In 1904 I became director of fine arts in Teachers College, Columbia University, New York. The art courses are now arranged in progressive series of synthetic exercises in line, dark‐and‐light and color. Composition is made the basis of all work in drawing, painting, designing and modelling—of house decoration and industrial arts—of normal courses and of art training for children, After twenty years’ experience in teaching I find that the principles hold good under varying conditions, and produce results justifying full confidence. They bring to the student, whether designer, craftsman, sculptor or painter an increase of creative power; to the teacher, all this and an educational theory capable of the widest application. To all whose loyal support has given impetus and advancement to this work—to the pupils and friends who have so generously furnished examples for illustration—I offer most grateful acknowledgments.

ARTHUR WESLEY DOW New York, 1912

THE THREE ELEMENTS

I. LINE—NOTAN—COLOR

Architecture, Sculpture, Painting, Music and Poetry are the principal fine arts. Of these the first three are called Space arts, and take the various forms of arranging, building, constructing, designing, modelling and picture‐painting. In the space arts there are three structural elements with which harmonies may be built up:

1. LINE. The chief element of beauty in architecture, sculpture, metal work, etching, line design and line drawings. Nos. 1, 2, 3, 6, 23, 38. 2. NOTAN. The chief element in illustration, charcoal drawing, mezzotint, Oriental ink painting and architectural light and shade. Nos. 5, 59, 60, 61. 3. COLOR. The chief element in painting, Japanese prints, textile design, stained glass, embroidery, enamelling and pottery decoration. Nos. 8, 9, and Chap. XIV.

[No. 1. LINE. Iron, XV Century] [No. 2. LINE—Flying Buttresses, Chartres Cathedral]

The term LINE refers to boundaries of shapes and the interrelations of lines and spaces. Line‐beauty means harmony of combined lines or the peculiar quality imparted by special treatment. The term NOTAN, a Japanese word meaning “dark, light”, refers to the quantity of light reflected, or the massing of tones of different values. Notan‐beauty means the harmony resulting from the combination of dark and light spaces—whether colored or not—whether in buildings, in pictures, or in nature.

[No. 3 LINE. Harmony of rhythmic curves. From book of prints by Okumura Masanobu, Japanese, 18th century.]

No. 3 LINE. Harmony of rhythmic curves. From book of prints by Okumura Masanobu, Japanese, 18th century.

Careful distinction should be made between NOTAN, an element of universal beauty, and LIGHT AND SHADOW, a single fact of external nature. The term COLOR refers to quality of light.

These three structural elements are intimately related. Good color is dependent upon good notan, and that in turn is dependent upon good spacing. It seems reasonable then that a study of art should begin with line. One should learn to think in terms of line, and be somewhat familiar with simple spacing before attempting notan or color. There is danger, however, of losing interest by dwelling upon one subject too long. Dark‐ and‐light massing will reveal the mistakes in spacing and stimulate to renewed effort. Color will reveal the weakness of dark‐and‐light. Very young pupils should begin with color but the instructor will take pains to include spacing and notan in each lesson. In general, however, the best plan is to take up exercises in each element in turn; then go back to them separately and make more detailed studies; then combine them, proceeding toward advanced compositions. Whatever be the choice of progression, there must be a thorough grounding in the elementary relations of space cutting and simple massings of dark‐and‐light. This is essential to successful work in designing, drawing, modelling, painting, architecture and the crafts.

[No. 4. LINE. Priest, from Rheims Cathedral.] [No. 5. Venetian Lace 2 values. Three values. Peruvian, Four values.] [No. 6. Examples of Line Harmony. Greek Sculpture, Aphrodite. Gothic Sculpture, Mary.]

No. 6. Examples of Line Harmony. Greek Sculpture, Aphrodite. Gothic Sculpture, Mary.

