Edges - Page 3

Sandy Barnes · 04-24-2002, 06:30 AM

While at the bookstore yesterday I saw a North Light book on Edges. The exact title and author escapes me but it looked informative. As you know all North Light books have plenty of demonstrations and explanations for us "less-seasoned" artists.

Alicia Kornick · 07-01-2002, 09:14 PM

I have a question regarding lost and found edges for the pros out there.

Is a "found" edge the same as a "sharp" edge? I know how to blend and soften my edges, but I'm a little confused about "found edges". Is a found edge somewhere between a hard and a soft edge?

Thanks,
Alicia

Alicia Kornick · 07-03-2002, 11:23 PM

Thanks, Tom.

I think I get the picture. I paint mostly from pictures and understand that it is difficult to determine edges from photographs. That is what I understood from Chris's essay on edges. It is the amount of light on an edge that determines its character, and also the position of the edge.

Thanks,
Alicia

Alicia Kornick · 07-04-2002, 10:50 PM

Thank you, Karin.

I am beginning to see what is meant by a "lost" edge. It it much easier for me to understand something if I can see it. I guess that goes along with being a painter, as I relate on a visual level rather than conceptually. I will look for lost edges in the masters' paintings.

That would be another lost edge on the left side of the model's face. The eye of the beholder fills in what is known to be there. I will incorporate this into my paintings (or try to) in the hopes that they begin to take on a softer appearance and will not look like "cut outs".

Alicia Kornick · 07-05-2002, 12:07 AM

Karin,

Well, you've finally convinced me that I have to copy the paintings I love, to find out what I love about them. I too love Vermeer (what's not to love?) Did you read the novel "Girl with a Pearl Earring"? Were you able to see his works at the Met last year? I have a large coffee table book from this showing that two dear friends brought back to me. They were lucky enough to be in New York at this time and I told them not to miss it. The chance of a lifetime.

I will make time to paint from the Masters. Actually painting them should be fun, as it is not a commission and I can relax when I do it. I only need to please myself right? Tongue placed in cheek (I am my worst critic) as are most of us here on the forum.

Thanks for helping me to see.

Alicia Kornick · 07-05-2002, 10:51 PM

Hi Peggy,

In Harold Speed's "Oil Painting Techniques and Materials", http://www.portraitartist.com/bookstore/oil.htm on page 117 there is a reference to Vermeer.

Speed writes, "A movement of colour in the tones, such as the impressionists developed to such an extent, is necessary in all vital colouring; and has always existed even from the days of the tempera painters. They painted one colour thinly over another repeatedly, thereby getting a play of two colours. Their flesh was usually painted in terra verte in the first instance, the pinks and ochres being thinly painted upon it afterwoads. There is evidence that Vermeer of Delft used this method. In "The Lady at the Virginal" already referred to, the terra verte underpainting shows through in the head of the girl very strongly. The flesh tones that had been thinly painted over this, have been rubbed off, I imagine, in the process of cleaning the picture at some time."

If you know of another good source on Vermeer would you please share it with me?