Edge quality in a painting is important! Proper use of edges helps to direct the viewer’s eye toward your chosen center of interest. An edge is the border between shapes, the transition from one shape to another, where contrast occurs between shapes. By adjusting the degree of contrast along the edges of shapes in a painting (in addition to the contrasts of value and color), an artist can control eye movement and focus. Edges also suggest the mood or atmosphere of a subject. A hazy, humid picture might have many soft, fuzzy edges, and generate a mellow feel. Or a painting of a cold, crisp winter day might have numerous numerous hard edges.
When we talk about an edge in painting we mean how it appears to the eye. Keep in mind that an edge in a painting may NOT be just an actual physical edge (like the side of a tree trunk, building, or rock). An edge can also be the transition between sunlight and shadow, between wet sand and dry sand, between a ripple and calm water.
Types Of Edges And How To Paint Them.
There are, in fact, several types of edges. A good artist tries to incorporate, in each painting, as many of the types as possible to create variation and interest. A HARD edge forms a clear, crisp, abrupt transition between shapes. The contrast of a hard edge will attract the viewer’s eye; perfect to use at the focal point or between light and dark areas. Some hard edges are good in a painting, but using only hard edges will result in a flat image without depth (e.g. as in a woodcut). Hard edges are painted on DRY watercolor paper.
In contrast, an infinite variety of SOFT edges exist. Softer, less-defined edges are used to de-emphasize, and are useful in the background or distance, within a shadow, or when you want a shape to recede further toward the background. Soft edges are gentle and a bit blurred; perfect when painting fog, haze, or mist.
The relative wetness of PAPER and brush will determine finished softness of the edge and the extent of the spread of the watercolor pigment. Try to learn to judge the wetness of your paper by observing the amount of sheen. More shine means more wetness, less suggests a damp or drying paper. It is also good to test the result you want to achieve on a test sheet/practice paper (made of the SAME kind of paper you’re actually painting on to approximate similar results).
Keep in mind that controlling edge quality has as much to do with the dryness of the BRUSH as with how wet the paper is. A brush overloaded with paint will lessen your control and may flood an area in your painting, whereas a brush with too little wetness will not allow the paint to move easily. Further, when the brush becomes wetter than the paper (from added water or wet paint) you will be in danger of creating an uncontrollable ‘cauliflower’, ‘run back’ or ‘blossom’ in your painting.
A LOST AND FOUND edge is a broken or interrupted edge that will tie the shapes to the background or other objects in the painting. It will connect shapes, allowing them to partially flow into one another.
A LOST edge is an edge that has disappeared. One shape has merged into another, as in a dark shadow. When the values of touching shapes are the same, the edge between them tends to vanish, whether soft or hard, even when there is a color change. Lost edges force the viewer to invent any missing information, and can be quite interesting. By creating shapes of equal values, you will be able to merge edges. In other words, nearby shapes of similar value tend to have less obvious edges. But adjacent shapes with more value contrast will have edges that are well defined.
When To Use Different Edges.
Sometimes the subject matter of a painting will tell you whether edges should be hard or soft, but no rules apply. Think about placing hard edges at your center of interest, where you want the viewer to look, then de-emphasize other less important areas with softer edges. Soft edges describe a subject in more general terms, while hard edges provide more detailed and specific information. It might be appropriate to paint a soft object, like a teddy bear, with soft edges. A cut glass crystal bowl, however, will have numerous hard edges. Distant objects often are painted with softer edges, while closer components could have harder edges. Make choices about your desired mood for the painting, deciding what types of edges are appropriate in the same way you choose your values and colors. For instance, an evening painting might be low key, painted with mostly cool colors but some contrasting warm colors, and a lot of soft or lost and found edges along with a few hard edges for emphasis.
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