[No. 7. Examples of Line and Notan Harmony. Michelangelo. Botticelli. Gothic Finial. Rhodian Ware.] [No. 8. Examples of Color Harmony. HIROSHIGE. “Taki no gawa at Oji”]

No. 8. Examples of Color Harmony. HIROSHIGE. “Taki no gawa at Oji”

[No. 9. Examples of Color Harmony. Persian Woolen, ancient]

No. 9. Examples of Color Harmony. Persian Woolen, ancient

LINE DRAWING

II.—JAPANESE MATERIALS AND BRUSH PRACTICE

Japanese brushes, ink and paper are to be preferred for exercises in line drawing, tracing, notan massing and washes in grays. Long brushes are best for long continuous lines, short brushes for sharp corners and broken lines. For lettering, clip the point of a long line‐brush, (see p. 55)

[Japanese Brushes]

Japanese paper for artists’ use is made of the bark of the mulberry tree, and is prepared with a sizing of glue and alum. Unprinted wall paper (lining paper) is serviceable for practice work. “Bogus” paper and cover papers can also be used for line or mass.

Japanese ink must be ground upon the ink‐stone, a slab of slate. Intense blackness can be secured immediately by using only a few drops of water. Dry the ink stick, and wrap in paper; never leave it soaking. Ink of good quality, and a clean stone are essential. Tools perfected by ages of practice in line drawing and brush work, afford the best training for hand and eye. Painting with the Japanese brush leads directly to oil painting. If Japanese materials are not to be obtained or are not desired, the exercises can be carried on with pencil, charcoal, water colors, crayons, and even oil paint.

[Japanese ink and ink‐stone.]

For line drawing the brush is held in a perpendicular position, that it may move freely in all directions, much like the etcher’s needle. The brush should be well charged with ink, then pressed firmly down upon the paper till it spreads to the width desired for the line. Draw with the whole hand and arm in one sweep, not with the fingers. Steady the hand if necessary by resting the wrist or end of the little finger on the paper. Draw very slowly. Expressive line is not made by mere momentum, but by force of will controlling the hand. By drawing slowly the line can be watched and guided as it grows under the brush point. Slight waverings are not objectionable; in fact they often give character to the line.

[Manner of Holding the Brush.]

EXERCISE

Begin with straight lines, remembering that straightness of direction is the essential thing, not mere geometric straightness. After some practice with straight lines, try curves; then irregular lines. Copy brush drawings from Japanese books, for a study of control of the hand and quality of touch, No. 11, p. 19. This practice work can be done upon ordinary paper. The aim of such an exercise is to put the hand under control of the will, but too much time should not be given to mere practice, apart from design. Quality and power of line are illustrated in the drawings of masters, No. 10 and p. 18. These may be copied later on, for a study of advanced drawing.

[Practice‐lines drawn with Japanese Brush.]

Practice‐lines drawn with Japanese Brush.

[LINE DRAWING II. LINES BY MASTERS. SOGA SHUBUN. RHODIAN PLATES. KENZAN. REMBRANDT.] [LINE DRAWING II. LINES BY MASTERS. Leonardo da Vinci. Michelangelo. Kano Tanyu. Kano Naonobu.] [LINE DRAWING II. Brush drawings from Japanese Books.] [Brush Drawing]

PRINCIPLES OF COMPOSITION

III.—WAYS OF CREATING HARMONY

Fine art, by its very name, implies fine relations. Art study is the attempt to perceive and to create fine relations of line, mass and color. This is done by original effort stimulated by the influence of good examples. As fine relations (that is, harmony, beauty) can be understood only through the appreciations, the whole fabric of art education should be based upon a training in appreciation. This power cannot be imparted like information. Artistic skill cannot be given by dictation or acquired by reading. It does not come by merely learning to draw, by imitating nature, or by any process of storing the mind with facts.

The power is within—the question is how to reach it and use it.

Increase of power always comes with exercise. If one uses a little of his appreciative faculty in simple ways, proceeding on gradually to the more difficult problems, he is in the line of natural growth. To put together a few straight lines, creating a harmony of movement and spacing, calls for exercise of good judgment and appreciation. Even in this seemingly limited field great things are possible; the proportions of the Parthenon and Giotto’s Tower can be reduced to a few straight lines finely related and spaced.

Effective progress in composition depends upon working with an organized and definite series of exercises, building one experience upon another, calling for cultivated judgment to discern and decide upon finer and finer relations. Little can be expressed until lines are arranged in a Space. Spacing is the very groundwork of Design. Ways of arranging and spacing I shall call