 Repleteness, sensitivity and richness are explained, and compared with Goodman’s relative repleteness, syntactic density and semantic density, in Kulvicki 2006 (29–46). But Kulvicki explores transparency in most detail, deducing in particular the following consequence: that a picture resembles the scene it represents in respect of a limited range of colour and shape properties, such as “the abstract pattern of light and dark” recorded by a black-and-white photograph (2014: 101). Kulvicki calls this range of properties the picture’s “bare bones content”, following Haugeland 1991. He does not attempt to define the colour- and shape-properties it consists in, but like Hyman, he suggests that the resemblance he postulates between a picture and the scene it represents partially explains how the normal experience of perceiving what a picture represents occurs. A picture’s “fleshed out content” (i.e., the content identified in a normal description of a picture: a horse, a man, etc.) depends on its propensity to trigger a spectator’s ability to recognize kinds of objects by the shape- and colour-properties included in its bare bones content: