Painting on the Edge

photo © Tammy Christel

By Jennifer L. Hoffman

No, I’m not talking about dangling from the edge of a cliff or balancing an easel on a razor thin ridge line   (though I’ve known a few artists who’ve been close).  When I was first starting out as a plein air painter, an artist I admired gave me some advice.  “Pay attention to the edges when you are painting.  Don’t leave your edges unresolved.”   Lacking self-confidence, I didn’t question the statement, but I wondered what he meant.   The edges of my canvas??

In the years since, I’ve learned the value of that advice.  What he actually meant was, “Pay attention to how shapes come together in your painting.”  Determining how two areas meet and successfully painting that meeting place (or edge) conveys the light conditions and gives the illusion of depth (or lack of it) in a painting.  One technique artists use to see edges is to squint at the subject.  When squinting, some edges will remain relatively sharp, while others become soft or disappear altogether.

There are essentially three types of edges to consider in a painting:

1.       Hard edges, where the edge is crisply defined, for example a roofline in bright sunlight or a strong cast shadow.  The shapes with the hardest edges draw the viewer’s eye and give an object a sense of sharp focus.

The hardest edges are in the foreground tree and its 
branches, making it feel closest to the viewer.
Earthshine, Jennifer L. Hoffman, pastel on mounted paper, 27x19.5 in.

2.       Soft edges, where the edges of shapes are less distinct but still discernible.  This could be the edges of foliage at the top of a tree or a distant hillside meeting the sky.  These shapes tend to recede or sit back from the front picture plane.

 The soft edges of the reflection appear to sit below the hard edges of the creek banks.

Tranquility Study, Jennifer L. Hoffman, pastel on board, 9x12.

 3.       Lost edges, where one form melts into another.  This happens often in low light conditions and in weather like rain, snow, or fog.  These lost edges do not compete for attention but can be some of the most interesting to paint!

There are nearly no hard edges in this pastel.  Soft and lost edges add to the sense of mystery.
Veiled, Jennifer L. Hoffman. Pastel on board, 12x16.

Of course, the degree of hardness or softness (or lost-ness, if I may coin a new word!) is relative, and the artist orchestrates those edges in a painting to draw a viewer’s eye to a specific focal point or to move the viewer through the composition. Interestingly, everyone seems to interpret edges a bit differently, even when looking at the same thing.  Some artists see many hard edges and paint accordingly.  Some see things in a much softer way.  Being able to translate the way he/she sees edges allows an artist to not only create an illusion of space and light but to share a bit of his/her personal artistic vision.

Next time you come to Trio or visit another gallery or museum, look for hard, soft, and lost edges.  You’ll be catching a glimpse into the artist’s process!