Doris, of the Red Hats.

[Carl Toboika]

What energy and snap this has DJ!

You're right about the eye values.

[Leslie Ficcaglia]

I think it's lovely, dj*, and also agree with you about the value issue. The far side of her face appears to be more shadowed so the white of that eye would be less bright, I suspect. Let us know if value changes make a difference for her! I hope she was also able to give you some positive feedback about all the ways that the portrait is wonderful, as well as telling you about the one way in which she's not quite satisfied.

[Elizabeth Schott]

Debra,

Well, the client saw it online.

perhaps this is a discussion for another area, but I hope this was accidental. To view artwork online is extremely risky, there are so many factors NOT in the artist's favor. Between browsers, monitors, cameras, image software, tilt of canvas... and zero personal intimacy, etc., it can be totally be distorted. You really do yourself an injustice.

Personally I like to go to the other extreme and have them come to my studio and close their eyes while I lead them to my easel for the surprise! So far no one has had a heart attack.

[Debra Jones]

Must say, I had to laugh. I sent her digital close ups of the reference eyes and the painting, describing what I was going to do and verifying what she was seeing. She wrote back to say they were perfect now. How is that for typical!

I DID knock the value down and slightly browned up the eyes, for a bit more vitality. I did it because I saw it too, but that was the good news of sending the digital.

It is a friend who is paying me, and she has seen most of my work both ways. I know the real thing will knock her socks off, so I have no problem letting her sneak a peak. My experience so far has mostly been online. I have had very few face to face commissioned work. I am used to emailing progress shots at critical points and think nothing of it, but you are so right. This picture in particular, has a bad problem to me: It doesn't hold its energy in dim light. I can't really explain it, but there is a glow to the paint in light that dies in bad lighting. Probably why the old guys did so much glazing.

I am sure, with a frame light, she will be happy as a clam, but I PERSONALLY am frustrated. When I sent a small photo, I saw that. In the close up, the colors are true and much more exciting.

She thinks her husband will complain it is off center, but the two of them are going through a phase. Luckly, I know him too. ANYONE else, he might, but I have him on my side.

On a marketing note.
Today I was discussing Doris and the Red Hats with my boyfriend and he called me from the mall, saying 400 of them were descending on the joint for a mass shop-in. I rushed home and printed 30 business cards with Doris on it, and 28 postcard size glossie promo pieces and grabbed the painting and went to the mall and shook hands, offering a 20% discount if they mention the Red Hats to me when they call. Luckily, I ran into one of the Grand Dames and she is going to get in touch with me for something for a Tea they will be having.

I was amazed, I was like a ginsu salesman! Walked up with a quick patter, handed out the cards, answered questions and moved like the wind before any guard or such could ask me what I was doing! Passed out the pictures of my mother, before and after the transformation, (I didn't post that, I will at the end) Doris and myself in four versions with a big red DISCOUNT printed over the picture. Phone an email on the front, address and webpage on the back.

I think I have a knack for making old gals look good.
Here is a very crisp and lifelike piece of my Mother. Her response was "You really love me" That was code for... "in spite of how old I look."

[Debra Jones]

Uploader challenged.
Hopefully I have the original portrait looking lovely but her age.

[Debra Jones]

Now, the new version, wherein I treated her like a client and kept the value masses and learned a lot about what happens when you elevate the corners of the mouth. I also tried a more flattering violet underpainting.

[Michele Rushworth]

Very nice new ones of your Mom, Debra. And congratulations for getting out there with your marketing.

I have a thought on the portrait of your friend:

It doesn't hold its energy in dim light.

I think that might be because all the values in the face are very similar. Color disappears quickly in dim light, and mid value saturated colors like you have here in the face will melt into one another right away. All you're left with in a low lighting situation is the value structure. Perhaps that's what's going on here. Just a thought. Sell it with a picture light and you'll be fine.