One of the challenges of working in transparent watercolor is representing white by using only the white of the paper. The helmeted guinea fowl's complex spangled feathers required me to paint around the whites, while also painting every part of the pattern several times in various hues to achieve the desired light, shadow and form. This lengthy and intricate process yielded a great appreciation for a remarkably varied and colorful bird; the value of a 'second' look became profound. One Guinea for a Second Look was selected for inclusion in the Leigh Yawkey Woodson Art Museum's 40th Anniversary edition of Birds in Art (2015). Additionally, it was selected for the traveling exhibit and will visit 6 U.S. museums before it returns 'home to roost' in February, 2017.
One of the challenges of working in transparent watercolor is representing white by using only the white of the paper. The helmeted guinea fowl's complex spangled feathers required me to paint around the whites, while also painting every part of the pattern several times in various hues to achieve the desired light, shadow and form. This lengthy and intricate process yielded a great appreciation for a remarkably varied and colorful bird; the value of a 'second' look became profound. One Guinea for a Second Look was selected for inclusion in the Leigh Yawkey Woodson Art Museum's 40th Anniversary edition of Birds in Art (2015). Additionally, it was selected for the traveling exhibit and will visit 6 U.S. museums before it returns 'home to roost' in February, 2017.