Below are two versions of the same painting. Does one appeal to you more than the other?
In Image A, the wren's edges are more clearly defined than those in Image B, where the edges are softer and some areas of the bird merge into the background. Image A is more about the bird whereas Image B is an expression of the bird in space. Whether one is more desirable than the other is a matter of intention of the artist and the preference of the viewer.
When our intention is to illustrate something, our we focus is on showing the subject's characteristics--describing its details-- more than expressing our response to it. But when we want it to be more than about description, we have at our fingertips an array of composing techniques that can make that possible.
One of these is our control of edges. Because the edges of Image B are softer and in some cases lost altogether, it merges with the space, making it more a part of the total composition, saying more about the wren's presence. Even though the difference it subtle, it is nevertheless significant.
Managing edges is an important component of our composing language. An edge has the power to contain an image or to allow it to become merged with the total space. Sharp, well defined edges isolate whereas softer, broken or lost edges allow the eye to flow from image to image and from image to its surrounding space. Is important to find those places where each can perform its function.
Our new video series of lessons address four methods for creating a lost edge, one that totally disappears. I'll be sending you a note as soon as we can make the first one available.
Happy painting,