Important Principles of Art

Harley Brown’s fascinating things no one else will tell you

Harley Brown’s fascinating things no one else will tell you

One of my big problems when getting into my teens was that I was quite a bore. I knew when I was talking with a girl, she would ease away from my presence with: “Well, I gotta go now, Harley.” But, in life, things we think are negatives can have pluses connected. Being such a person gave me a lot of extra time to practice the piano and draw, draw, draw. As the years carried on, I dived deep into my art so much that my personality no longer entered my mind. It was my art that counted, learning and developing day after day. I eventually worked with great artists who helped show me how to strengthen my own approach in art. This you’ll find interesting: A grand artist who taught me so much was Bob Lougheed. He painted mostly horses, riders and landscapes. I was painting portraits, and during those years I learned a massive amount about art from him. Think that over and it’ll make true sense. Steadily a certain character named “Harley Brown” began to evolve. I wasn’t worried if I or my art was worthy to others. In truth, my early shy, insecure personality allowed me to confidently develop myself in what I loved to do. So reflecting back, I’m so glad I was an insecure yawn. A lesson eventually learned by many. (Pass this on.)

Thoughts & Anecdotes

• I continue to not understand most of contemporary art. If I’m missing out on something important, so be it. No need to explain it to me...i’ll survive. “Now, where’s that Rockwell you were going to show me?” • I use a mirror to check composition. The reflection gives me an instant, opposite “replay.” It also might reveal if the color is working. Once in a while with facial features, but because a face has two different sides, the mirror can give the wrong info. Still, a mirror is always handy. Mine is a 100 years old. Imagine that mirror like a computer and we can tap back to who was gazing into it in the 1930s. • Spend time doing simple, solid value sketches. This will make all your works deliver better shapes, visual drama, design, form and a better understanding of (all) subjects you encounter. I have filled endless drawing pads with sketches of whatever was in front of me. Obsessed for decades and I didn’t really care what I was creating on paper or canvas, as long as I was

This is my portrayal of Sitting Eagle, chief of Stoney First Nation in Alberta, Canada. The first time I painted his portrait was in the early 1960s, and many times since. I’ll show you how this portrait works:

Sitting Eagle

• The angles throughout give movement, and are stabilized by the two vertical fur straps hanging from the war bonnet.

• An important area is the light in A. That adds visual interest on one side and brings attention to his features. It also emphasizes the rich value of his skin.

•B and C are important shapes in the war bonnet that bring movement and character to the feeling in this portrait. The C area holds the eye in and the D area allows the eye to flow in from outer edge. The looseness of these areas gives good contrast to the detailed features.

• The shadows of face are straightforward: front light, side shadow.

• Important to note that the lights are subtly different in areas. Don’t start doing lights in a face and carry those same lights through the whole area. And don’t overdo highlights...that steals the true feel of a portrait.

•G is important as the one hanging fur to touch the lower part of the work. Connecting to the overall design and keeping the head from “floating.” I purposely did not bring the strap at F to bottom; there’s an angular flow from E that needs space there.

• You see the joy of working stroke by stroke with aesthetic accuracy.