Changing the value of a shape can be the difference between the painting popping or not popping.  Unless I’m aiming for subtlety or moodiness, I like my paintings to pop.

Before and after a second wash of green on the center cell

Darkening the value of the center cell creates a much greater sense of space, or depth, in the image.  I like the way it hovers over the rest of the painting when it’s a darker value.  The image on the left bores me.  It doesn’t invite my eye into the painting to explore the various objects.

Family Treasures No. 19

I couldn’t resist revealing more of the treasures hidden within the skirt of the glass lady.

Sketchbook painting: drawn first with fountain pen filled with Noodler’s Black Ink, followed by watercolor on Rives BFK paper

A perfect title for a Nancy Drew mystery.

Family Treasures No. 18

This is the second painting of The Glass Lady. I posted the first one on the Creative Color Blog.  I wanted to stay more delicate in this painting.  The Glass Lady was my mother’s.  She sat upon her dresser, hiding the small, homeless or injured objects that accumulated during the days and weeks and years of my childhood. In the first painting, the shadow became opaque and along with its opacity it acquired the visual appearance of being an object rather than a shadow.  With this in mind, I kept the shadow more ghostlike.  At the same time, I experimented with presenting the aspect “shadow as object” by allowing it to exist beyond the boundary of the yellow cell.

Painting: drawn first with vintage Sheaffer fountain pen filled with Noodler’s black ink, followed by washes of watercolor.

Color Scheme: Complementary Triad of Yellow, Violet and Blue/Green