I sketched them with charcoal 4 times on 4 different days. Every time I got home and looked at my sketch I thought I could do better. It seemed like each sketch did come out a little better than the previous one, and all that sketching helped me plan my pastel. Each time the flowers looked all different from the day before so I decided to use pastels because I can build up layers of color in one day, as opposed to oil paint, when I have to wait overnight for a layer of glazes to dry before going over it again.
One day when I was sketching with charcoal a visitor to the garden came over to this beautiful bunch of flowers and said to me, “I can’t resist.”
When I’m in the zone drawing I can still talk to people but sometimes it takes me a second to see what they’re talking about. The lady was pulling off something from the flowers. She told me they’re “dead heads”. She has day lilies too and told me they bloom better if you take the dead heads off. We talked for a couple minutes about the day lilies. I asked her to look for the plaque, but she didn’t see anything saying what particular variety this is. She continued to pull off the dead heads, but I told her to leave some for me to draw with pastels the next day. She said, “Oh, you’ll have a lot of new ones tomorrow.” She told me they only bloom one day, that’s why they call them day lilies.” I thought they got that name because they closed up at night. So you learn something new if you hang around and draw.
Next time I draw them I might do an experiment to find out for myself if they really only bloom for one day. I could tie a thread around the stem of a big bud and check it for 3 days in a row as I’m hanging around there working on a pastel every day for a couple hours. I’m always kind of a skeptic, and like to verify some things if I can.
We had some real nice weather this week. It’s going to get hot and humid again soon, but I want to do another pastel of day lilies in another color. I’ll go back next week and try to find a place in the shade.
This is my 2nd try sketching daylilies. I think it came out better than the drawing from last week, so next time I’m going to take my pastels and do them in color. They say the heat and humidity will ease up in a couple days. That will make it easier for me to concentrate longer.
These flowers are a bright peachy pink! So bright! So pretty!
They change every day and even in a couple hours are moving to follow the sun, so I won’t be able to use this sketch. Some of the flowers I drew today will be wilted and some new buds will be opening.
I got a mosquito bite. I’m their favorite flavor, O+
The canna is yellow (the tall stalk like plants) and the coleus is dark blackish red (the shorter plants in the fore ground).
I had a look at the lotuses standing in the sun and decided to find some flowers where I could sit in the shade to draw. It’s not as hot as yesterday, but sweat was still dripping off my hair after walking slowly around the garden. After cooling off on a shaded bench for a while I was ok to draw. And there was a little breeze that was nice. I haven’t been out to draw for a while and I enjoyed it very much.
A lady I know liked this sketch and asked me if I was going to do something with it. I told her I’ll just put it on my blog. Sometimes I do a lot of charcoal sketches before I get something that I want to paint.
The thing I enjoy about drawing and painting in plein air is not in knocking out a painting in a few hours, it’s hanging around in a beautiful place for as many days as I feel like being there. In fact, the painting is secondary in my mind. I’m so thankful I’m not on some kind of art treadmill where I’m under pressure to do fast unfinished paintings for some arbitrary time limit rule some person made up. That would destroy the zen like experience of it. And one of my main reasons for not fitting into the art scene. I don’t care if fast unfinished paintings are in style. I don’t care if all the other plein air painters out there take hundreds of photos then trace their best one onto a canvas and go back and hurry fill it in like it was a coloring book. I don’t have to do that.
I’m not interested in taking a class to see if I can paint fast. I’m not interested in taking a drug to make me keep painting all day either, because a drug is the only way I could ever get that kind of energy. So, there you have it friends, apathy to the art world in a nutshell. hahahahahahhaha
This time I cut 3″ off the length of the shirt and cut the fringe 3″ before sewing on the beads. I like this length and it’s more practical with the shorter fringe because it doesn’t get tangled.
The shorts are a polyester linen blend so they’re cooler than my denim shorts, but I had to resew my seams to make it fit right. I used the same pattern that was ok before, but this time it seemed too baggy. Now I want to resew the blue ones I made and then take them apart so I can draw my pattern to fit exactly next time. It will be a big job.
Sewing is more difficult than painting. I don’t understand why “craft” gets less respect than “art”. They’re the same to me. Art and craft both require practice, patience, skill etc. so I wonder why sewing isn’t seen in the same way as an oil painting or a sculpture. No one would doubt YSL is an artist, but is the seamstress who makes her own clothes also considered an artist? I would say yes. The sewing ladies are artists too. And if you have enough dexterity and patience to sew you can also do any kind of painting you like. The more you practice and experiment the better you get at it. Good teachers help. I was lucky to have good sewing teachers and art teachers. When I made that tie dye shirt, I wanted to try to do a flowery motif. I was thinking of making flowers on top of the shirt and green foliage on the lower part, kind of like the YSL dress. This one is my 2nd try to get the flower look with tie dye. The 1st one didn’t come out. I’ll probably throw it away.
I’m ruthless with the things I make. Sometimes I throw away a whole year’s worth of paintings if I decide not to show them again, and I’ll throw away any tie dye that doesn’t look good to me. If I wasn’t that way with my “creations” my apt. would be too crowded.
I’ll try another tie dye.
Meanwhile, here’s some roses for your inspiration.
I enjoyed it so much, sitting on the thick root of an old Magnolia to work on this painting. It’s kind of a Zen thing for me.
I’d be more comfortable standing up to draw and paint, but I walked all around the gazebo and thought the best view was more uphill from it, under the tree. A big branch was partially blocking my view so I had to move around too see. I decided not to paint the branch that was in my way, but I also enjoyed the way the leaves glow when the sun shines through them. Have you ever noticed that? This painting wasn’t about the Magnolia, though.
If you look in the other direction from there, you can see the end of the Italian Garden, with a stone wall and roses. It smells sooooo sweet, even in the end of Oct. I’m going back to that tree next year.
What I don’t get is, why am I on this beautiful path alone?
It’s a great show of American Impressionists titled “The Artist’s Garden”. I drove to Norfolk yesterday to see it. The show ends in the beginning of Sept.
It’s exciting to see old Impressionism. There’s a lot of variations in the different artist’s styles. These artists had academic training. You can see it in the beautifully drawn female figures. An artist doesn’t get this kind of results by tracing a photo. This took years of figure drawing practice.
I wanted to see if the old Impressionists used glazes, and yes, I see layers of glazes in a lot of the paintings. Modern Impressionists don’t use glazes. This painting shows a lot of variation in the way the paint was applied. Some is glazes and some parts are painted thick.
The old Impressionists didn’t have a formula. I doubt this was finished in one day. They had inspiration. They were daring and groundbreaking. Modern Impressionists are in a big hurry to finish paintings because they think it makes them look “prolific”. They have a good level of successful paintings that are marketable because they have a formula, which they might call “streamlining” a painting, or “simplifying” or something like that. That’s why all modern Impressionists work looks the same. Modern Impressionists are on some kind of art treadmill. I want to paint like this guy, Curran.