING on PAPER. A slightly rough absorbent surface prints well. Wrapping paper can be found in many colors, tones and textures, and is inexpensive. Damp paper will give clear-cut impressions.Lay the paper upon the large pad; charge the block upon the small pad, and stamp the pattern. If the impression is poor, the cause may be:—(a) Face of block is not level; rub it upon a sheet of fine sand-paper; (b) large pad is uneven; (c) paper is wrinkled or is too glossy; (d) color is too thick or too wet. Practice will overcome these small difficulties.PRINTING on CLOTH. The best effects are obtained with dyes, but their manipulation is not easy, and their permanence is doubtful unless one has expert knowledge of the processes of dyeing. The most convenient medium for the student is oil color thinned with turpentine (to which may be added a very little acetic acid and oil of wintergreen). This, when dry, is permanent and can be washed,—but not with hot water or strong soap.With the design in fixed form upon the block, effort can be concentrated upon the make-up of the pattern, and the color-harmony. By cutting a block for each color the designer may vary the schemes almost to infinity. Where choices are many and corrections easy, invention can have free play.Examples of students' printing on paper are given on page 121.PICTURE PRINTING is a more difficult, but fascinating form of this art-craft. Here must be gradation, transparent and vibrating color, atmospheric over-tone binding all together. For these qualities the Japanese process is best, with its perfected tools and methods. In theory it is very simple: The outline is drawn in ink upon thin paper, and the sheet pasted face down upon the flat side of a board; the block is then engraved with a knife and gouges, the drawing being left in relief; the paper is removed from the lines with a damp cloth, and the block charged with ink. Dry black mixed with mucilage and water, or any black water color will answer. For charging, the Japanese use a thick short brush,—a round bristle brush will serve the purpose. When ink is scrubbed evenly over the whole surface, the block is ready for printing. A sheet of Japanese paper, slightly[pg 126]dampened, is laid upon the block and rubbed gently with a circular pad called a“baren.”This wonderful instrument draws the ink up into the paper, giving a clear rich soft line. The baren is made of a leaf of bamboo stretched over a saucer-like disk of pasteboard, within which is coiled a braided fibre-mat.If the block has been properly cleared, and the baren is moved in level sweeps, the paper will not be soiled by ink between the lines. After printing a number of outlines the colors are painted upon them and color-blocks engraved. It is possible to have several colors upon the same board, if widely separated. Accurate registry is obtained by two marks at the top of the board and one at the side. The paper must be kept of the same degree of moisture, otherwise it will shrink and the last impressions will be out of register.Dry colors mixed with water and a little mucilage, or better still, common water colors, may be used. No. 69 is a reproduction of a print made in the Japanese way. (In 1895 I exhibited at the Boston Museum of Fine Arts a collection of my wood block prints. Professor Fenollosa wrote the introduction to the catalogue, discussing the possibilities, for color and design, of this method, then new to America. In“Modern Art”for July, 1896, I described the process in full, with illustrations, one in color.)STENCILLING, like wood block printing, invites variation of rhythm and color combination. Stencilling is often done without sufficient knowledge of the craft. The student should understand that a stencil is simply a piece of perforated water proof paper or metal to be laid upon paper or cloth and scrubbed over with a thick brush charged with color; long openings must be bridged with“ties,”and all openings must be so shaped that their edges will remain flat when the brush passes over them.Japanese Stencil.Stencil units are usually large, offering good opportunities for Subordination (page 23), Symmetry, and Proportion (page 28). A unit must not only be complete in itself but must harmonize with itself in Repetition (pp. 36, 66). Stencils may be cut upon thick manila paper which is then coated with shellac; or upon oiled paper. If stencil brushes cannot be obtained one may use a common, round, house-painter's brush, wound with string to within an inch of the end.Colors may be,—oil thinned with turpentine; dyes; or dry colors ground on a slab with water and mucilage. Charge the brush with thin, thoroughly mixed[pg 127]pigment; if there is too much it will scrape off under the edges of the stencil and spoil the print. Unprinted wall paper (“lining paper”) is cheap and very satisfactory for stencilling. It should be tinted with a thin solution of color to which a little mucilage has been added. Use a large flat brush about four inches wide, applying the color with rapid vertical and horizontal strokes.COLORED CHARCOAL. This is a further development of the method described in Chapter XIII (see also page 113). Lay in the picture in light values of charcoal, remembering that the colorwashes will darken every tone. Too much rubbing with the stump gives muddiness, too little charcoal may weaken the values and you will have a“washout.”When the notan-scheme is right, the drawing may be fixed. It can be colored without fixing if the stump has been used.Color is applied in thin washes allowing the charcoal texture to shine through. Notan plays the larger part, furnishing the structure of the composition and giving a harmonic basis for the color. If the hues are well-chosen, the result should be a harmony of atmospheric depth, with soft but glowing colors.PAINTING in FULL COLOR. In a book devoted to the study of art-structure not much space can be given to comparison of mediums, or to professional problems of technique in advanced painting. They will be mentioned to show the unity of the progressive series, to suggest to the student some lines of research and experiment, and to help him in choosing his field of art-work.WATER COLOR. This medium is used in many different ways: as a thin transparent stain, like the work of David Cox, Cotman, De Wint; as a combination of opaque color and wash, with which J. M. W. Turner painted air, distance, infinity, the play of light over the world; as flat wash filling in outlines, like the drawings of Millet and Boutet de Monvel; as the modern Dutch use it, in opaque pastel-like strokes on gray paper, or scrubbed in with a bristle brush; as premier coup painting with no outline (both drawing and painting) like much Japanese work.In all these, line is the basis, whether actually drawn, as by Millet and Rembrandt, or felt, as by the Japanese and Turner. The best painting has form and character in every brush-touch.OIL COLOR. Instruction in oil painting is usually limited to what might be called drawing in paint. Of course the student must know his pigments, how to obtain hues and values by mixing, how to use brushes, how to sketch in, and all the elementary details,—but this is but a beginning. Expression of an idea or emotion depends upon appreciation of art structure; the point is not so much[pg 128]how to paint, as how to paint well. Artists often say that it matters not how you get an effect, if you only get it. This is misleading; it does matter,—the greatest painters get their effects in a fine way.Methods of handling oil color may be reduced to two general classes: (a) the paint is used thin, as a wash, on a prepared canvas, or (b) it is put on in thick opaque touches. In either case the aim is the same—to paint for depth, vibration, illusion of light and color. If brush strokes are to be left intact, each of them must have shape and meaning,—that is, line; if color is put on in a thin wash, then its value, gradation, hue and texture are the main points,—and these belong to structural harmony. Mural painting is the highest form of the art, demanding perfect mastery of Composition. The subject takes visible form in terms of Line; then is added the mystery, the dramatic counter-play of Notan, and the illumination of Color. The creative spirit moves onward absorbing in its march all drawing, perspective, anatomy, principles of design, color theory—everything contributing to Power.

