This large, beautiful tome had been sitting on my shelf at work for a long time, and I had only occasionally flipped it open for inspiration. I had already spoken with our lead designer about the book, as she too had a copy on her shelf, but I was surprised last week to find that two of our other designers also owned copies of Charley Harper: An Illustrated Life. What are the odds? This inspired me to sit down and work my way from cover to cover. The author, Todd Oldham, has a fun story of being attracted to Charley Harper's work before discovering that Harper had illustrated the biology book that fascinated Oldham in his youth. No wonder the style had resonated - it was the same artist! The fascination is understandable: Harper's renderings of birds, insects, mammals, housewives and more, are all so wonderfully observed, and a brilliant balance of minimalist representation and painstaking research. His ability to balance dozens of figures within a space, to rely on basic geometric forms to convey animal behavior, or to communicate with color or sparse brush strokes, is arresting: so much so that an illustration often took longer to absorb than a page full of text.
There aren't many pages full of text, but thankfully Oldham was able to interview Charley Harper about his life and approach to art before Harper's passing in 2007 (the book came out in 2009). Harper's responses to Oldham's questions are just as straightforward, minimalist and tinged with humor as his artwork. He grew up on a farm (which likely cemented his fascination with animals), took a bold step to attend art school, met the love of his life (Edie), was sent to war, and then made his way commission by commission (including a long stint illustrating for Ford) through a long and rewarding career. The book only presents a fraction of his output, but is organized by major publications and periods: Betty Crocker's Dinner for Two Cook Book, The Giant Golden Book of Biology, The Animal Kingdom, Birds & Words, advertising & promotions, mosaic murals, paintings, and posters. Harper was still working on some of those poster commissions while being interviewed, and the completed pieces are included.
I kept stopping to show various pictures to my wife and son, just to share a brilliant caricature or feat of representation. The illustrations contain so much storytelling that I kept thinking about how much Walt Disney would have loved to work with Harper on his theme parks. At the same time, Harper makes it clear in his interview that he detests anthropomorphism, citing cartoon animals as an example. And many of his illustrations are shocking in their combination of whimsical design and frank depiction of nature red in tooth and claw. Still, I think it could have been a great collaboration.
There's plenty of reasons for designers to keep this one on their shelves; Charley Harper's work is the kind of thing other artists aspire to.