This is so topical! I've been thinking about this exact subject recently, so I truly appreciate the additional tips. I've needed to work on this for decades, quite literally.
Thanks James, very helpful. Frank Brangwyn, on a visit to Britain years ago I saw his work in a couple of museums and have looked for a decent book or catalogue ever since but can find nothing, not in Australia at least. Do you know of any? Many thanks, Gary
Thanks for this! I just had this discussion in class. I teach the concept of notan in every one of my linocut classes, whether for beginners using one color or for more advanced reduction and multiple color block students. Arthur Wesley Dow’s ‘Composition’ is still so useful, and I definitely emphasize notan-thumbnailing.
I try to limit myself to three main large areas, grouping all that's within those areas to a single recognizable value or either dark, middle tone or light. Then withing those large areas I refine them with lights and darks but not so much as to break those large areas up into yet more areas.
Thanks James for presenting a concept which helps make a picture stand out. Often when I upload a picture to a hosting service showing thumbnails, it no longer conveys its desired effect. Now I see why.
super excited to see you talking about Notan, James! This concept is so fundamental for beginner painting students who want to play with paint before really learning drawing. Notan helps them see those core drawing concepts they need: the value (literally) in drawing and playing with shape. Will be sharing this post with them!
Notan is key to a successfully designed painting which will give your image clear design paths and powerful impact. This can also work for less contrasting subjects. Shapes defined by values.
The notan is very useful in many cases. But what if you are working with a high key, middle key or low key subject where there is not a strong contrast between lights and darks? For instance, many off Monet's paintings were done with very little value contrast, such as some of his waterlily paintings and his cathedral studies at different times of day. I'd really like your take on this. Thanks. And thank you for always sending out such interesting articles.
You don't always want drama or bright direct sunlight. Sometimes, as you say, you want a high key mood, or the lighting is soft and indirect, and forms don't easily classify as light areas or dark areas.
But it could be very effective in almost any circumstance where you want clarity and impact from a distance
I’ve taken lessons with Angela Fehr where she uses this. I’m glad to see you promoting it too, James. I need to remember to use it. Thanks for the great explanation.
This is so topical! I've been thinking about this exact subject recently, so I truly appreciate the additional tips. I've needed to work on this for decades, quite literally.
Thanks James, very helpful. Frank Brangwyn, on a visit to Britain years ago I saw his work in a couple of museums and have looked for a decent book or catalogue ever since but can find nothing, not in Australia at least. Do you know of any? Many thanks, Gary
Thanks for this! I just had this discussion in class. I teach the concept of notan in every one of my linocut classes, whether for beginners using one color or for more advanced reduction and multiple color block students. Arthur Wesley Dow’s ‘Composition’ is still so useful, and I definitely emphasize notan-thumbnailing.
I'm going to use this Notan to get more variety of values in my work. Thank for bringing it up Professor Gurney!
I try to limit myself to three main large areas, grouping all that's within those areas to a single recognizable value or either dark, middle tone or light. Then withing those large areas I refine them with lights and darks but not so much as to break those large areas up into yet more areas.
Thanks James for presenting a concept which helps make a picture stand out. Often when I upload a picture to a hosting service showing thumbnails, it no longer conveys its desired effect. Now I see why.
super excited to see you talking about Notan, James! This concept is so fundamental for beginner painting students who want to play with paint before really learning drawing. Notan helps them see those core drawing concepts they need: the value (literally) in drawing and playing with shape. Will be sharing this post with them!
Notan is key to a successfully designed painting which will give your image clear design paths and powerful impact. This can also work for less contrasting subjects. Shapes defined by values.
Thank you for the info on Notan. Why do I forget this when I start a painting? Even after doing a quick notan sketch?
I will try and not let the notan concept blow away the next time I’m syanding at the easel.
The notan is very useful in many cases. But what if you are working with a high key, middle key or low key subject where there is not a strong contrast between lights and darks? For instance, many off Monet's paintings were done with very little value contrast, such as some of his waterlily paintings and his cathedral studies at different times of day. I'd really like your take on this. Thanks. And thank you for always sending out such interesting articles.
Good point.
You don't always want drama or bright direct sunlight. Sometimes, as you say, you want a high key mood, or the lighting is soft and indirect, and forms don't easily classify as light areas or dark areas.
But it could be very effective in almost any circumstance where you want clarity and impact from a distance
Thanks for clearing this up for me. I've wondered about this for a while.
I’ve taken lessons with Angela Fehr where she uses this. I’m glad to see you promoting it too, James. I need to remember to use it. Thanks for the great explanation.
Bravo! Thank you!