XVII.—IN DESIGN AND PAINTINGThe test of any system of art-study lies in what you can do with it. Harmony-building has been the theme of the foregoing pages, with progressive exercises in structural line, dark-and-light and color. The product should be power,—power to appreciate, power to do something worth while. Practice in simple harmonies gives control of the more complex relations, and enables one to create with freedom in any field of art. Such training is the best foundation for work in design, architecture, the crafts, painting, sculpture and teaching. After this should come special training; for the designer, architect, craftsman, study of historic styles, severe drill in drawing (freehand and mechanical), knowledge of materials; for the painter and sculptor, long practice in drawing and modelling, acquirement of technique; for the teacher, drill in drawing, painting, designing and modelling, study of educational principles, knowledge of school conditions and public needs, practice teaching. In a word, first cultivate the mind, set the thoughts in order, utilize the power within; then the eye and the hand can be trained effectively, with a definite end in view. The usual way, in our systems of art-instruction, is to put drill first, leaving thought and appreciation out of account.Applications of structural principles are many; I can mention and illustrate but a few:WOOD BLOCK PRINTINGFOR STUDY OF PATTERN AND COLOR. The art of wood block printing has been practised for ages in Oriental countries. Our word“calico”is from the name of an Indian town, Calicut, whence printed patterns were brought to England. The older Indian designs, now very rare, had great beauty of line and color. These ancient cotton prints are used by the Japanese for outer coverings of pieces of precious pottery,—first a silk brocade bag, then one of Indian calico enveloping a wooden box in which is the bowl wrapped in plain cotton cloth. The process of wood block printing is very simple, and in my opinion of special educational value. After observation of the craft in India in 1904 I determined to introduce it into art courses—both for adults and children. The method is outlined below:1.Design the pattern in pencil or ink.2.Draw the unit, with attention to its shape and proportions and the effect when repeated.3.Paste this face down upon a wood block; pine, gum wood, or a hard wood of close grain.4.Cut away the white spaces, clearing with a gouge. As the block is to be used as a stamp, the corners and all outside the design, must be removed.5.Printing. Lay a piece of felt upon a slate, or upon a glass, pour a few drops of mucilage upon the felt, and mix with it either common water color, or dry color. Distribute this evenly with a flat bristle brush. Make a large pad, say 22 x 28 or 14 x 20, by tacking cambric upon a drawing board. Under the cambric should be one thickness of felt.PRINTING on PAPER. A slightly rough absorbent surface prints well. Wrapping paper can be found in many colors, tones and textures, and is inexpensive. Damp paper will give clear-cut impressions.Lay the paper upon the large pad; charge the block upon the small pad, and stamp the pattern. If the impression is poor, the cause may be:—(a) Face of block is not level; rub it upon a sheet of fine sand-paper; (b) large pad is uneven; (c) paper is wrinkled or is too glossy; (d) color is too thick or too wet. Practice will overcome these small difficulties.PRINTING on CLOTH. The best effects are obtained with dyes, but their manipulation is not easy, and their permanence is doubtful unless one has expert knowledge of the processes of dyeing. The most convenient medium for the student is oil color thinned with turpentine (to which may be added a very little acetic acid and oil of wintergreen). This, when dry, is permanent and can be washed,—but not with hot water or strong soap.With the design in fixed form upon the block, effort can be concentrated upon the make-up of the pattern, and the color-harmony. By cutting a block for each color the designer may vary the schemes almost to infinity. Where choices are many and corrections easy, invention can have free play.Examples of students' printing on paper are given on page 121.PICTURE PRINTING is a more difficult, but fascinating form of this art-craft. Here must be gradation, transparent and vibrating color, atmospheric over-tone binding all together. For these qualities the Japanese process is best, with its perfected tools and methods. In theory it is very simple: The outline is drawn in ink upon thin paper, and the sheet pasted face down upon the flat side of a board; the block is then engraved with a knife and gouges, the drawing being left in relief; the paper is removed from the lines with a damp cloth, and the block charged with ink. Dry black mixed with mucilage and water, or any black water color will answer. For charging, the Japanese use a thick short brush,—a round bristle brush will serve the purpose. When ink is scrubbed evenly over the whole surface, the block is ready for printing. A sheet of Japanese paper, slightly[pg 126]dampened, is laid upon the block and rubbed gently with a circular pad called a“baren.”This wonderful instrument draws the ink up into the paper, giving a clear rich soft line. The baren is made of a leaf of bamboo stretched over a saucer-like disk of pasteboard, within which is coiled a braided fibre-mat.If the block has been properly cleared, and the baren is moved in level sweeps, the paper will not be soiled by ink between the lines. After printing a number of outlines the colors are painted upon them and color-blocks engraved. It is possible