Painting Painting
Tips on Oil Painting - Painting Edges
There are several reasons why the use of edges in an oil painting is important:
* Degree of Hardness - Edges can be used to express the degree of hardness or softness of objects and subjects.
* Degree of Roundness - Edges can also be used to reflect the degree of roundness and sharpness of objects and subjects.
* Directional Indicator - Edges are an excellent help in mapping your painting. That is, they can be used to lead the viewer’s eye around the painting and ultimately to the focal point or area.
This can be done in such a manner that the viewer is hardly aware of the manipulation. In the West, people’s eyes enter a Painting From the left. So, here is an opportunity to design your composition on the left as an invitation to enter your painting. From there, edges and forms can be used to lead and guide the viewer further into the painting and to the focal point. On the right of the focal area your composition should be designed to lead the viewer’s eye back around to the focal area.
Of course, you are always free to break these sorts of rules if you have an interesting reason to do so. Also, be aware that in the East people enter a painting from the right.
In real life most edges look soft because our eyes are constantly moving. An edge will only assume its sharpness if we specifically focus on it. Therefore, it is best to keep the edges soft in general unless you want to draw attention to a certain feature as is the case with the focal area.
The other situation in which to use a sharp edge is when you want to make a certain feature appear to advance. But, in general, avoid excessive use of hard edges because they work against the creation of realism. On the other hand, a painting totally devoid of hard edges tends to look uninteresting. So, the solution is to put in a few hard edges but not too many.
Then there are also lost edges. These edges are usually applied when two neighboring shapes have the same value.
The whole thing starts with a visible edge and when this edge enters an area of equal values it becomes invisible or gets lost. Further down, the edge reappears where the value start to divers again.
The eye has a natural tendency to fill in the lost edge. The use of lost edges is artistically very powerful and should be part of your repertoire of tricks. Allowing the colors of one form to work themselves into the neighboring planes of equal value is a delightful way to loosen up a painting and make it visually dynamic. Note that a painting for some reason, as it progresses, has a tendency to tighten up.
In conclusion, there are three types of edges: the soft edge, the hard edge, and the lost edge. Most of the edges are on the soft side. Hard edges should be used sparingly with the intent of attracting attention or to advance certain features. The lost edge is usually used where values of neighboring forms become equal. They serve as a way to loosen up a painting.
About the Author
Remi Engels, Ph.D., is a pencil portrait artist and oil painter. He is also the author of a popular Pencil Portrait Drawing Course. Get Your Free copy here: Remi's Pencil Portrait Drawing Course while supplies last.
Painting Painting
 |
 CANADA ART 1875 HISTORICAL RCMP OIL PAINTING D C GROSE  US $4,299,999.00
|
 CHRIS RIGGS CONTEMPORARY ABSTRACT PAINTING SURREALISM CUBISM ORIGINAL ART URBAN US $1,500,000.00
|
 CHRIS RIGGS CONTEMPORARY ABSTRACT PAINTING SURREALISM CUBISM SIGNED ORIGINAL ART US $1,500,000.00
|
 CHRIS RIGGS CONTEMPORARY ABSTRACT SPRAY PAINTING ORIGINAL FINE ART URBAN CUBISM US $1,500,000.00
|
 CHRIS RIGGS CONTEMPORARY ABSTRACT PAINTING URBAN ORIGINAL FINE ART SPRAY PAINT US $1,500,000.00
|
 YA MON 2 NO STEAL DRUMS OIL PAINTING JAMACIN MUSIC DANCING CUBIST ANTHONY FALBO US $1,500,000.00
|
 CHRIS RIGGS ORIGINAL PAINTING MODERN CONTEMPORARY ABSTRACT PORTRAIT CUBISM URBAN US $1,500,000.00
|
 CAROL LEE ART Lt Ed Modern Fine Art giclee print figures surreal painting US $1,500,000.00
|
 CHRIS RIGGS ABSTRACT PAINTING CUBISM SIGNED ORIGINAL FINE ART MODERN URBAN POP US $1,500,000.00
|
 CHRIS RIGGS ABSTRACT PAINTING SIGNED ORIGINAL FINE ART MODERN URBAN POP SURREAL US $1,500,000.00
|
 CHRIS RIGGS PAINTING ABSTRACT MODERNISM URBAN CUBISM FINE ART ORIGINAL BLACK POP US $1,500,000.00
|
 CHRIS RIGGS CONTEMPORARY POP ABSTRACT PAINTING CUBISM FINE ART URBAN OUTSIDER NY US $1,500,000.00
|
 OIL PAINTING RARE LARGE ONE OF A KIND FLOATING CUBISEM US $1,500,000.00
|
 CHRIS RIGGS HUGE GIANT BIG ABSTRACT PAINTING CUBISM SIGNED FINE ART 14X8 URBAN US $1,500,000.00
|
 CHRIS RIGGS ABSTRACT PAINTING SURREALISM CUBISM ART ORIGINAL BLACK WHITE HUGE NY US $1,500,000.00
|
 CHRIS RIGGS MODERN ABSTRACT PAINTING SURREALISM CUBISM SIGNED ORIGINAL FINE ART US $1,500,000.00
