Difficult Clients?

Leslie Ficcaglia · 05-27-2008, 10:52 AM

I am working on a very complex portrait of two people and a dog, with a lot of "props" included and a lake scene in the background. It is almost finished. I just sent the url with the latest work on the painting to the clients, so when I saw them yesterday at a gathering I asked the woman what she thought. She looked uncomfortable and said that there was something about the rendition of her that wasn't quite right, and perhaps it just didn't fit her own image of herself. Prior to that she had asked me whether I could make her face look less full, and I saw that I had exaggerated the fullness slightly anyway so I was able to do that easily. Otherwise I got the impression that all was well as we moved through the process. In fact it was her husband, who has a very distinctive face, that I struggled over; she seemed to come easily. The woman is my daughter-in-law's physician, and she thinks it looks exactly like her - and so do I.

When I spoke to her yesterday I invited her to come to the studio and view the actual painting and then to try to tell me what she feels needs to be changed. I don't want a dissatisfied client, especially one so local, but I don't want to lose all the work I put into the painting, either, and just reap a percentage of what the cost should be for my time.

I'm sure others have dealt with similar situations - it may be just the disconnect between one's view of oneself and what appears on the canvas. She and her husband selected the reference photos and I think, and so do others, that I've captured the appearance and expressions from the photos, supplemented with my knowledge of her, exactly. What to do if she doesn't see it that way and can't articulate any (reasonable) changes that would make her happier?

Leslie

Michele Rushworth · 05-27-2008, 12:29 PM

Especially with women over the age of 30, I try to make sure they are happy with the reference photo that I plan to use for the portrait. (I assume you're working from photos here.) I make sure you've both settled on ONE photo of the face. I don't try to make something "sort of in between" two different shots, for example.

Go back to the reference photo you agreed on and show her that. Be sure she's happy with that and start from there. Ask her if she feels the photo captures the look she wants. You can only paint what you see and, though small changes are possible (softening wrinkles, etc), major changes like "making the face look less full" isn't something I'd try to do.

Leslie Ficcaglia · 05-27-2008, 06:39 PM

Thanks for your thoughtful response, Michele! She and her husband did choose the reference photo, and I think the portrait captures that look exactly, but sometimes seeing it interpreted on canvas gives a different feeling. I'm going to try to get her down here before she goes to Europe for a month; she may find that seeing the painting "in person" gives her a better feeling about it, since the 24x30" work is greatly reduced in a 600x400 pixel jpg. She has no wrinkles so that wasn't an issue, and I was able to make her face slightly less full because I found I had exaggerated the fullness in my first version. I have no idea what the issue is, though, and she doesn't seem able to articulate it, or perhaps she doesn't want to offend me by being more specific.

My question is, what if she doesn't want it even after I've made any changes she may think it needs? I don't care to have a portrait sitting in a closet somewhere, disparaged by a bitter client who feels that she was forced to purchase something that doesn't please her, and I'm wondering whether it will be possible to satisfy her. Clients are usually thrilled with the likenesses in the paintings I do for them, so this is a very uncomfortable feeling for me.

I had told her that she didn't have to accept a painting that she didn't like, but that I'd have to charge her a percentage of the price to compensate for all my work. Should this happen, what's fair and how do you all handle this?

Of course, I'm hoping that she'll come down and fall in love with it, but I also want to be prepared if it doesn't work out.

Leslie

Michele Rushworth · 05-27-2008, 06:55 PM

First make sure she liked the exact look of the reference photo and that she wasn't secretly hoping you'd make her look better/younger/thinner!

Then try to make her happy with changes. (Maybe post this piece in the Forum critique section.)

If all else fails, you may have to throw in the towel. In that case the artist usually keeps the painting (to use as a sample, perhaps) and the deposit.

Leslie Ficcaglia · 05-27-2008, 07:08 PM

That's funny, Michele! You're right, though; who knows what people are thinking when they choose a reference photo. The only other painting that I kept was done for a relative who let the parents choose the reference photo and then obviously didn't like the way it showed the girl.