to have several colors upon the same board, if widely separated. Accurate registry is obtained by two marks at the top of the board and one at the side. The paper must be kept of the same degree of moisture, otherwise it will shrink and the last impressions will be out of register.Dry colors mixed with water and a little mucilage, or better still, common water colors, may be used. No. 69 is a reproduction of a print made in the Japanese way. (In 1895 I exhibited at the Boston Museum of Fine Arts a collection of my wood block prints. Professor Fenollosa wrote the introduction to the catalogue, discussing the possibilities, for color and design, of this method, then new to America. In“Modern Art”for July, 1896, I described the process in full, with illustrations, one in color.)STENCILLING, like wood block printing, invites variation of rhythm and color combination. Stencilling is often done without sufficient knowledge of the craft. The student should understand that a stencil is simply a piece of perforated water proof paper or metal to be laid upon paper or cloth and scrubbed over with a thick brush charged with color; long openings must be bridged with“ties,”and all openings must be so shaped that their edges will remain flat when the brush passes over them.Japanese Stencil.Stencil units are usually large, offering good opportunities for Subordination (page 23), Symmetry, and Proportion (page 28). A unit must not only be complete in itself but must harmonize with itself in Repetition (pp. 36, 66). Stencils may be cut upon thick manila paper which is then coated with shellac; or upon oiled paper. If stencil brushes cannot be obtained one may use a common, round, house-painter's brush, wound with string to within an inch of the end.Colors may be,—oil thinned with turpentine; dyes; or dry colors ground on a slab with water and mucilage. Charge the brush with thin, thoroughly mixed[pg 127]pigment; if there is too much it will scrape off under the edges of the stencil and spoil the print. Unprinted wall paper (“lining paper”) is cheap and very satisfactory for stencilling. It should be tinted with a thin solution of color to which a little mucilage has been added. Use a large flat brush about four inches wide, applying the color with rapid vertical and horizontal strokes.COLORED CHARCOAL. This is a further development of the method described in Chapter XIII (see also page 113). Lay in the picture in light values of charcoal, remembering that the colorwashes will darken every tone. Too much rubbing with the stump gives muddiness, too little charcoal may weaken the values and you will have a“washout.”When the notan-scheme is right, the drawing may be fixed. It can be colored without fixing if the stump has been used.Color is applied in thin washes allowing the charcoal texture to shine through. Notan plays the larger part, furnishing the structure of the composition and giving a harmonic basis for the color. If the hues are well-chosen, the result should be a harmony of atmospheric depth, with soft but glowing colors.PAINTING in FULL COLOR. In a book devoted to the study of art-structure not much space can be given to comparison of mediums, or to professional problems of technique in advanced painting. They will be mentioned to show the unity of the progressive series, to suggest to the student some lines of research and experiment, and to help him in choosing his field of art-work.WATER COLOR. This medium is used in many different ways: as a thin transparent stain, like the work of David Cox, Cotman, De Wint; as a combination of opaque color and wash, with which J. M. W. Turner painted air, distance, infinity, the play of light over the world; as flat wash filling in outlines, like the drawings of Millet and Boutet de Monvel; as the modern Dutch use it, in opaque pastel-like strokes on gray paper, or scrubbed in with a bristle brush; as premier coup painting with no outline (both drawing and painting) like much Japanese work.In all these, line is the basis, whether actually drawn, as by Millet and Rembrandt, or felt, as by the Japanese and Turner. The best painting has form and character in every brush-touch.OIL COLOR. Instruction in oil painting is usually limited to what might be called drawing in paint. Of course the student must know his pigments, how to obtain hues and values by mixing, how to use brushes, how to sketch in, and all the elementary details,—but this is but a beginning. Expression of an idea or emotion depends upon appreciation of art structure; the point is not so much[pg 128]how to paint, as how to paint well. Artists often say that it matters not how you get an effect, if you only get it. This is misleading; it does matter,—the greatest painters get their effects in a fine way.Methods of handling oil color may be reduced to two general classes: (a) the paint is used thin, as a wash, on a prepared canvas, or (b) it is put on in thick opaque touches. In either case the aim is the same—to paint for depth, vibration, illusion of light and color. If brush strokes are to be left intact, each of them must have shape and meaning,—that is, line; if color is put on in a thin wash, then its value, gradation, hue and texture are the main points,—and these belong to structural harmony. Mural painting is the highest form of the art, demanding perfect mastery of Composition. The subject takes visible form in terms of Line; then is added the mystery, the dramatic counter-play of Notan, and the illumination of Color. The creative spirit moves onward absorbing in its march all drawing, perspective, anatomy, principles of design, color theory—everything contributing to Power.

