Harley’s Comfort Zone Challenge

Here, I’ve decided I would step out of my “comfort zone” and do an artwork of something I’ve never painted. And here it is: a car. Actually a Porsche 911. Question: how does an artist draw or paint something that he’s never done before? Well, in my case, I approached this vehicle like I do with portraits and figures: lights, shadows, shapes, colors, design. And here we have it.

First Part

This is a beginning stage and shows everything needed with the basic character, contours and color within the car. We see this automobile approaching us at a

dramatic angle and perspective. Hood, front window, headlights, grill, oval tires. All features that meant I’d better apply pastel into those areas and shapes dead on. Hot red hue of course. This part is extremely important in getting it solid and authentic without question for my final fussing. Add a few strokes to bring in background.

Finishing

Working toward the finish actually took a good amount of time. The detailed, very specific shaping of the car. I’ll add that much like my portraits, it’s not photographically exact; there are strokes and dabs of my personal approach throughout. The drama of those headlights. Light reflecting on the hood and side doors. Fine tuning hubcaps. Background designed in and around the classic Porsche 911. Concluding with face of driver Ryan. Hey, it’s a portrait after all!

Now It’s Your Turn

Readers, now it’s your turn to rise to the challenge and think outside your comfort zone. I’d like you to think of a subject you’ve never painted before and do just that: paint it. I invite you to share with our editors the results by emailing assistanteditor@internationalartist.com. Please include an image of the work you created and explain why you chose the subject and how your approach was the same—or different—from your normal everyday subjects. In one of the upcoming issues, we’ll share some of the artwork that was created.

limbs. An artist tells us he’s getting within the subject’s innermost soul. Yeah?! Well, tell that to the subject’s dedicated psychiatrist.

BIG REVEAL

I’ll amiably reveal to you something of importance, dear reader. I’ve drawn and painted literally thousands of portraits since my early days. I can tell you here without a moment of doubt: I have not gotten deeper into any individual sitting for me than what they revealed, whether sitting for the portrait or working from a photo. In other words, all my portraits are no deeper than that moment. The expression could be joyful, deep in thought, concerned, miffed, at ease. Yet never have I been able to get beyond what I observe. Of course, my personal interpretation of that moment counts in color, design, where to emphasize an area, my approach with brush or pastel strokes. But exploring deeper into the personality just doesn’t happen. What I’m seeing is either what that person wants me to see, or perhaps a casual moment in between.

USING OUR EARNED TALENTS

Using individual talents in the grandest sense come only when one gets to fully understand the basics. Like learning the words to Hamlet, but then understanding how to not only speak those words, but to confidently bring them out with personal, honest uniqueness. Intense learning, then creatively doing. We don’t skim through “principles of art” and then think we have it made. We spend real time, mastering and using those basics so our uniqueness handles them with confidence. My early drawings with shadows, shapes and colors were weak and unsure. Luckily, I had mentors and busy years to correct my slacking. The same thing happened with my piano from strict basics to classics and even jazz. What I speak of here is like the basics of everything, whether basketball, nuclear science, flying a jet, teaching in a classroom and yes creating a painting on canvas. Suggestion to all who are still in the learning and medium stage: get a fat, coiled drawing book, soft lead pencils and kneaded eraser and start drawing plenty. Make those shadows carefully and confidently and forget the selfindulgent “I’m expressing myself” baloney. That self-expression will happen on its very own without your pushing for it. Your earned spirit will bring you out in good time. The real you and not concocted you. Let me bottom line this: you will evolve your personal art in a most powerful individual way; one that will lift you for the rest of your joyous life.

TAKING THIS A STEP FURTHER

Photographs are a main ingredient in making drawings and paintings today. That will not change. My suggestion is that artists who work diligently from photos do some serious drawing from life. Let’s say once a week. The drawing doesn’t have to be seen by anyone. Its purpose is monumental. It builds the creative power by observing the real world which will eventually translate wonderfully when working from photos. More and more as time goes by. (Let me slip this in and it is really important to consider. I

suggest that an artist not be so detailed when working from a photograph. Basic lines are fine but not every tiny twist and turn. That can choke an artist’s relative freedom with creating.) When drawing from life, our eyes seriously look and interpret subjects: turn of a head; that bowl of oranges; folds of cloth draped from a table. The real drama of those trees and mountains. As I mentioned, it’s the same as an actor relating the words he is speaking. Bringing emotion from real life as he tells his girlfriend how much he really loves her, as the camera slowly comes closer. Totally believable. Artists, all artists need to connect what they do with the real world. From writing a grand novel to singing a song about being “happy.” A New Year’s resolution I’ve been keeping for a long time is that I no longer want to be told what is good art and what I should like. I’ve held on to that resolution, along with what I want to eat, where I want to travel, who I want to marry. There was a time I allowed art-intelligencia to think for me; after all, I was just starting out in the art world and needed guidance from the surrounding elite.

IMPORTANCE OF WHOM

An oddity to me is that many artists think of themselves, in their artwork, as far more important than their subjects. Their “interpretations” mean more than who or what they’re painting; they often override the essence of their subjects. With a painting by any artist, I’m more interested in the subject than the artist. I love Rembrandt’s works, but there are certain subjects he painted which don’t interest me...even though wonderfully painted. I love to observe the reverence of the human face and figure and still see plenty of the artist come through with Sorolla, Cassatt, Serov, Sargent, de Lempicka, Rockwell, Repin, Fechin. I can look at each of their works endlessly and talk about it for an hour without repeating myself. And I’ll speak equally about the subject and artist’s approach. I don’t do my works to impress others. When I’m throwing strokes down on paper or canvas, it’s a totally selfabsorbed moment. I’m not thinking, “hey, wait till they see this.” That fills the mind with extras it doesn’t need. The mind wants to concentrate on a complex area and get it right. Like a surgeon cutting into an aortic valve. A lesson I finally learned: MIND ON SUBJECT. Dear reader, I know you understand.