I didn't ask for a deposit; I think I'll finally have to break down and change that policy. I preferred not to have the pressure of having taken clients' money before I knew they were satisfied. I imagine that requesting a quarter to a third of the price would be fair in this case. She has to deal with me in the future, socially and in the community, as well!

I'll post the painting in the critiques section with the reference photo I'm using and see what reactions I get. Thanks!

Leslie

Leslie Ficcaglia · 05-27-2008, 09:32 PM

The painting is now in the Works in Progress section. Unfortunately the images don't show the sharpness of the actual painting, but they'll do to give viewers an idea. Thanks again!

Leslie

Debra Jones · 05-28-2008, 12:56 AM

Leslie, Leslie, Leslie!
I think the first lesson I ever had was that I have no idea what the client looks like. The old "are you going to believe me or your lying eyes!!!"

The client was young and beautiful (I really don't do beautiful as well as interesting) and was a good friend. I argued that it was perfect. I fixed and amended and did not want to lose her as a friend or the commission so I actually did another. She posed sitting on the bed, facing the wall. It was a really lovely figurative and she was thrilled! It was a gift for her husband. Yes, they are divorced.

Then my own mother thought my painting was "too detailed" which of course meant wrinkles. I repainted and smoothed and kept my favorite picture of her.... after all, I gave her most of those lines!

I digitize the heck out of all my reference. I don't even accept the job until they can SEE what I am trying to put on canvas. They get blurred and dodged and tweaked and compressed and when they can see themselves in the photo.... I get a deposit. I am in the middle of a painting that has been coming together for about 8 months in the digitizing, photo referencing stage. Two years ago I did three dogs and five humans. Three great kids, dad, the dogs - all were perfect, but I redid mom right down to the wire. We even printed a Christmas card from the third to last version.

I believe that the ONE thing we can do as artists is improve upon nature. Well, with all the recent discussions, lets say improve upon photography! My own observation has been that when I look in the mirror and when I take a photo of myself, I swear, they are not the same person. That is ME, a person who spends hours in the day LOOKING at people. We have to give a large amount of room to the client. I just try my best to back out of my own head and move into theirs.

Perhaps the next step is to digitize the painting so you can figure out what would please them. Costs much less in painting and drying and scraping.

NOW over to see what this is all about.

Yes, this is hitting a nerve at present, but I do believe I am a happier camper with few, but happier clients when I put myself in this mind set!

Leslie Ficcaglia · 05-28-2008, 07:54 AM

Debra, Debra, Debra! Nice to be "talking" to you again! To be honest, though, if I had to go through all of that before painting a picture I'd give up and go till my garden instead! I think each of us has to find a process that pleases us and also satisfies clients - and truly, mine normally does both. I can see that I would benefit from more visits to this forum, though; working in isolation you can lose some of your sharpness and your ability to judge what you produce.

Anyway, if the client could articulate what she wanted changed I'd be happy to try; so far she hasn't been able to do that! Hopefully if I can make the modifications that Alexandra has suggested, and any others that seem helpful, that will make a difference. But I'm definitely going to get deposits from now on.

I saw your silverpoint self-portrait, by the way, and liked it, but I still adore your oils.

Leslie

Michele Rushworth · 05-28-2008, 09:22 AM

Quote:

Anyway, if the client could articulate what she wanted changed I'd be happy to try; so far she hasn't been able to do that!

That's a very common problem.

Alexandra Tyng · 05-28-2008, 10:42 AM

It's my belief that it is not really the client's job to tell you how to fix a portrait. It's the artist's responsibility! The client can say "It's not quite me...something abut the eyes..." or "my mouth is off," etc. but just following the client's directive and "fixing" the eyes, mouth, etc., is not going to solve the problem. It's our responsibility as artists to figure out what's really going on. Usually the problem is more widespread and involves proportions outside the realm of that one feature they are complaining about. If we have to repaint the whole head, so be it. I ask clients to tell me their reaction, and then let me try to figure out what changes need to be made.