The test of any system of art-study lies in what you can do with it. Harmony-building has been the theme of the foregoing pages, with progressive exercises in structural line, dark-and-light and color. The product should be power,—power to appreciate, power to do something worth while. Practice in simple harmonies gives control of the more complex relations, and enables one to create with freedom in any field of art. Such training is the best foundation for work in design, architecture, the crafts, painting, sculpture and teaching. After this should come special training; for the designer, architect, craftsman, study of historic styles, severe drill in drawing (freehand and mechanical), knowledge of materials; for the painter and sculptor, long practice in drawing and modelling, acquirement of technique; for the teacher, drill in drawing, painting, designing and modelling, study of educational principles, knowledge of school conditions and public needs, practice teaching. In a word, first cultivate the mind, set the thoughts in order, utilize the power within; then the eye and the hand can be trained effectively, with a definite end in view. The usual way, in our systems of art-instruction, is to put drill first, leaving thought and appreciation out of account.Applications of structural principles are many; I can mention and illustrate but a few:

The test of any system of art-study lies in what you can do with it. Harmony-building has been the theme of the foregoing pages, with progressive exercises in structural line, dark-and-light and color. The product should be power,—power to appreciate, power to do something worth while. Practice in simple harmonies gives control of the more complex relations, and enables one to create with freedom in any field of art. Such training is the best foundation for work in design, architecture, the crafts, painting, sculpture and teaching. After this should come special training; for the designer, architect, craftsman, study of historic styles, severe drill in drawing (freehand and mechanical), knowledge of materials; for the painter and sculptor, long practice in drawing and modelling, acquirement of technique; for the teacher, drill in drawing, painting, designing and modelling, study of educational principles, knowledge of school conditions and public needs, practice teaching. In a word, first cultivate the mind, set the thoughts in order, utilize the power within; then the eye and the hand can be trained effectively, with a definite end in view. The usual way, in our systems of art-instruction, is to put drill first, leaving thought and appreciation out of account.

