SFUMATO. This is basic. Most of what we see is soft-edged. Lubrication (medium), ample paint, and larger brushes for blending are essential for tactile, attractive paintings. Hard edges are great for sign painting.

Cosmetic sponges or even very fine natural sponges get splendid results in any wet medium. You can use them either to apply the paint or to blend (on the canvas or paper). In my experience no brush can emulate the delicacy of a sponge. In cosmetic departments they usually have little boxes of sponges cut pie-shaped. The edges of those little sponges can also be used to create hard edges. You can, of course, cut your own from any sponge that doesn't have big holes, but they have their uses too, so don't cling on desperately to a paintbrush if it's doing more harm than good!

Hmmm, some of us are still at the basic level. I was especially intrigued by "...with the valuable device of negative shapes." and would be grateful for further guidance. I'm not asking for anyone to go into chapter and verse, but maybe there's a sourcebook somewhere that I could explore. Much obliged, Gary

Scumbling, dry brush and stippling are also techniques that can break up edges. These techniques provide variety and interest to an otherwise flat painting but they can be hard on brushes. When painting more impressionistic landscapes, I like to combine the use of fluid washes with scumbling effects on pastel board. Pastel board has a lot of tooth that facilitates scumbling with acrylic paints, and the effects can be marvelous.

I work mainly in acrylic these days and edge quality is always a challenge but not impossible. My method lately is thin transparent glazes that seamlessly overlap in most cases and the tool I have found most valuable in transitioning one colour into another is my Finger. Quickly while the paint is wet rub the edges off into the outlying area and it disappears into the layer of colour beside seamlessly.
The main problem I have is to take the fuzzyness out of the main shapes and this is where the hard edge next to the form is important but away from the form to avoid the halo use your fingers.
P.S. Keep hand sanitizer close by to remove paint from your hands it takes it off quickly and cleanly.
See my work at http://www.staylorhedgesart.com

The ultimate answer to soft edges (and hard ones too when you want that) is watercolor. Not that any of you will change. It's great fun though!!

Value plays a big part in edges. Disappearing edges happen, even with a different colored areas, when the value is close. Like the opposite appearance of light against dark, which makes a sharp edge sharper. It's the drawing of an egg phenomenon!

I work in oils and like to take a dry brush, wet it slightly with medium, and draw the brush lightly and equally over the hard edge. It softens the line to where it isn't distracting. Applying more pressure in some areas and less in others gives a thinner or thicker break, which is more interesting than a uniform line. Be sure to have enough paint on the canvas you don't "lift" the paint off.

Some of the best edges are ones that disappear completely--lost edges. They evoke unsullied mystery and encourage the viewer to participate in the creative act.

Gary, see if you can get one of these books for good info on negative shapes... don't worry about the title, Betty mentions negative shape and negative spaces often, with clear focus on the meaning.

Outline Drawing: Positive, Negative and 3D Shapes by Art Instruction Schools, Inc. (1989)

Color by Betty Edwards: A Course in Mastering the Art of Mixing Colors, 2004

Gary, you might try this one, too, if you use watercolor:

Watercolor Painting Outside the Lines by Linda Kemp, 2008

Re handling edges and specifically "edge holidays" see Tom Thomson's great paintings of the Algonquin Wilderness. Bright orange from the underpainting (Or maybe it was the peachcrate he painted it on) show through at the edges between sky and trees. Marvelous paintings.

If soft edges are of prime importance, go back to good old oils.

I recently read about an acrylic paint called Interactive. They say it can be reworked by wetting it. This may be of value with edge control. I have not tried it myself. If anyone has, let me know your thoughts on the product.

Flew from Toronto to attend a class for Absolute Beginners at Hollyhock in 1992 taught by a wonderful woman named Nora Blank, a prof at the Emily Carr. She and the place itself were so supportive, I have painted ever since. Can't remember if she said anything about edges, but do remember she encouraged people to "Go further". Still her voice in my head pushes me on.

I'm wondering if there's an easier/better way to paint the sides of canvases. They seem to look streaky despite going over and over them. I'm using acrylics. Thanks

In my five day watercolour basics class, I focus on washes on Monday, tone on Tuesday, texture on Wednesday, form/composition/integers on Thursday, and edges on Friday, when we do a flower composition. Each day builds up on what we have already covered, but Friday is always the most difficult for my students, because drawing skills are needed to define flowers by their delicate edges.

Thank you for this information. I am a "line" person, and know that a softer edge is more natural. I have always used oils, but am now working in acrylics. Your tips are very timely for me.

ps. I have a question: when painting a portrait with the subject wearing a very wide brimmed hat, how does one treat the brow and especially the eye area that is almost totally lost in the darkness of the shading of the hat brim? When I look at the photo, I cannot see detail in that area; however, when I look up close at the photo in strong light, I can see the shape of the eye more clearly. Any suggestions? Thank you.

