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You can usually spot an amateur by looking at their edges. You’ll see random sharp edges everywhere or overly smudged tones that hide uncertainty and mistakes instead of communicating form. So, learn the types of edges and when to use them.

What Is an Edge?

An edge is the transition between shapes. More specifically, it is how fast one shape transitions into another. There is an edge between all shapes that touch, and one shape can share edges with several other shapes. They’re kind of like borders between countries.

The key difference between borders and edges: a border is always sharp. You’re either here or there. An edge can be sharp or soft, and that softness exists on a spectrum from slightly soft to very soft. A long gradation.

Types of Edges

Even though there are infinite transitions between sharp and soft, you simplify them to a few types to stay organized. Think of Sharp, Firm, Soft, and Lost. Lost sits a bit off the spectrum because it means more than “very soft.”

• Sharp: A razor blade edge. No transition. A sudden break between two shapes.
• Firm: Slightly blurred. Still a clear boundary, but it does not cut your eyeballs.
• Soft: More blurred. Drifts into that poofy cloud territory.
• Lost: The edge disappears and the shapes merge into one big shape. This can happen because it is very blurry, or because you match the values of neighboring shapes so the boundary disappears. You might see this on the shadow side of a figure that melts into the background. You might choose not to separate the skin from the background with different values, even if you see a difference in reality.

Value Contrast and Edges

The value contrast between shapes affects how important an edge feels. Edges between high-contrast values are more noticeable and reveal more of the 3D form. That is why it is common to prioritize defining the edges between lights and shadows first. Those edges include core shadows and cast shadows, and they have a lot of variety.

Edge Quality

When you hear edge quality, it is not about good or bad. It is about the characteristics and relationships of edges: how sharp or soft they are, and how you execute them with your medium.

Ways to create edges:

• For a sharp edge, use an eraser to pick out the shape. You can make it feel even sharper by placing a subtle line between shapes to increase contrast.
• For a soft edge, lift the side of the pencil to gradually transition one value into another. You can also use a blending stick, a shammy, or your finger.
• You can break up the edge to give shapes moving energy, or incorporate textures. These are all soft edges, just with different flavors.

All Shapes Have Edges

This applies to silhouettes, and also to shapes within an object. Plane changes, changes in local color, cast shadows, highlights , any distinct shape has an edge around every side.

Edges can change as they travel along a form. A core shadow can be almost sharp at the bony tendinous wrist and soften as it transitions toward the muscular part of the forearm. A single shape can also have changing edges around it. For example, the shadow shape on the inside of the eye socket can be sharp, firm, and soft in different areas.

When to Use Each Type

Edges communicate 3D form. They are influenced by the light source, the composition, and your preferences and style. But the foundation is understanding their connection to form. Edges indicate how rounded or sudden a transition is between two planes.

• A sharp edge suggests a sudden plane change. A sharp corner.
• A firm edge suggests a rounded corner.
• A soft edge suggests a large round form. A soft transition between planes.

Cast Shadows and Light

Cast shadow edges describe the type of light source and distance between objects.

• A diffused light like a cloudy sky creates very soft cast shadows.
• A direct light like the sun or a light bulb creates sharper cast shadows.
• The closer the casting object is to the receiving surface, the sharper the cast shadow edge. It can be razor sharp where they touch.

You can exaggerate this effect within small distances. For example, make the cast shadow from the nose really sharp right by the nostrils and firm at the bottom.

Beyond 3D Form

Edges are not only for showing form. You will see edge variety in many places.

• A soft glowing edge around a light bulb shows glow, not 3D form. Light rays are radiating out.
• A transition from light blue to dark blue in the sky is not 3D form either.

You can also use edges for composition and design. You are not a camera. Once you understand what edges do naturally, you can bend the rules for artistic effect.

• Want a focal point? Sharpen those edges.
• Need to push something into the background? Soften it up.
• Want to simplify a busy area? Lose some edges by matching values.
• Group shapes, create mood, and guide the eye by playing with edges.

The masters do this all the time. They sharpen an edge that should be soft to draw your attention. They lose edges that are clearly visible to simplify the design. They know the rules, so they know how to break them.

How to Get Good at Edges

You learn the rules through observation and practice.

• Draw from life. Pay attention to edges. Try to replicate them as close as possible to reality.
• See how edges behave under different lighting conditions.
• Start by using edges to indicate form. Add the compositional and design choices later.
• Every time you shade, make edge decisions. Do not default to sharp shapes everywhere. Think about each edge. Is it sharp, firm, soft, or lost? Make it a conscious choice.

Edges Are Powerful Tools

Edges create depth. Edges help control focus. Edges are a handy tool to play with style. Edges play a big role in modeling form. They are essential for creating realistic shading and three-dimensional volume.

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