Controlling Your Edges
from Skip Whitcomb
Edges are one of the most powerful tools a painter has for creating depth, atmosphere, and movement. In this lesson, Skip Whitcomb revisits the topic of edges — a subject that comes up repeatedly in his critiques and demonstrations — to help students understand how subtle control can make or break a painting.
Why Edges Matter
Skip often reminds his students that every successful painting depends on how its edges are handled. A well-designed composition might fall flat if all the edges are treated the same way. Conversely, a thoughtful orchestration of hard, soft, and lost edges can bring even a simple subject to life.
“I have to remind myself about edges all the time,” Skip says. “Especially in the studio, where there’s more time to think — and more time to overthink. When you focus too much in one direction, it’s easy to overlook something else.”
Edges are not an afterthought; they are part of the complete package. They determine how light wraps around form, how space is perceived, and how the viewer’s eye moves through the picture.
Understanding Edge Types
Skip categorizes edges into three broad types:
Hard edges: Clear, abrupt transitions between values or colors. These attract attention and define structure.
Soft edges: Gradual transitions that create atmosphere and distance.
Lost and found edges: Transitions that begin clearly, disappear, then reappear elsewhere. These add rhythm, movement, and a sense of mystery.
“Think of your edges as a range,” Skip explains. “If you make everything sharp, your painting becomes brittle. If you make everything soft, it turns mushy. The key is to orchestrate the full spectrum.”
A Useful Analogy
A sharp ski edge carves a crisp, precise turn—just like a brush that defines a strong contour.
A flat ski, on the other hand, allows the skier to glide softly, feathering the turn—just as a painter might soften the transition between two shapes.
“Sometimes you want that crisp carve,” Skip says, “and other times you need to feather your way through a passage. The principle is the same.”
Exercise:
Paint a simple object (like a cup or rock) twice. In the first version, define all contours sharply. In the second, soften most edges except one. Compare the two: Which feels more natural? Where does your eye go first?
Value and Edge Relationships
Skip often points out that edges aren’t just about brush handling—they’re also about value relationships. When two shapes share nearly identical values, their edge can disappear entirely. This is not a problem; it’s a sophisticated tool for unifying the painting.
“If two shapes come together and they’re the same value,” Skip explains, “that edge almost vanishes. It’s one of the most powerful ways to create unity and atmosphere.”
Exercise:
Create a small grayscale study with two adjacent shapes. Gradually adjust the values so they nearly match. Watch how the edge fades, and notice how your perception of depth changes.
Lost and Found Edges
A painting comes alive when edges vary in character. Skip encourages painters to let some contours dissolve, then pick them up again elsewhere. This not only suggests form turning in space, but also invites the viewer to participate visually.
“Sometimes an edge will start sharply, then dissolve and reappear. That variation adds mystery and life. It keeps your viewer engaged—they have to complete the form in their mind.”
Exercise:
Take a landscape photo and identify three places where you could lose edges intentionally (tree lines, shadow shapes, horizon transitions). Then identify one place where you’ll keep an edge sharp for emphasis.
The Role of Edges in Design
Skip emphasizes that edge control is not just a technical matter—it’s a design tool. The sharpest edge in a painting naturally becomes a focal point, while softer edges support the overall rhythm and hierarchy.
“Think of it like music,” he says. “You don’t play every note at the same volume. Contrast, rhythm, and emphasis—that’s what keeps it alive.”
When planning your composition, ask yourself: Where is my sharpest edge? Where should the viewer rest? Your answers will guide both the mood and movement of the painting.
Putting It All Together
Skip encourages students to make edge awareness part of their daily practice. During each painting session, consciously decide where edges will be emphasized, softened, or lost. Over time, this decision-making becomes instinctive.
Edges are, in Skip’s words, “where the painting breathes.” They give form its structure, atmosphere its softness, and movement its flow. Mastering them takes practice and sensitivity, but doing so transforms a good painting into a great one.
Final Exercise:
Set up a still life or landscape and identify:
One sharpest edge (your focal point)
One softest edge (your atmospheric transition)
One lost edge (where values merge)
Paint with those three targets in mind. Then step back and observe how your viewer’s eye naturally moves through the composition.
Key Takeaway:
In Skip Whitcomb’s approach, controlling edges isn’t a finishing touch—it’s a foundational skill. The dance between sharp, soft, and lost edges is what gives a painting its breath, depth, and poetry.
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