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