The book sets forth a fundamental philosophy of art education rooted in synthetic composition rather than academic imitation. The author argues that true art emerges from the harmonious arrangement of lines, masses, and colors, which must be cultivated through a progressive series of exercises. Rather than training the hand to mechanically copy nature, the method trains the judgment and awakens the creative faculty from within.
The author divides space art into three structural elements: line, notan, and color. Line serves as the foundational element, encompassing boundaries and spatial interrelations. Japanese materials and brush practice are introduced as ideal tools for training the hand and eye to execute expressive, controlled lines through deliberate will rather than mere momentum.
Following line comes the study of the principles of composition, which include opposition, transition, subordination, repetition, and symmetry. These five principles provide the structural framework for creating harmony within a given space, whether in abstract patterns, architecture, or landscape. Spacing is established as the groundwork of all design, governing how parts relate to a dominant element.
Notan, the Japanese term for dark-and-light massing, forms the second structural element. The text explores the use of two, three, and multiple values to build tone-compositions, moving from simple geometric patterns to complex illustrations, textiles, and rugs. The author demonstrates how notan reveals the underlying structure of masterpieces and provides the tonal backbone necessary for pictorial harmony.
Color theory constitutes the final element, approached through hue, notan, and intensity. The text outlines methods for constructing color scales and deriving color schemes from masterworks such as Japanese prints and historical textiles. By isolating these dimensions, the student gains control over color relationships and avoids arbitrary experimentation.
The work concludes with practical applications in wood block printing, stencilling, and painting. The author emphasizes that while techniques and materials vary, the underlying principles of structural harmony remain constant. Ultimately, the book aims to equip students, teachers, and creators with the critical capacity for appreciation that unlocks all forms of artistic expression.
