-Greg Manchess

Stages of Resolution 1, detail

One of the most difficult concepts to grasp about painting is the use of edges. Students often go immobile when I mention that they should vary their edges in a painting. It shuts them down. Most have no real idea of what I mean or even where to start.

It’s not surprising. Controlling edges is an advanced stage of painting that alludes most everyone, until it’s pointed out to them. I had trouble with edges coming up through my skill challenges, too, but as I never had a teacher pointing these things out I had to learn the hard way. From critique, and sometimes, ridicule.

That meant I was learning on the fly, listening to what other artists and critics said about my work that complimented or tormented my efforts to communicate to a viewer; how I guided the viewer’s eye through a piece. I paid extreme attention to what was said about certain passages, certain spaces in my painting, no matter how small or seemingly insignificant. It hurt, but I learned.

I’m about to cut years of struggle off your painting skills. The items below will shake your understanding and increase your ability to lay down interesting paint by concentrating on edges and not only give your work beauty, but give you a new awareness of control.

1. Contrast edges.
Edge control is built generally from pushing and pulling the eye through a painting. Pushing it back or pulling it forward. It is the contrast between edges that allows you to make shapes important or subtle.

Notice the myriad of edges contrasting each other while defining the forms…

2. Sharp edges.
The easiest to identify. That’s why they pop forward. The brain zeroes in on these edges immediately, so use them to drive the eye to the elements in the painting that have them. The contrast is high with these edges. Set them against soft edges and the sharp ones dominate.

Here, the edge of the shadow and light on the calf is the sharpest line in this detail…

3. Soft edges.
Use these edges to bolster the focus of the painting by pulling the eye away from anything with soft-focus elements. Soft edges lay as a background for sharp edges to sit on top of. Yes, on top of. Background edges that are sharp tend to jump forward. Again, the eye whips past everything soft to focus on the sharp contrast edge.

The cloud edges serve as soft background for the sharper figure edges…

4. Lost edges.
Some of the most beautiful areas of a painting are where the eye expects to see an edge, yet it’s not there. Arms that bleed into the background, a cheek that disappears, edges of hair that are lost. It stimulates interest. This takes lots of risk to learn where and when to use them to full advantage. The risk is ambiguity. The payoff is curiosity and engagement.

The brain wants to complete the edge but must become involved with the piece to accomplish that. This is how a painting lingers in a person’s mind. There’s just enough information to stay focused, but isn’t overwhelming to the eye.

How many lost edges can you find in this detail?

5. Sustained edges.
These are edges that work between edge extremes. Neither too sharp nor too blurred, but with just enough roundness to not carry too much focus in the work. Edges of figures, sleeves, folds, trees, mountains, architecture, etc.

The poles of the railroad crossing structure must not dominate the entire painting by being too sharp…

6. Repeating edges.
These are difficult edges to control because they draw attention to that repetition, and if they are integral to an element, such as leaves, or folds on a sleeve, they can overwhelm the eye. The first thing the viewer needs to do is rest. In other words, look away. This is not what you want from a viewer, just in case you hadn’t figured that out already.

You must find a way to vary these edges to take their power to confuse away. You do this by using sharp and soft and blurred edges. Not matter what your reference tells you is ‘right.’

The shirt had tons of folds in it…I knocked them back, and only picked a few to accent…

7. Shadow.
Shadow control is critical to a successful painting. And they are the greatest teachers for understanding depth, value control, and…oh yeah, edges. Now you get what I mean by soft and sharp edges, yes? What observer hasn’t noticed how shadows vary in such a short range of vision? Look at tree limb shadows on the ground and the information slaps you upside the head. The limbs closest to the ground are sharpest, while the limbs up high cast very light, soft shadows. It’s their edges that communicate this the most.

How a shadow rolls over a surface is determined by several factors. The texture of the element, the shape of the element, the angle of the element. Study a car in different lighting conditions and you’ll find an amazing array of hard and soft edges, all based on how the shapes cast shadows. Control those edges and you’ll have a shiny car or a dull car.

Shadows determine depth in a painting, and that’s portrayed by how you control the shadow edges. 

Shadows on a rainy street in this detail…talk about a nightmare, but edge control can communicate wet concrete reflecting light….

8. Color.
You can control focus in a painting by using color. The edge between contrasting color can demand attention or allow one color to dominate another. The way those colors bleed into or over each other will draw attention, either away from or toward a subject.

Edges here vary back and forth, but the color pops the edges as well…

9. Ragged edges.
If all of the edges of paint application are the same, it communicates pattern. And this leads to a flat graphic quality. There is no edge control other than to make it all the same. This is completely fine if that’s what you need in a piece. Making all the edges the same everywhere you look will demand that you control focus in another means, say through color or value.

Varying the edges between pattern and rendering can add much interest. It’s the contrast between the two that does it. 


The raggedy flat edges of the hair contrasts against the smoother strokes of the skin….

10. Light edges.
Try painting dappled sunlight without controlling edges. But through careful study of how light streams through leaves and strikes an object will reveal how edges vary between sharp, soft, blurry, lost, and blended. Light tends to flare through a short range of saturated color just on the edge between shadows and lit areas. Notice how the edge can lend interest and depth if captured in a painting. Flare the light with rich color invading the shadow and you gain depth. 

One thin edged calf and one thick…push the color on these edges….also study the light edges in #3 above…

11. Blending strokes.
Brush stroke edges can vary within the stroke itself. The front edge of a stroke can be sharp while the back slips into blurred nothing. Strokes can be short and sharp, or they can be fuzzy like an airbrush. A stroke can go down sharp and be blurred later with a different brush. The difference between a palette knife edge and a brushed edge is evident here.

Different tools give different edges….

12. Texture.
Blending between colors or values gives you a smooth affect. Simple. But you do this at the risk of losing texture and interest if done too evenly. Certainly there are many great paintings that are slick smooth, blended to perfection to give the idea of crisp, clean beauty. But using that same blend on leather, or fabric, or a wall can destroy the effect. The surface texture of an object reflects what the surface is made of. Yes, there are illusions to be aware of, i.e., that plastic resembles glass, etc.

The way the paint is applied makes a huge difference in what’s projected to the viewer. Ever wonder how those artists of the 19th century got those velvet dress effects? Study the evidence in front of you: value and edge control. 

Your eye discerns this all day long, judging edges, surfaces, values, contrasts. The working brain takes about 30% of our energy each day, and most of that is dedicated to visual deciphering.

After a quick application of pigment with a palette knife, one brush did all of this work.