Applications of structural principles are many; I can mention and illustrate but a few:

WOOD BLOCK PRINTINGFOR STUDY OF PATTERN AND COLOR. The art of wood block printing has been practised for ages in Oriental countries. Our word“calico”is from the name of an Indian town, Calicut, whence printed patterns were brought to England. The older Indian designs, now very rare, had great beauty of line and color. These ancient cotton prints are used by the Japanese for outer coverings of pieces of precious pottery,—first a silk brocade bag, then one of Indian calico enveloping a wooden box in which is the bowl wrapped in plain cotton cloth. The process of wood block printing is very simple, and in my opinion of special educational value. After observation of the craft in India in 1904 I determined to introduce it into art courses—both for adults and children. The method is outlined below:1.Design the pattern in pencil or ink.2.Draw the unit, with attention to its shape and proportions and the effect when repeated.3.Paste this face down upon a wood block; pine, gum wood, or a hard wood of close grain.4.Cut away the white spaces, clearing with a gouge. As the block is to be used as a stamp, the corners and all outside the design, must be removed.5.Printing. Lay a piece of felt upon a slate, or upon a glass, pour a few drops of mucilage upon the felt, and mix with it either common water color, or dry color. Distribute this evenly with a flat bristle brush. Make a large pad, say 22 x 28 or 14 x 20, by tacking cambric upon a drawing board. Under the cambric should be one thickness of felt.PRINTING on PAPER. A slightly rough absorbent surface prints well. Wrapping paper can be found in many colors, tones and textures, and is inexpensive. Damp paper will give clear-cut impressions.Lay the paper upon the large pad; charge the block upon the small pad, and stamp the pattern. If the impression is poor, the cause may be:—(a) Face of block is not level; rub it upon a sheet of fine sand-paper; (b) large pad is uneven; (c) paper is wrinkled or is too glossy; (d) color is too thick or too wet. Practice will overcome these small difficulties.PRINTING on CLOTH. The best effects are obtained with dyes, but their manipulation is not easy, and their permanence is doubtful unless one has expert knowledge of the processes of dyeing. The most convenient medium for the student is oil color thinned with turpentine (to which may be added a very little acetic acid and oil of wintergreen). This, when dry, is permanent and can be washed,—but not with hot water or strong soap.With the design in fixed form upon the block, effort can be concentrated upon the make-up of the pattern, and the color-harmony. By cutting a block for each color the designer may vary the schemes almost to infinity. Where choices are many and corrections easy, invention can have free play.Examples of students' printing on paper are given on page 121.PICTURE PRINTING is a more difficult, but fascinating form of this art-craft. Here must be gradation, transparent and vibrating color, atmospheric over-tone binding all together. For these qualities the Japanese process is best, with its perfected tools and methods. In theory it is very simple: The outline is drawn in ink upon thin paper, and the sheet pasted face down upon the flat side of a board; the block is then engraved with a knife and gouges, the drawing being left in relief; the paper is removed from the lines with a damp cloth, and the block charged with ink. Dry black mixed with mucilage and water, or any black water color will answer. For charging, the Japanese use a thick short brush,—a round bristle brush will serve the purpose. When ink is scrubbed evenly over the whole surface, the block is ready for printing. A sheet of Japanese paper, slightly[pg 126]dampened, is laid upon the block and rubbed gently with a circular pad called a“baren.”This wonderful instrument draws the ink up into the paper, giving a clear rich soft line. The baren is made of a leaf of bamboo stretched over a saucer-like disk of pasteboard, within which is coiled a braided fibre-mat.If the block has been properly cleared, and the baren is moved in level sweeps, the paper will not be soiled by ink between the lines. After printing a number of outlines the colors are painted upon them and color-blocks engraved. It is possible to have several colors upon the same board, if widely separated. Accurate registry is obtained by two marks at the top of the board and one at the side. The paper must be kept of the same degree of moisture, otherwise it will shrink and the last impressions will be out of register.Dry colors mixed with water and a little mucilage, or better still, common water colors, may be used. No. 69 is a reproduction of a print made in the Japanese way. (In 1895 I exhibited at the Boston Museum of Fine Arts a collection of my wood block prints. Professor Fenollosa wrote the introduction to the catalogue, discussing the possibilities, for color and design, of