Will the exercises in the foregoing chapters ensure a harmony? No, they
are only helps to a better understanding of color. Harmony depends upon
(a) good line design, (b) choice of hues, (c) quantity of each, (d) a
dominating color, (e) notan values, (f) fine relations of intensity, (g)
quality of surface, (h) handling. All these in perfect synthesis will be
found in the works of the greatest masters. It is also true that simple
harmonies are not difficult to realize, as is witnessed by primitive art
and the best work of students.
With practice in the ways suggested here, two other things are
necessary,—advice from an experienced and appreciative instructor, and
acquaintance with fine examples of color.
[No. 67. Color schemes from Japanese prints—Applications to Design.]