Orchestrating Edges While Painting From Photographs

[Sharlene Laughton]

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.

[Chris Saper]

Dear Sharlene,

I couldn't agree with with you more on the importance of edge management, and the tremendous challenge in painting edges well when painting from photographs. I am a very avid proponent of thinking through an edge plan before ever picking up a brush. Have you seen the thread on edges? Go to http://forum.portraitartist.com/show...ghlight=edges.

Your work is lovely and it is a pleasure to have you contribute to the Forum!

[Sharlene Laughton]

Thanks, Chris, for pointing me toward the post. I've only recently joined the forum and clearly didn't make it through all the material.

I'm glad to see how much others agree with me. I don't think edges can be emphasized too much. Unfortunately, I'm still disheartened to see how many portrait painters on the web either don't understand or don't care about this.