Delorias SB

[Who]

Delorias@Who Thank you for your advices! I'm actually not sure where I can make edge blurry except for the shadows. I'd like u to look at new one that i did recently.

Here's a short article on some ways to use edges that may help you decide on edge variations to try in various situations. I think the majority of the decisions on how to treat edges in each painting really comes from your own aesthetic preferences and choices, but there are some general 'rules' like hard edges come forward in space, soft ones drop back. Hard edges draw a lot of attention softer ones allow rest areas to balance this.

https://www.muddycolors.com/2017/07/10-t...out-edges/

I like the iron painting you did, personally, much better than the other one. don't be scared to try go even bolder with edge variation if you enjoy a more loose 'painterly' presentation. I'm going to drop some examples here to look at. In general note the variety and rhythm and placement of the edge choices made by the artist overall, but also look at how they treat every edge on a single object. You'll notice quickly there is a lot of variation that drives interest but also, how bold they can be in really losing edges not only in shadows but in the light, and still retain form and the naturalistic overall visual impression without having to render everything out. See what you enjoy. A good way to learn to use edges is of course to observe/study various approaches on some high quality work and then experiment on your own paintings.

Spoiler

Richard schmid. Beautiful balance and using hardest edges as rhythmic compositional features




Fechin - amazing visual impression and realism, without trying to be a camera



Ollie Le Broq. Can be a bit gimmicky, but totally broken edges where colour of objects and environment cross over and break their shared boundaries, and still can get the impression of a real 3d object



Piotr Jablonski  - digital.  A large aspect of the aesthetic ofJablonskis work is built on immaculate edge control and balance and rhythm between the hardest and softest edges, just as a traditional painter would do.