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
Evening gown. Autumn-Winter 1983 haute couture collection. Paris pink silk satin bodice with large bow and black silk velvet skirt.
This one is my favorite. I might try to steal it some day.
Daytime dress Autumn – Winter 1967 Saint Laurent rive gauche collection. Yellow cotton pique dress: sleeves and hem trimmed with red guipure (a kind of lace). Archives Anouschka Paris
Sexy piecing, huh?
Evening gown. Homage to Tom Wesselmann Autumn – Winter 1966 haute couture collection. Purple wool jersey with pink wool jersey piecing.
Evening gown Autumn = Winter 1997 haute couture xollection. Bodice embvroidered with silk organza, sequins, and raffia in a poppy and leaves pattern: red silk pleated skirt with red silk satin ribbon tie belt. Embroidery by Lesage.
omg. He stole my idea! hahahahah
When I saw a photo of this it reminded me of a pine cone. When you see it in person it’s kind of elegant. I guess YSL can make a pine cone look elegant. Sarah said maybe he got his inspiration from nature.
Short evening ensemble. Spring – Summer 1967 haute couture collection. Fringed raffia coat, neckline embroidered with brown wooden beads: ivory silk dress embroidered with wooden beads. Embroidery by Lanel
This is a really great show if you’re interested in fashion design. And the only East coast venue is the VMFA.