CompositionNOTANReading editionChapter navigation22 reading sectionsGo to chapterChoose a chapter…Front matterACKNOWLEDGMENTSBEGINNINGSI. LINE—NOTAN—COLORII.—JAPANESE MATERIALS AND BRUSH PRACTICEIII.—WAYS OF CREATING HARMONYIV.—COMPOSITION IN SQUARES AND CIRCLESV.—COMPOSITION IN RECTANGLES—VARIATIONVI.—LANDSCAPE COMPOSITIONVII.—COMPOSITION IN REPRESENTATIONNOTANVIII.—HARMONY-BUILDING WITH DARK-AND-LIGHTIX.—TWO VALUES—VARIATIONS—DESIGNX.—TWO VALUES—LANDSCAPE AND PICTURESXI.—TWO VALUES—GOTHIC SCULPTURE JAPANESE DESIGN BOOKS. APPLICATIONS OF TWO VALUESXII.—THREE VALUESXIII.—MORE THAN THREE VALUESXIV.—COLOR THEORYXV.—COLOR DERIVED FROM NOTANXVI.—COLOR SCHEMES FROM JAPANESE PRINTS AND FROM TEXTILESXVII.—IN DESIGN AND PAINTINGCONCLUSIONPrevious chapter ←VII.—COMPOSITION IN REPRESENTATIONNext chapter →VIII.—HARMONY-BUILDING WITH DARK-AND-LIGHTAll chapters and sections (22)Opening pagesFront matterOther sectionsACKNOWLEDGMENTSBEGINNINGSI. LINE—NOTAN—COLORII.—JAPANESE MATERIALS AND BRUSH PRACTICEIII.—WAYS OF CREATING HARMONYIV.—COMPOSITION IN SQUARES AND CIRCLESV.—COMPOSITION IN RECTANGLES—VARIATIONVI.—LANDSCAPE COMPOSITIONVII.—COMPOSITION IN REPRESENTATIONNOTANVIII.—HARMONY-BUILDING WITH DARK-AND-LIGHTIX.—TWO VALUES—VARIATIONS—DESIGNX.—TWO VALUES—LANDSCAPE AND PICTURESXI.—TWO VALUES—GOTHIC SCULPTURE JAPANESE DESIGN BOOKS. APPLICATIONS OF TWO VALUESXII.—THREE VALUESXIII.—MORE THAN THREE VALUESXIV.—COLOR THEORYXV.—COLOR DERIVED FROM NOTANXVI.—COLOR SCHEMES FROM JAPANESE PRINTS AND FROM TEXTILESXVII.—IN DESIGN AND PAINTINGCONCLUSION[pg 53]◇← VII.—COMPOSITION IN REPRESENTATIONVIII.—HARMONY-BUILDING WITH DARK-AND-LIGHT →