The edge is where everything is happening. There are many ways to control it.
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Brad Marshallâs painting of coral in Maui (unfinished).
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Edges are where one shape ends and another starts. This might mean a border between two things, or it might be a fold or shadow within an object. Either way, there are many ways to approach edges. One way to control the line is the lost and found edge. Softness is another.
My friend Brad Marshall is working on a painting of a coral reef right now, and itâs a stellar example of keeping it soft. He graciously allowed me to use his work here.
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Brad Marshallâs color block-in. Heâs soft right from the start.
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Weâve talked a lot about the importance of line in painting. Sharp edges with high contrast draw your attention. But to be effective, they require other passages where edges arenât as crisp. In the case of this reef, Brad was seeking a special optical effect of being underwater, where things are blurry and greenish-blue.
Looking at the screen on which youâre reading this, youâll note items in the periphery of your vision. The screen is in focus, but the items on the edges are blurred. This is how our eyes workâwe have a highly developed cone of vision, and some peripheral vision to keep us oriented. You can take that same principle into your painting, to direct the eye into looking at what you want it to notice.
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âPainted midground coral (except for that little one in the crevice. Keeping edges on soft. A little lighter and darker to push it forward from the background,â said Brad.
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Brad started his painting softly because of the subject. But itâs also important because the coral at the bottom of the canvas has the potential to be the strongest draw. Itâs lighter in color, and itâs closer to the viewer. But Brad, being a pro, isnât going to be suckered into that rookie mistake. By keeping the painting very soft at the beginning, he is able to control where and what he concentrates on.
This is a studio painting being built in layers. That gives Brad ample time to work with thin paint handled wet-on-wet. In addition to his brushwork, he developed softness by carefully controlling value and hue shifts. Even in his central motifs he started with an underlying natural blur.
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âHere is a close-up detail. I wanted to give it a soft-focus look.â
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In oil painting, soft edges can be made by dragging a brush from one color to another, or painting directly into another color. Oil paints are absolute champs at blending and softening. So too is watercolor: washes and wet paper will assure you that edges stay soft until you want them to be defined.
Gouache and acrylic (correctly applied and not just mimicking watercolor) are not nearly as useful for blending. However, you can achieve the same effect of softened edges by employing optical blending.
In fact, since the 19th century, many oil painters (myself included) have generally eschewed the broad range of blending that oil paints offer. Weâve been influenced by Impressionism. We use flat blocks of closely analogous color to get the effect of blending without the brushwork.
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Cliff Rock, Appledore, 1903, Childe Hassam, courtesy Indianapolis Museum of Art
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Consider the Childe Hassam painting, above. He used optical blending to create the effect of blurriness that Brad is getting with brushwork. Note that the top of the rock outcrop is the same value as the sea. Your eye doesnât notice the edge any more than it would have had he blended the edges with a brush.
Hassam used a staggering array of brushwork in his painting to create a variety of edges. However, none of it was done with traditional blending. Looked at closely, each color is distinct from its fellows.