this method, then new to America. In“Modern Art”for July, 1896, I described the process in full, with illustrations, one in color.)STENCILLING, like wood block printing, invites variation of rhythm and color combination. Stencilling is often done without sufficient knowledge of the craft. The student should understand that a stencil is simply a piece of perforated water proof paper or metal to be laid upon paper or cloth and scrubbed over with a thick brush charged with color; long openings must be bridged with“ties,”and all openings must be so shaped that their edges will remain flat when the brush passes over them.Japanese Stencil.Stencil units are usually large, offering good opportunities for Subordination (page 23), Symmetry, and Proportion (page 28). A unit must not only be complete in itself but must harmonize with itself in Repetition (pp. 36, 66). Stencils may be cut upon thick manila paper which is then coated with shellac; or upon oiled paper. If stencil brushes cannot be obtained one may use a common, round, house-painter's brush, wound with string to within an inch of the end.Colors may be,—oil thinned with turpentine; dyes; or dry colors ground on a slab with water and mucilage. Charge the brush with thin, thoroughly mixed[pg 127]pigment; if there is too much it will scrape off under the edges of the stencil and spoil the print. Unprinted wall paper (“lining paper”) is cheap and very satisfactory for stencilling. It should be tinted with a thin solution of color to which a little mucilage has been added. Use a large flat brush about four inches wide, applying the color with rapid vertical and horizontal strokes.COLORED CHARCOAL. This is a further development of the method described in Chapter XIII (see also page 113). Lay in the picture in light values of charcoal, remembering that the colorwashes will darken every tone. Too much rubbing with the stump gives muddiness, too little charcoal may weaken the values and you will have a“washout.”When the notan-scheme is right, the drawing may be fixed. It can be colored without fixing if the stump has been used.Color is applied in thin washes allowing the charcoal texture to shine through. Notan plays the larger part, furnishing the structure of the composition and giving a harmonic basis for the color. If the hues are well-chosen, the result should be a harmony of atmospheric depth, with soft but glowing colors.PAINTING in FULL COLOR. In a book devoted to the study of art-structure not much space can be given to comparison of mediums, or to professional problems of technique in advanced painting. They will be mentioned to show the unity of the progressive series, to suggest to the student some lines of research and experiment, and to help him in choosing his field of art-work.WATER COLOR. This medium is used in many different ways: as a thin transparent stain, like the work of David Cox, Cotman, De Wint; as a combination of opaque color and wash, with which J. M. W. Turner painted air, distance, infinity, the play of light over the world; as flat wash filling in outlines, like the drawings of Millet and Boutet de Monvel; as the modern Dutch use it, in opaque pastel-like strokes on gray paper, or scrubbed in with a bristle brush; as premier coup painting with no outline (both drawing and painting) like much Japanese work.In all these, line is the basis, whether actually drawn, as by Millet and Rembrandt, or felt, as by the Japanese and Turner. The best painting has form and character in every brush-touch.OIL COLOR. Instruction in oil painting is usually limited to what might be called drawing in paint. Of course the student must know his pigments, how to obtain hues and values by mixing, how to use brushes, how to sketch in, and all the elementary details,—but this is but a beginning. Expression of an idea or emotion depends upon appreciation of art structure; the point is not so much[pg 128]how to paint, as how to paint well. Artists often say that it matters not how you get an effect, if you only get it. This is misleading; it does matter,—the greatest painters get their effects in a fine way.Methods of handling oil color may be reduced to two general classes: (a) the paint is used thin, as a wash, on a prepared canvas, or (b) it is put on in thick opaque touches. In either case the aim is the same—to paint for depth, vibration, illusion of light and color. If brush strokes are to be left intact, each of them must have shape and meaning,—that is, line; if color is put on in a thin wash, then its value, gradation, hue and texture are the main points,—and these belong to structural harmony. Mural painting is the highest form of the art, demanding perfect mastery of Composition. The subject takes visible form in terms of Line; then is added the mystery, the dramatic counter-play of Notan, and the illumination of Color. The creative spirit moves onward absorbing in its march all drawing, perspective, anatomy, principles of design, color theory—everything contributing to Power.

