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Digital Subscriptions > The Artist > Oct-17 > How to paint edges

How to paint edges

Michael Jules Lang explains, with examples, how to create a variety of edges, and why this will help you to achieve subtle, more sophisticated paintings
Cadel, oil, 16X12in (40.5X30.5cm).

Methods 4, 5, 6, 7 and 8 (see page 54) were used in numerous places, for example in the fringe, the edges of his hair, the shoulders and the numerals on his top

The variation of edges between soft and hard can be one of the signs of a more sophisticated painting, introducing an element of subtlety. Hard edges, or edges that are very visible, are easy to paint and tend to be produced without much conscious thought. Soft edges are less visible.

In this article I will explain how to create edges – there are more methods than described here, which you can discover by experimenting. These methods are applicable whether using a brush or palette knife – I have used oils. I refer to brushstrokes in this article for simplicity, but palette knife strokes are implied, too. Indeed, any kind of tool to deposit or remove paint on a surface could be used, whether a finger, cotton bud, paper tissue, rag, etc.

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About The Artist

Welcome to the first of our new standard 80-page magazine, packed with even more inspiring practical articles to help you to improve and enjoy your own drawing and painting. In addition, this month we also include your free 16-page supplement with details of some of the best art courses and holidays available to inspire and inform your creativity, whatever your level or years of experience. So, whether you love working in watercolour, oils, pencils or acrylics, take your work to the next level with our team of passionate artist/tutors including Judi Whitton on how to use body colour in your watercolours, Haidee-Jo Summers with some useful exercises to help you loosen up in oils, Mike Barr's beachscape demonstration, Paul Talbot-Greaves on how to start with a watercolour mess and end in success, Peter Graham on why the rose makes such a wonderful subject for still-life paintings, Robert Dutton on mastering perspective for city scenes, and Peter Burgess with tips on composition and the Golden Section, to highlight just a few articles in this issue. Plus, there's so much more to guide and inspire your artistic development within our new 80-page issue - enjoy!
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