The important nuances of EDGES

Not a flashy subject, but a very important one!

Our last painting class in this session is tonight. We're going to finish up with edges and brushwork as our last topic. So it's on my mind.

Not as much talked about as some of the other principles we've covered - but quite important to a work of art. Often if you are a newer painter, paying attention to edges can make a BIG difference in your work.

I'll give you a short tidbit of the class. To keep it succinct for a blog post vs. my class... we'll just touch on edges here. And I'll finish up with references where you can learn more. (Or, of course, take class with us next time!)

Edges occur at all boundaries of all shapes within your painting. Edges can run the gamut from razor sharp to totally diffused – sometimes called hard or soft, or lost or found edges.

A hard edge may mean that the form is turning quickly – the edge formed by the corner of a house where two planes converge at a right angle.

Sharp edges call attention to themselves.

 

(In my studio painting below in my last post  - notice places where the sunlit stream touches the shadowed ground. You'll see an abrupt change - a hard edge.)

A soft edge could mean the form is turning into the background more gradually - the edge of an apple against the background, it curves slowly as it recedes.

A soft edge is quieter and will be less noticed.

 

(In my studio painting below in my last post, look at where the steam touches the sky. In most places, it has a very soft feel.)

A lost edge is when a shape of color blends into another so gradually that it is impossible to tell exactly where one begins and the other ends. When lost edges occur, it can help to integrate the objects into the environment of the painting. Look for opportunities to exploit this for artistic purposes!

A lost edge totally eludes the viewer, often giving a feeling of mystery.

 

(In my studio painting below, look at the very top of the steam where it touches the darker sky. It's hard to tell where one stops and the other begins...a lost edge.)

 

Being aware of the nuances of edges is a powerful tool.

In general, a variety of edges is most desirable...

- An overload of hard, sharp edges strikes us as harsh, artificial and flat.
 - An overload of soft edges will make a painting feel ‘mushy and uncommitted’ and too uniformly diffused.

The way you combine hard and soft edges should be an integral part of the DESIGN of your painting. The way you treat edges should be a combination of what you see observing the forms of your subject and your desire to produce an artistic, pleasing work.

To cover the topics more in depth...

Brushwork by Emile Gruppe , a great book first printed in 1977.
Alla Prima by Richard Schmid has a fantastic chapter on Edges.

Both I've read many times.

Our Yellowstone Zoo

- photos from our windows -

 

A beaver on the shore!

I posted our sighting of a pair of beavers a little while ago...the first beaver we had ever seen from our property. Yesterday evening, we spotted this one munching on a stick.