"Botanical copperplate-style drawing: fine even ink contours with delicate cross-hatching for tone, selective opaque gouache accents laid over the printlike lines, restrained palette of deep aubergine, oxidized green and warm copper, crisp unbroken finelines throughout, no occult symbols and no scattered ornament.\n\nThe frame is a tall vertical 9:16 composition, and the entire drawing is isolated on a fully transparent background: alpha = 0 at every edge and corner, not white, not colored, no checkerboard pattern, a real alpha channel everywhere around the artwork, with a clear band of pure transparency separating the drawing from all four borders. An asymmetrical arched window stands a little left of centre, drawn as flat masonry-and-ironwork linework: the outer outline tall and arched, the left jamb straight and slender, the right jamb swelling gently outward, and the arch pulled toward the left, so the large empty opening beneath reads as a tall crescent of pure transparency, widest near the upper left and thinning toward the lower right. Moonflower vines climb and trace both sides of the window from bottom to top, their twisting stems hugging the jambs and arch, opening into five large trumpet-shaped pale ivory moonflowers with softly ridged petals and a few spiral buds between unfurling leaves; every flower and leaf stays close to the frame.\n\nTwo small pale moths rest on the vine, one on the lower-left leaves and one high on the right jamb, both tucked against the frame so the wide crescent-shaped centre stays completely empty: a large reserved region of pure transparency that no petal, leaf, antenna or line enters. Copper-toned gouache catches the flower throats and the moth wings. Every surface is plain and unlettered: no words, letters, numbers or symbols appear anywhere in the drawing."