Only recently discovered acrylics and find my key to soft edges is a plastic bottle that sprays a fine mist. I just mist where I want the soft edge and I have it.

I paint in NorthernNew Mexico, USA in the mountains. This year has been dry, dry and hotter than usual. I was never satisfied with regular acrylics. For several years now I have been painting with Golden Open Acrylics. They dry slower than the regular acrylics but faster than oils. Clean up is with water. Plein air painting is now possible here without lugging turps etc.
I always look forward to your "letters". I have frequently used some of the quotes in the art classes I teach. Thank you.

Helen VanWyk, an artist i like to learn from on PBS, always calls it "poopsydoo" when she wiggles edges together.
A mentor of mine talked about "lost & found" edges, where you might have a harder edge drifting off into fuzziness, making your subject look more real.
And I thought, at first, that you were going to discuss the EDGES of the painting! Whether to continue around on a gallery wrap, or not. How to handle wet paintings. I was wrong.

Slippery is the word and the most important - the background colour is nice, but on some canvases - the quin gold/burnt orange - set it up so that it is easier to work on. Did you know pennies in between the acrylic paper and sponge/blue toweling, of your tray keeps the mold away...or a drop of ammonia in the water?

I guess I will forever hold onto my teaching instincts as I would like to add that acrylic is a plastic and so has a certain amount of time to play with it and in a way is a type of miniscule sculptural material and can be held in a slower dry with glazes, mediums, water, etc., it can be scuffed and scraped and sponged at various drying stages (smooth creamy, sticky, etc.) to create various edges and layering.

Every 2 year-old is hardwired with a need to express themselves (to convey their take on the world around them) visually. They do it naturally before they even learn to read and write. They do it on paper if they have it - or walls, fences, sidewalks. And it's only later that (sadly) our culture "teaches" them to stop.

Thank you for your generous letters. I enjoy reading them and have shared many with my students. The clicks site is useful, well organized and full of more insights than can be absorbed.

I think that artists that are really concerned with blending and soft edges should think about using oils and not acrylics. Acrylics are akin to watercolours in that they are best used confidently and quickly. A common fault with painters using acrylics as Robert has already pointed out is that they use megre amounts of paint on the palette. I have seen demonstrating artist with minimal amounts of paint on the palette too. Use dollops of the stuff, use plent of water or medium and get it on the canvas in luscious amounts. Handling edges in this mode is a lot easier!
cheers
Mike Barr

An elegant way to soften edges with either oils or acrylics is to use an intermediate tone along the edge - this can add color too!

I work in oils and struggle to get a smooth finish. I hate to see a painting full of lumps, bumps and ridges. I find myself looking at them and not the work as a whole. Distracting and detracting.

I have been enjoying and promoting your newsletter for years. Even though I am primarily a watercolor artist and instructor, so many subjects you cover are of great interest and inspirational to and for all painters In your last letter concerning ‘Edges’, you failed to mention watercolor! With this medium the most gorgeous edges can be accomplished. As I teach my students in their artistic endeavors to practice painting in watercolor we call it GOOD EDGE QUALITY which refers to a variety of’ Edges’, some hard and some soft. The edges where two colors run together or intermingle we call a BRIDGE OF COLOR.
Remember you did mention oil and acrylic, so we watercolor artists and instructors just wanted our two seconds of fame.

I've been following the discussion about hard and soft edges and I cant see what conclusions or revelations are being reached for (if any ). It's clear that "modern" painters have employed and included just about every kind of mark both intended and accidental in their paintings (and beyond) Picasso and Matisse are the most outstanding examples of of "adventure" in the handling of paint - brushes, palette knives, fingers and whatever are employed. Even Rembrandt was most subtle in shifting from hard edges to soft edges and sometimes using the other end of the brush to articulate the paint. I don't think its possible these days to establish some kind of fixed idea about this, so much has come to us via innovative and inventive artists (in all the arts) that I believe its a case of "whatever" works, plus skill, taste, fine thought, true "vision" and artistic marksmanship.

This comment isn't so much about edges as softness obtained using a medium one would not expect to work: ballpoint pen.
In an online newspaper article yesterday, I was intrigued to see examples of work by a Portuguese lawyer called Samuel Silva.

http://www.dailymail.co.uk/news/article-2192960/Now-thats-doodle-The-incredible-pictures-look-like-photographs-drawn-ball-point-pen.html

I was so intrigued I tried it, using two ancient pens I had handy. Mine blotted a bit, but I found I needed a very soft touch.