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Orchestrating Edges While Painting From Photographs
While I've seen forum members speak of the challenge of judging depth from photographs, I don't see this as much of a problem for anyone who has done a lot of painting from life.
I see orchestrating beautiful edges as a much greater challenge when I'm working from a photograph. If we're painting a moment in life we focus on what we consider to be most important in that moment. I know that when a subject is in front of me it's relatively easy to see which features should be focused on, which should be played down, and which should be lost. I'm not talking about doing any of this for flattery, but for effect.
Don't get me wrong; though I worked strictly from life for many years and see the shortcomings of working from photographs, I'm not about to change back. Working from photographs is truly freeing as long as the limitations are considered.
Personally, I think it is a shame that many painters no longer seem to care about their edges. To illustrate the value of soft and focused edges, I'm including details from real past masters at working their edges.
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Threaded Mode
