Yonce Lilies: Part 9
Part 9 is a continuation of the Yonce Lilies blog posts. To see works from or read The Artist’s Story for Part 8, click here.
The unique triangle pattern on the petals in the background attracted me to the daylily in my Triangular piece. I had never previously seen that type of a design on any lily. With all of the pollen on the anthers, filaments, stigma, and petals it has a more disordered feel than most of my work, but that’s a good thing because it helps offset any implied precision brought in through the geometric shape. While I placed the focal point on the anthers and they are in front of the petals, a good amount of detail remained in the background. For example, veins are visible in the petals. By using a magnification greater than life-size but less than two times that level, the background was able to retain some of its features and it didn’t dissolve down into simple shapes and colors. The high level of captured detail allows surface textures and individual pieces of pollen to be seen.
As is usually the case, the colors of the flower in Dreamy Anthers brought me over to this scene. While reviewing angles and placement, I quickly realized that the distances between the foreground and background anthers exceeded the depth available in the zone of sharpness. In fact, even the detail in the middleground anther quickly dissipated. Since the background itself had dissolved down into shapes and colors, my artistic vision was to add to my Naturally Abstract collection by placing the focal point on the front, leftmost anther. That created a dream-like effect on the remaining anthers by progressively fading their attributes away. Since the filaments have a tone similar to that of the background, they tended to blend in with it. I also liked the rays of light feeling produced by the background shapes on the petals as they appear to be streaming out and away from the anthers. Though the depth of field is quite shallow, individual pieces of pollen and surface texture are visible.
I was attracted to the flower in my Ascending piece by the group of anthers in this setting. As I found them to be quite aesthetically pleasing, my artistic vision was to feature the anthers up close and personal. Of course, as I’ve previously written, when composing at two times life-size, the depth of field is incredibly shallow. Luckily, there was just enough difference in the yellows of the pollen to maintain edge distinction on most of the anthers. That being said, the attractive orange and brown tones just inside the pollen lines increase the apparent edge depth a bit more. Due to the very shallow zone of sharpness, details quickly faded and some merging took place. For example, a couple of the filaments have the appearance of being combined and their colors are close to those found in the background. Which is a desirable effect since it allows the focus to be on the anthers. Within the zone of sharpness, surface texture and individual pieces of pollen (two different types) can be seen.