|
 CHRIS RIGGS ABSTRACT MODERNISM URBAN CUBISM FINE ART ORIGINAL HEART PAINTING POP US $1,500,000.00
|
 OIL PAINTING RARE first one of a kind FLOATING CUBISEM US $1,500,000.00
|
 ABSTRACT CONTEMPORARY CUBISM FINE ART ORIGINAL SPRAY PAINTING URBAN POP STREET US $1,500,000.00
|
 CHRIS RIGGS ABSTRACT MODERNISM URBAN CUBISM FINE ART ORIGINAL PAINTING MODERN NY US $1,500,000.00
|
 CHRIS RIGGS ABSTRACT MODERNISM URBAN CUBISM FINE ART ORIGINAL PAINTING POP RED US $1,500,000.00
|
 CHRIS RIGGS GIANT HUGE BIG ABSTRACT PAINTING CUBISM SIGNED ORIGINAL ART MODERN US $1,500,000.00
|
 ABSTRACT MODERNISM URBAN CUBISM FINE ART ORIGINAL BLACK WHITE HUGE PAINTING POP US $1,500,000.00
|
 ABSTRACT CONTEMPORARY CUBISM FINE ART ORIGINAL PAINTING POP BLACK WHITE RIGGS NY US $1,500,000.00
|
 CHRIS RIGGS MODERN FINE ABSTRACT PAINTING SURREALISM CUBISM SIGNED ORIGINAL RED US $1,500,000.00
|
 CHRIS RIGGS HUGE ABSTRACT PAINTING SURREALISM CONTEMPORARY FINE ART 8 FEET GIANT US $1,500,000.00
|
Interior House Painting, Painting Rooms
HOW TO PAINT A ROOM - THE ORDER IN WHICH THE ROOM GETS PAINTED !!
Today we are looking at how to paint a room in particularly what gets painted first.
- Ceilings are first in how to paint a room. The spots off the wet roller when rolling a ceiling end up on your woodwork, frames etc. But fear not, you're going to have to rub doors, frames, skirtings and the like down anyway ready for painting, so a few spots on your woodwork are not going to matter anyway! (Some people after rolling ceilings come out of the exercise looking like they've had a hand full of hundreds and thousands thrown at them
For those of you who don't know what they are, well, you just had to be there). - Trims and woodwork are second in how to paint a room. If you've prepared your woodwork and rubbed down and filled everything the hard miles so to speak are done. It doesn't matter when painting and undercoating that you get some paint on your walls. Infact its so much easier to concentrate on getting a good finish on trims when doing them before your walls. You don't have to worry about cutting in or edging with your brush. All the focus is on getting the clean glossy finish you require. In my opinion your trims are a very important part of the room, they are somewhat of a feature and most often are made to stand out with a contrasting colour. So getting them right is vital.
- Walls are third in how to paint a room. I suggest leaving the trim coats to cure for 24 hours (it could take longer depending on the weather and temperature) before painting the walls. Make sure before starting that all walls have been filled and sanded before your trims are done (you don't want dust and dirt sitting on your nicely glossed trims
) The reason for painting walls after your trims is that it is easier to cut or edge back into a small edge rather than cut back into a large edge. Try cutting your gloss coat on trims back to a finished wall. It takes too much time and you can't lay your gloss coat off properly. The result is hitting the wall and getting a very uneven finish coat on your trims. - Skirtings are last in how to paint a room. Two ways you can go. You can paint and finish the skirtings before the walls. This way you run the risk of paint spots off the roller when painting walls getting onto your skirtings. (Doing it this way you would have to make sure your skirtings were dry enough to tape up with easy "release tape".) The way I do it, is to do my skirtings last. I do have to cut them in to the wall though. With my experience I can get a nice straight line free hand with the brush. This may not be a good option for the inexperienced, but perhaps with a good brush and a bit of guts and steady hands it would be a good opportunity to test your skills. The cutting in skills in painting are invaluable, allowing you to paint things like feature walls.
Painting is all about being organized and prepared and repeating the same tasks over and over. Stick to the above formula and you will flow through your work effortlessly and have it done in no time, saving you money and your precious time. So that's it for how to paint a room in particular in what order to paint things. Catch ya round like a roller pole. Happy painting................Wayne the painter
About the Author
http://paintrescue.com Wayne Smith is a Professional Painter, has been in his trade now for over 24 years and runs his own painting company. He is dedicated in sharing his knowledge with the DIY home painter and has created an interior painting guide DVD showing his unique painting system even complete beginners can follow. You can find his information on http://paintrescue.com
How to paint the Mona Lisa with MS PAINT