FOR STUDY OF PATTERN AND COLOR. The art of wood block printing has been practised for ages in Oriental countries. Our word“calico”is from the name of an Indian town, Calicut, whence printed patterns were brought to England. The older Indian designs, now very rare, had great beauty of line and color. These ancient cotton prints are used by the Japanese for outer coverings of pieces of precious pottery,—first a silk brocade bag, then one of Indian calico enveloping a wooden box in which is the bowl wrapped in plain cotton cloth. The process of wood block printing is very simple, and in my opinion of special educational value. After observation of the craft in India in 1904 I determined to introduce it into art courses—both for adults and children. The method is outlined below:

PRINTING on PAPER. A slightly rough absorbent surface prints well. Wrapping paper can be found in many colors, tones and textures, and is inexpensive. Damp paper will give clear-cut impressions.

Lay the paper upon the large pad; charge the block upon the small pad, and stamp the pattern. If the impression is poor, the cause may be:—(a) Face of block is not level; rub it upon a sheet of fine sand-paper; (b) large pad is uneven; (c) paper is wrinkled or is too glossy; (d) color is too thick or too wet. Practice will overcome these small difficulties.

PRINTING on CLOTH. The best effects are obtained with dyes, but their manipulation is not easy, and their permanence is doubtful unless one has expert knowledge of the processes of dyeing. The most convenient medium for the student is oil color thinned with turpentine (to which may be added a very little acetic acid and oil of wintergreen). This, when dry, is permanent and can be washed,—but not with hot water or strong soap.

With the design in fixed form upon the block, effort can be concentrated upon the make-up of the pattern, and the color-harmony. By cutting a block for each color the designer may vary the schemes almost to infinity. Where choices are many and corrections easy, invention can have free play.

Examples of students' printing on paper are given on page 121.

PICTURE PRINTING is a more difficult, but fascinating form of this art-craft. Here must be gradation, transparent and vibrating color, atmospheric over-tone binding all together. For these qualities the Japanese process is best, with its perfected tools and methods. In theory it is very simple: The outline is drawn in ink upon thin paper, and the sheet pasted face down upon the flat side of a board; the block is then engraved with a knife and gouges, the drawing being left in relief; the paper is removed from the lines with a damp cloth, and the block charged with ink. Dry black mixed with mucilage and water, or any black water color will answer. For charging, the Japanese use a thick short brush,—a round bristle brush will serve the purpose. When ink is scrubbed evenly over the whole surface, the block is ready for printing. A sheet of Japanese paper, slightly[pg 126]dampened, is laid upon the block and rubbed gently with a circular pad called a“baren.”This wonderful instrument draws the ink up into the paper, giving a clear rich soft line. The baren is made of a leaf of bamboo stretched over a saucer-like disk of pasteboard, within which is coiled a braided fibre-mat.

If the block has been properly cleared, and the baren is moved in level sweeps, the paper will not be soiled by ink between the lines. After printing a number of outlines the colors are painted upon them and color-blocks engraved. It is possible to have several colors upon the same board, if widely separated. Accurate registry is obtained by two marks at the top of the board and one at the side. The paper must be kept of the same degree of moisture, otherwise it will shrink and the last impressions will be out of register.

