Part 4 On the Edge of re­al­ity

International Artist - - 10 Steps To Paint Like An Impressionist: Part 3 -

One of my fa­vorite sub­jects to talk about with paint­ing is edges; to me it’s the hid­den se­cret to my work—the one el­e­ment many peo­ple miss. By get­ting the right amount of dis­tor­tion on the edges, I can push my work to the next level, es­pe­cially when it comes to struc­tural, fig­u­ra­tive and in­te­ri­ors.

If your work is look­ing too tight then the wise thing is too look at loos­en­ing your edges; the op­po­site is true if your work is too loose. We need to be con­scious that we’re aim­ing to cre­ate an artis­tic state­ment not nec­es­sar­ily a per­fect his­tor­i­cal doc­u­ment. Both are pos­si­ble, but I am more con­cerned with my artis­tic state­ment and then I nor­mally let the rest look af­ter it­self.

The other el­e­ment to con­sider with our edges is that we can use them to help push the eye around your scene; it is a del­i­cate bal­ance, so it may take some ex­per­i­men­ta­tion. I like to re­mem­ber the eye loves va­ri­ety and gets fa­tigued with rep­e­ti­tion.

Sor­rento, Aus­tralia, oil, 11 x 13" (28 x 33 cm) This is a great scene to play with the edges be­cause the boathouse and tim­ber work on the jetty. The strong hor­i­zon­tal line on the handrail could eas­ily be­come too pre­dictable and lead the eye...

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