Color can be deceiving.  I thought the shadow was working until I converted the painting to black and white.

Left to right: Too light, too dark, still too dark, just right.

I was concentrating more on playing with the Alice in Wonderland size changes of the safety pin, the key and the earring as they extended beyond the boundary of the cell.  I was counting on the change from red/violet to blue/violet to work for the shadows.  It didn’t.  Another wash of a darker blue/violet proved to be too dark as well as too opaque, spoiling the overall effect of the glass lady.  I washed out a bit of the shadow, but not enough. The staining power of the blue/violet (phthalo blue, french ultramarine blue and alizarin) crimson) is strong.  I soaked the shadow areas and scrubbed them with a stiffer brush to pick up whatever pigment I could, blotting as I scrubbed.  Finally, I got the shadow to where I’m happy with it.  I don’t mind opaque areas in a painting, but not when the only opaque area is a shadow.  Shadows are the absence of light; they’re not objects.

Family Treasures No. 17, The Glass Lady

The glass lady opens to reveal hidden treasures within her skirt.  She sat on my mother’s dresser throughout my childhood.  I don’t remember what was in her skirt at that time.  Most likely, bobby pins.  Now there are buttons, two tiny china fawns without ears, keys, safety pins and a few other odd objects.

Family Treasures No. 17: drawn first with Vintage Sheaffer Fountain Pen filled with Noodler’s Black Ink, followed by watercolor.

Color Scheme: Semi Triad –  Yellow/Green, Red/Violet and Blue Violet.

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