On the other hand it is not only by painting the interplay of reflections that an artist produces a harmony of color. There is a less complicated way, represented in Japanese prints and paintings, and in the work done by some of our artists who have adopted their method. In this case the color is flat; the objects, that is to say, are not modeled by lights and darks. The form, instead of being actually represented is only suggested. Consequently there are no reflections and the colors are laid on flatly and smoothly. But they are most carefully related to one another; both in quantity and tint. The artist, for example, may use only rose and lavender and black. But his sense of color is first shown in his choice of the particular tints of rose and lavender and black, and then secondly, in his distribution of these on the white paper. Perhaps he determines to make the black his crack player. But he wishes to produce a balance of harmony of all his colors, so he carefully considers how large a space the chief spot of black shall occupy, and then what quantity of the remaining spaces shall be occupied by the rose and lavender and the white paper. Having thus worked out the ground plan of the scheme, he may elaborate it by repeating some of the black in other parts of the picture, and by introducing echoes of the rose and lavender in the large spot of black. The echoes, in this case, you observe, are not reflections, they are simply repetitions in smaller quantities of the colors of the main spots. His composition, in fact, is a pattern of main spots, and their echoes; the whole presenting a unity and harmony because the colors are in exact relation.