I have to use these colors - but I don't like them - plz help

[Ant Carlos]

Hi,
(may I post this here?)

I am currently working on a portrait. Another long distance commission. She is a famous Volleyball player of the Brazilian National Team. It is a b/d surprise gift (again, arghh) from her husband, and I am running out of time. So I decided to ask your help on the color balance. I must use those colors because of the uniform, and the husband wants the Brazilian flag in the background. Actually I am painting the moment when she was awarded with the bronze medal in the Panamerican Games last year.

Anyway, I am posting these 2 images, one frontal, but showing undesirable glare in some parts, and the other, a bit from the left, that shows the colors without the glares and more realistically. Next steps will be the details and apply the changes needed.

Any comments on the colors? Personally I am not used to such strong colors, especially the blue, it looks too warm to me. Although the digital image is making things look worse, I would love to hear your opinion.

Thanks in advance,
Ant

[Chris Saper]

Dear Ant,

Here's what strikes me in this portrait regarding the color. I think that perhaps too many of the colors in the clothing and ribbon are highly and equally saturated. There are a couple of things you might consider. First, choose a color harmony, then desaturate with complements everything else. Particularly desaturating some of the light areas of clothing with skin color will help integrate the face and clothing. Desaturating color in the ribbon and medal, as well as softening some of the edges will help the focal point remain on the girl's face.

Congratulations of this wonderful commission, I am sure the family will be thrilled!

[Tom Edgerton]

Ant--

Chris is right.

We think that some colors, such as uniform and flag colors are a fixed and immutable hue, value or saturation. But our perception of colors and their subsequent rendering will always be influenced by the color of the light falling on them.

The way to color harmony and balance is first to determine the temperature of the light--first whether the light is warm or cool, and if possible, if the light has a particular cast or hue, like the warm yellow-orange of sunrise or sunset, for example. In a certain color light, all colors the same temperature (and hue) of the light will be more saturated, and all the complementary colors will be grayed back and less saturated. Not all colors in a scene will have equal saturation.

Also, as a rule, cool light sources will have warm shadows, and warm light sources will have cool shadows, unless the light is peculiarly artificial such as stage lighting, for instance, and maybe even then.

There is a place for more grayed back, neutral colors and highly saturated ones in the same painting, the same as in nature. Again, for me, the key to figuring out what to use where hinges on determining the temperature of the light, and committing to it throughout.

Or as Richard Schmidt counsels, don't ask "What color goes with what?" like an interior decorator would, but "What is or isn't possible under this light."

Best--TE

[Ant Carlos]

Thank you guys!

Chris opened my eyes, and Tom helped me to understand

Yeah, I knew something was wrong, eventually what was wrong, but I could not define exactly where to apply the changes. I would want to blame on the reference photos. They were taken using flash. Light bouncing from everywhere, very confusing. Anyway, a lot yet to be done, all in a hurry, omg.

Now there's another point, which I would like to hear your professional opinion about it: since this is a long distance commission, I did show my client some images of the painting in progress via email, during the process. The problem (if we can call that a problem) is that he thinks it is good as it is. In fact he is very impressed. He clearly has a preference for vivid colors, as he hinted once or twice. Maybe that too has influenced me on the saturation side.

So the great dilemma is - he is satisfied, but I am not! That's why I posted this thread. I loved what Chris suggested and I think I should apply those changes right away. But how far can I go? Will he agree on the changing or will it be risky at this point? I don't want to discuss these technical issues with him. I must take a decision. The deadline is too close. Do you think it is a good idea if I apply only slight changes, in order to satisfy myself and make this piece a little better, without making it too noticeable?

What would you do?

Thank you again,
Ant

[Tom Edgerton]

Ant--

What kind of deadline is it? There are deadlines and then there are DEADLINES.

If he wants it by a certain date, like a birthday or special occasion, and you've committed to it, or for a building dedication or some such public event, then these are DEADLINES. If he just wants it "right away" because he just wants it, that's a deadline.

Make the changes Chris suggested first, and see if you are more satisfied. Then show it to him, and suggest you'd like to have another pass at toning down some of the saturated color, and see what he says. You need not go into an extensive explanation. If it's due by a certain date, make it "unveilable" and sound him out about getting it back and addressing some of these issues after the fact. I did this with a recent library dedication--I got the portrait back after the dedication ceremony and worked on it some more, even though the clients were satisfied already. They liked it even more after the additional work.

But if he insists he loves it, and doesn't want you to change it at all, there may not be anything much you can do to convince him otherwise. If so, spend the check and use what you've learned on this one to make the next one better.

In other words, it's worth feeling him out, but use diplomacy and don't push it too far.

Best--TE

( My favorite quote regarding this is from Douglas Adams, the writer: "I love deadlines. I love the sound they make when they woosh by...")

[Ant Carlos]

Tom,

it's a birthday gift. And her birthday is on December the 3rd.

OK, this was done in a rush, because I could not use the 3 months gap I usually ask after the approval of the reference material. It was as narrow as 45 days. But my client is aware that the painting will be still wet to touch (not much, I hope).

In June I painted a similar work for a client in Italy. I was commissioned on 1st of June, the work had to be in Napoli by 7th of July . It was a big challenge, but I did it in 24 days and shipped it still wet (see in the attached photos the system of packing I had to use to avoid the front of the canvas from touching in any part of the pack). I plan to do the same kind of packing for this work here, and send it to Rio de Janeiro via fast mail (our Sedex).

You sure came up with some great advices. I thank you very much, Tom. Tomorrow I think I know exactly what to do

KInd regards,

Ant

[Chris Saper]

Great packing job, Ant!

Let us know what happens. Either way I 'm sure you'll have a happy client.

[Linda Brandon]

Hi Ant,

Here's what I was thinking... there is a lot of fabric draping around in this painting. I'm wondering if you can soften or even turn those drapery folds in the background into abstact shapes? Harley Brown does this frequently in his brightly hued paintings.

I know you were asking for color help, but my gut reaction to this painting (besides greying down the color and softening the edges furthest from the face) was to eliminate some of those folds in the background.

[Jen Reinstadler]

I've shipped things wet more than once, and I hate coming up with packing solutions. Can you elaborate just a bit on your method? How is the frame held together? What is that last transparent layer? How much did it cost to put together?

[Ant Carlos]

Thank you.
I took all your advices.
Some things are not easy to change at this point, because I work in layers and there's transparency everywhere. Basically I tried to balance the colors as much as I could. I changed the background, got rid of that closer fold and showed more of the blue circle with white stars of the Brazilian flag. I also added a kind of fantasy backlight (behind the head) trying to lead the attention of the eyes to that point of the picture. Linda suggested an abstract background, but the national flag was a request. The super detailed medal was a request as well, so I had to keep my usual sharp edges there.
This picture is supposed to illustrate the career of that athlete, or at least that very special moment when she was representing her country. This was clearly a goal since my very first contact with the husband client.
Well, like I said, maybe I should have started a new one. I would if I had time. I'll take this experience and try better next time. The most important is that I showed these changes and my client is even more satisfied. If I don't really like this work, is another history.

Jen, that transparent layer in the packing is an acrylic board (to protect the front of the canvas). That painting was shipped wet, unframed, and crossed the Atlantic without any problem. I'll post more details on that for you soon.

Take care, thank you all again.

Ant