How do you hold your edges?

[Richard Budig]

How do you hold the proper edge once you have established it?

The problem I

[William Whitaker]

Richard,

I believe the best way is to keep your edges even softer at the beginning.

Try working in the center of a form first, then work out to the edge rather than establish a strict outline. I've found that we tend to get in trouble early on when we establish an outline only to find out later that it isn't correct.

If I'm taking up an already dried canvas for more paint work, I will lay down a thin layer of color outside the edge, matching it to the color already there or modifying it a little if necessary, then lay down a thin layer of color inside the edge, again matching the color properly. I can then blend these two colors together at the edge line and soften them. Employ a very light touch for this.

[Alexandra Tyng]

Richard,

I totally agree with everything Bill has just said. I would like to add one thought: if you think in terms of painting (or repainting) an area rather than an edge, then the reworking of the area contains edges which can be handled the way Bill describes. It's like a home improvement project: one thing leads to several others, so you might as well do them all at once!

I also find that using medium tends to create crisper edges that are harder to soften with an economical use of brushstrokes, so I've been using no medium for several years. My first layer of paint is thinned with solvent, which dries or becomes tacky pretty quickly, so if I am painting another layer on soon after, it doesn't become messy and muddy when I return to the same areas. Another way to soften an edge is to take a relatively clean, dry brush and run it over the edge. I've noticed that edges become truly fun when you have more control over them.

Alex

[Chris Saper]

Like you, I can never complete a painting in one session either. Bill's advice to keep everything soft when you start is excellent.

I think it makes sense to develop a an edge plan before you begin the painting, so that you are thinking about placing edges to direct the viewer's eye, and to support your center of interest. I try to think of one sharpest edge location, with all other edges subordinate to that sentinel edge. Secondary or other lesser edges help give the painting a lively sense of motion and direction, and to further guide (OK I 'm really talking about control here) the viewer's eye. By keeping this vision in mind, it helps to remind you how very few sharp edges you want, period.

Edges are also one of the things that have to be done toward the end of the painting or the end of a passage in the painting - there' s not much point to putting 'finish' on an area you will be covering up.

There are some things - hair perhaps being the best example - where both hair edges and background both need to painted in the same or session, or least when they are both wet -with paint, not just medium. Then you have the option to brush hair into background, background into hair, and offer the best edge control you can. The same is very true for hairline and forehead.

If you feel that your edges look too hard at the end of the painting session, use a fingertip, rag, dry sable or fan brush to knock them down, so they will be soft for your next painting session.

One last tip from my teacher Phil Beck: "Make the edge, break the edge, then restate the edge."

And a PS from Richard Schmid: "Treat an edge like a story -stretch the truth as far as you'd like without telling a lie."

[Carol Norton]

Originally Posted by Chris Saper

same is very true for hairline and forehead.

If you feel that your edges look too hard at the end of the painting session, use a fingertip, rag, dry sable or fan brush to knock them down, so they will be soft for your next painting session.

One last tip from my teacher Phil Beck: "Make the edge, break the edge, then restate the edge."

And a PS from Richard Schmid: "Treat an edge like a story -stretch the truth as far as you'd like without telling a lie."

____

OK. Chris, I don't recall hearing you give this SAGE ADVOCE in class, (AND I do listen!!!) so I'll remember without having to pay you tuition. HAH! Cool! Not a lot of free treasures out there.

Love the information!!! Oh, boy, your SAS Students are really going to miss you.

[Chris Saper]

Please remind me to cover it tomorrow!