Important Principles of Art

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

One of the basics of my early, shy days was the ecstasy of having art become my best friend. It was something I could relate with— bringing life onto a piece of paper. In drawing I had the confidence I could do something so real, creative, fulfilling. While others were eagerly learning math, chemistry and history, playing on football fields and going to dances, there I was with my pad and paper as happy as a lark. My teachers quite understood me and that in itself is an amazing story I should tell someday. (I’d like to add that a few of those football players and chemists are still my friends to this day.) But here’s the upshot. It seemed that there were others doing this same thing. Others who loved making images on paper and canvas. And then comes a time when we do connect, this family of artists. In my case it happened in art college. After college, things went wild beyond reason. Art shows with other artists, workshops, art friends traveling and painting the world, being able to get first-class art publications and books, art videos and one of the most amazing things since the wheel: digital. In the next few years will I be “beamed” to Trafalgar Square in seconds? Here’s the question to ask at the next art get-together: “Harley was just wondering, what will ‘art’ be in 30 years? And who decides?” You, dear reader, you the individual, decide for yourself.

Tools of the Trade

With pencil and pastel, I always lay several sheets of paper under the one where an image is being drawn. That slight softening of the top paper’s surface gives my pencil or pastel more vitality with the paper. Both with the light touch and power strokes. A kneaded eraser is part of my drawing life. It does more than erase. And don’t forget. ..erasing is another way of “editing” art. (Like deleting unnecessary words in a novel. Taking out a scene in a film.)

Collaborating with Our Subjects

In art, how much is you and how much is your subject? I’ve got plenty of me in my art, but at the same time, I respect what my subject is giving me. We’re partners; art is a give and take of each and every moment. Put another way, when I’m at my easel only me and my subject exist. Since I first looked at great art, every one I’ve seen shows the artist painted it for the pure pleasure. Almost like the artist couldn’t wait to get with the easel and start to work. Even a

commissioned portrait reveals such joy. Yes, there are so many positive, selfish moments in art. In art we need to learn the rules and then we gradually open up and let our passions have their day. The passion of painting keeps us young. Just ask my artist friends. I have to say that I can’t really draw a convincing figure without the model. There’ll be guesswork all over the drawing, one stroke after the other. This continues to be true when needing the subtlety of light and shade. So join me and work from the real thing. The result: art.

Finding Your Art

I cannot predict how I will carry through with a piece once started. I’m not a robot but a very complex person. Thus, what happens after that first stroke is often a surprise. No, it won’t be a “Mondrian” or “Pollock.” It’ll be one of the dozen or more Harleys. I never tried for individuality in my art; it happens naturally in time. Once in a while I tried to be an “individual” in my early years. It always turned out to be very bad bits of acting. In the arts, once you’ve mastered how to do, you can take the chance of overdoing. Whatever that word really means to you. If you look at any artist’s drawings or paintings, you will see plenty of that artist within those lines and dabs. Where they stop, turn, clump together, fine line, color, heavy dark. The artist is communicating with us through subject and how that subject is interpreted so personally. That artist may not be consciously trying to communicate, but in bits and pieces, it happens.

The Composition

Whatever your subject, understand and compare the values of that subject with all that surrounds it. A figure, for instance, with the variable light and dark background shapes. How you combine the subject with what happens around it is art. Yes, I’ve used black in a painting or pastel. But beware because black on its own can be deadly. Black is often said to be the absence of color. Sounds eerie. I’ve known many artists who mix certain colors to get their own “black.” I’ve always looked at illustrations as art. Putting images on paper or canvas. Case closed. Don’t forget to use logic. For example, Those areas that are at a right angle to the light source are logically the lightest. In art, use logic when needed, but understand that logic isn’t always the final conclusion. Don’t get too wrapped up with too many highlights. Amateurish and can ruin an otherwise wonderful work. Remember I said “too many.” Even though I sometimes use several photographs to work with one painting, I make sure that there appears to be one source of light throughout that work. A major breakthrough with me in art was finally understanding shapes. Brought together by the right values. This should be taught to teenagers interested in art. Two words: “shapes” and “values.” Once this is understood, art becomes less of a mystery and more attainable. When you’re developing a work using values and shapes, understand that use of lines has its limits. For instance, using a line to “outline” an object. A brilliant writer can make a simple plot into a great novel. You know such novels. Now, you as an artist should be able to draw the simplest object and make it interesting. Right now, make an interesting drawing of a teapot or that corner chair. Over the centuries, we artists have been forging Mother Nature’s original creations. She’s OK with that and has no problem with our interpretations. But this mom has her limits. Understand that. To add to that, throughout my life I’ve noticed that nature never repeats. Perspective is so important and should never be guessed; even perspective in a still life. There are many books on the subject. Yes, there comes a time when an artist progresses from hesitant, worry lines to steady, joyous lines while drawing. And nervous brush strokes gradually flow free from the heart and soul. Don’t lay too many values into a work. Simplifying those values helps with the design. Also, using too many colors takes away the magic that color can bring to the eye.

Passing it On

I’ll continue to repeat what I’m about to say: Many years ago I went to Carmel, California, to visit my friend, artist Donald Teague. We talked about everything under the sun, but of course mostly art. As I was leaving his house I turned and asked if he had anything to tell me, something to carry with me the rest of my life as an artist. He didn’t hesitate: “Harley I will tell you something and please pass it on: DESIGN!” I smiled and waved goodbye. I’m passing it on to you and ask you please do the same. When I was 10 years old, I was enraptured with Rembrandt, Degas, Lautrec, Klimt and yes, Rockwell. One of the main reasons: DESIGN. I didn’t understand design then, but I also didn’t understand taste buds liking ice cream.