Just for the Love of It

Olin Harris great talent and his generosity make him one of a kind—just like his original artwork.

STORY BY Liz PENSONEAU
PHOTOS BY ADELE HODDE

Olin Harris would draw for hours on end and then peddle his artwork around the southern Illinois town of Tamaroa, free of charge to anyone willing to accept it. But that was when he was 10 years old and just spreading his wings as a wildlife artist.

Today as the Department of Natural Resources' official artist, Harris' work is enjoyed by thousands of visitors to Illinois state sites and appears in departmental publications, on its notecards and on the office walls of those fortunate enough to have acquired one of his framed prints.

Harris is renown for his work of birds, many of which appear in his

Olin Harris works at hand coloring his latest quail print. The mount on the right serves as a model.

limited edition book. An Artist's Book of Birds, a 32-page collection of pen and ink drawings printed on fine French printmaking paper.

For all of his adult life, Harris has drawn by day and sketched by night, amassing an incredible collection of original artwork. The thing that makes him unique is that he so generously shares work done on his personal time with those expressing a need. Just ask Peggy Boyer Long.

YELLOW-HEADED BLACKBIRD Endangered in Illinois

As the editor of Illinois Issues magazine. Long frequently turns to Harris to supply illustrations for magazine articles. One example was the magazine's December 1995, eight-page spread on endangered species. Harris' rendition of an osprey was dynamic on the cover, and his powerful artwork provided readers with a detailed look at several of the featured species.

Long wrote, "When we were preparing the essay on endangered

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This "study" of the osprey, drawn by Harris on a grocery bag, appeared on the cover of Illinois Issues magazine in 1995.

species, we called him. We do that often. As always, Olin said sure, we could look through his stuff and borrow whatever we wanted."

Harris is modest about his generosity. He said his philosophy about sharing his collection of drawings is based upon a simple motive.

"I want to let people see and enjoy them. What good does it do to take them home and put them in a drawer?"

On the Job
 In June 1970, Harris was hired by the state to provide artwork for the Department of Conservation, which at that time oversaw land and historic sites throughout Illinois. DOC maintained interpretative centers at several of the parks and historic sites. Many were in need of artwork and displays to enhance the premises.

"I started out working and living at Silver Springs State Park," Harris said. The state purchased 1,350 acres from a Chicago road contractor who had lived at the site. There was a concrete meat locker and a big automated barn because the owner had raised beef and processed it to sell. I resided on the Fox River, and the meat locker became the art studio. The state bought me a printing press, a cutter, posterboard and all the mice I could catch," he recalled.

For three years, Harris worked from his Silver Springs headquarters, traveling to various sites to meet with interpreters, then going back to his "meat locker" to produce the displays they requested.

"There was a big area to fill for display purposes at Galena, and at Illinois Beach I created displays to relate the history of the site to the public. Also, since I was the only artist who did original painting, I ended up doing a lot of Lincoln stuff at some of the historical sites," Harris said.

Harris was transferred to the Springfield headquarters in 1973, while a workshop and art studio were being constructed at the Department's Pawnee warehouse.

"Once at Pawnee, I was at liberty to do much more wildlife art," said Harris. "Someone would come to me with a need. They would ask me if I had a particular species. I'd say 'no, but I wish I did,' and then I would draw it. As I studied the

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Harris captures every detail of the great blue heron in this work, which was also done as a "study.''

species, I would see all kinds of beauty in it that I had never seen before, and I'd convey that beauty in my artwork. I wanted others to see it too. For example, otters, like wild turkeys, aren't too attractive at first glance, but once you draw them, they take on a whole new dimension and beauty."

Harris continued, "The interesting thing about being an artist is that you have a license to distort. You can make lines fit into a composition and make gradual changes to get the feeling you want. It is very important to me that the wildlife I draw has a feeling of expression and doesn't just look like a tracing."

One problem with wildlife art, according to Harris, is the lack of reference material. He works from mounts or photographs. For example, he says it is very difficult to find a mount of an endangered species.

"If I can't see a feather, I won't draw it," Harris said. "The work has to be accurate. I won't draw it wrong."

Harris says he draws more birds than anything else, and in his one portfolio of 50 favorite pieces, probably 40 are birds. His personal favorite is the osprey, followed by the peregrine falcon.

To create each drawing, Harris works with pen and ink under a large magnifying lamp. First, he prepares a "study" to get a "feel" for the subject. This usually is done on material ranging from tan wrapping paper to tracing paper.

Editor's Note: A few remaining copies of Harris' book are printed, but not yet hand-bound. For information about reserving one, contact Olin Harris, 415 Apple Orchard Road, Springfield, IL 62703, phone (217) 544-1995 after 5 p.m. week-days or on weekends.

"I'll have a half-dozen different photos to look at, and I'll start creating my own version on a piece of paper," he said. His modified crosshatch makes his finished product look something like an engraver's etching.

"If it (the study) comes out good, I'll regret that I didn't use good paper," he said with a grin. Harris admitted that he has been known to like the study better than the finished piece.

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This northern pintail is a perfect example of Harris' attention to detail. "After I'm satisfied with the study, I'll draw the same image, except it will become more refined and detailed as I progress. The final image will be on imported 100-percent cotton rag and will be acid free. It will have a lot more contrast. The blacks will be extremely black and will not fade—even if hung in front of a window."

Capturing just the right colors is essential to Harris, who insists upon accuracy in all aspects of his artwork.

The Master's Touch

For 10 years, Harris shared his enthusiasm for art with students at the University of Illinois at Springfield, where he was an adjunct professor in publication design. It was during that time period that he prepared artwork for his book, planning all along to lithograph it himself. He abandoned that plan because of time constraints. Once printed, all 75 copies of the hand-bound and handstitched book sold quickly.

These peregrine falcons appear in Harris' limited edition book, An Artist's Book of Birds.

Although done on his own time, Harris freely shares the artwork appearing in the book with DNR for its purposes.

"Every now and then, I open up a drawer and see a piece of my artwork and think 'Wow! I can't believe I did it."

One Man's Legacy

Although Harris taught his last class at the university in 1996, he's as enthusiastic as ever about his work, in spite of health problems that have plagued him in recent months. Like many artists, he views his art as his legacy—and thoughts of that legacy both inspire and sustain him on the roughest of days.

I'm frequently asked why I continue to work," he said. "My reply, I do it because I love it. I'm better than ever before, so this is no time to quit. And besides, there is great satisfaction in creating something no one else has done."

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