Dry colors mixed with water and a little mucilage, or better still, common water colors, may be used. No. 69 is a reproduction of a print made in the Japanese way. (In 1895 I exhibited at the Boston Museum of Fine Arts a collection of my wood block prints. Professor Fenollosa wrote the introduction to the catalogue, discussing the possibilities, for color and design, of this method, then new to America. In“Modern Art”for July, 1896, I described the process in full, with illustrations, one in color.)

STENCILLING, like wood block printing, invites variation of rhythm and color combination. Stencilling is often done without sufficient knowledge of the craft. The student should understand that a stencil is simply a piece of perforated water proof paper or metal to be laid upon paper or cloth and scrubbed over with a thick brush charged with color; long openings must be bridged with“ties,”and all openings must be so shaped that their edges will remain flat when the brush passes over them.

Japanese Stencil.

Stencil units are usually large, offering good opportunities for Subordination (page 23), Symmetry, and Proportion (page 28). A unit must not only be complete in itself but must harmonize with itself in Repetition (pp. 36, 66). Stencils may be cut upon thick manila paper which is then coated with shellac; or upon oiled paper. If stencil brushes cannot be obtained one may use a common, round, house-painter's brush, wound with string to within an inch of the end.

Colors may be,—oil thinned with turpentine; dyes; or dry colors ground on a slab with water and mucilage. Charge the brush with thin, thoroughly mixed[pg 127]pigment; if there is too much it will scrape off under the edges of the stencil and spoil the print. Unprinted wall paper (“lining paper”) is cheap and very satisfactory for stencilling. It should be tinted with a thin solution of color to which a little mucilage has been added. Use a large flat brush about four inches wide, applying the color with rapid vertical and horizontal strokes.

COLORED CHARCOAL. This is a further development of the method described in Chapter XIII (see also page 113). Lay in the picture in light values of charcoal, remembering that the colorwashes will darken every tone. Too much rubbing with the stump gives muddiness, too little charcoal may weaken the values and you will have a“washout.”When the notan-scheme is right, the drawing may be fixed. It can be colored without fixing if the stump has been used.

Color is applied in thin washes allowing the charcoal texture to shine through. Notan plays the larger part, furnishing the structure of the composition and giving a harmonic basis for the color. If the hues are well-chosen, the result should be a harmony of atmospheric depth, with soft but glowing colors.

PAINTING in FULL COLOR. In a book devoted to the study of art-structure not much space can be given to comparison of mediums, or to professional problems of technique in advanced painting. They will be mentioned to show the unity of the progressive series, to suggest to the student some lines of research and experiment, and to help him in choosing his field of art-work.

WATER COLOR. This medium is used in many different ways: as a thin transparent stain, like the work of David Cox, Cotman, De Wint; as a combination of opaque color and wash, with which J. M. W. Turner painted air, distance, infinity, the play of light over the world; as flat wash filling in outlines, like the drawings of Millet and Boutet de Monvel; as the modern Dutch use it, in opaque pastel-like strokes on gray paper, or scrubbed in with a bristle brush; as premier coup painting with no outline (both drawing and painting) like much Japanese work.

In all these, line is the basis, whether actually drawn, as by Millet and Rembrandt, or felt, as by the Japanese and Turner. The best painting has form and character in every brush-touch.

OIL COLOR. Instruction in oil painting is usually limited to what might be called drawing in paint. Of course the student must know his pigments, how to obtain hues and values by mixing, how to use brushes, how to sketch in, and all the elementary details,—but this is but a beginning. Expression of an idea or emotion depends upon appreciation of art structure; the point is not so much[pg 128]how to paint, as how to paint well. Artists often say that it matters not how you get an effect, if you only get it. This is misleading; it does matter,—the greatest painters get their effects in a fine way.

Methods of handling oil color may be reduced to two general classes: (a) the paint is used thin, as a wash, on a prepared canvas, or (b) it is put on in thick opaque touches. In either case the aim is the same—to paint for depth, vibration, illusion of light and color. If brush strokes are to be left intact, each of them must have shape and meaning,—that is, line; if color is put on in a thin wash, then its value, gradation, hue and texture are the main points,—and these belong to structural harmony. Mural painting is the highest form of the art, demanding perfect mastery of Composition. The subject takes visible form in terms of Line; then is added the mystery, the dramatic counter-play of Notan, and the illumination of Color. The creative spirit moves onward absorbing in its march all drawing, perspective, anatomy, principles of design, color theory—everything contributing to Power.

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