Most painters suffer the anguish that comes from feeling their artwork needs a little more work before it is finished. Some paintings are never finished because of this. The French Impressionists were the first to realize the importance of standing back and viewing their work in order to gain an overall perspective. When you look only at a painting up close, you will concentrate only on small details.

The components of a painting must be chosen so that they integrate into a whole when viewed at a distance. It is only at a distance that it becomes obvious that a color, a line, or an item is out of sync. The fewer the colors in a painting, stage set or human attire, the more integrated the “piece of art” looks.

As L. Ron Hubbard wrote in his marvelous book ART, “Art is for the receiver. If he understands it, he likes it. If it confuses him, he may ignore or detest it. It is not enough that the creator of the work understand it; those who receive it must.” Hubbard contends that it is the message that art conveys that is of utmost importance.

Artists convey a message through color and line without ever saying a word. Humans do also. Your image can convey a message more powerful than words. What you wear affects your level of attractiveness. It also affects your perceived level of vitality and healthiness.

As with art, too many colors will result in a disjointed look. When “odd” or unexpected colors are thrown in for effect, they must be used sparingly. Women often wear a black skirt, red jacket and a white shell or blouse beneath the jacket. Alas, the outfit will not appear “put together.” It will look disjointed. Instead, a white top with red stripes or tiny red dots would tie the items together and make it look like a suit instead of disjointed pieces.

By the same token, a man with a navy blue suit and white shirt would look less put together with a solid red tie than with a red tie with thin blue stripes or tiny blue dots. Furthermore, proper “composition” would require that at least one of the three elements have a pattern (shirt, tie, or suit), so the first example given with three solid colors will yield an uninteresting and unimaginative look. One of three items needs a pattern.

Patterns, however, must be limited. They are best reserved for small areas or items. That is why men’s suits are usually in a solid color. When patterns are used, they must be extremely subtle to be effective. If you stand back and look in the mirror, do you see a man in a suit or a man in a patterned suit? The former is preferable.

Any painting or other artwork, including you, should consist of one key color that dominates. Any other colors chosen must relate to this color in some way. Complementary colors, those that are opposite on the color wheel, always look interesting and dynamic.

One of the reasons redheads look so good in blue is because it is the complement of their hair color. Because of the high visibility of red hair next to a blue jacket or top, red hair becomes an unwitting “accessory” to the blue suit, so the “third” color—the blouse or shell—must be chosen carefully so that it harmonizes with the jacket and hair color. It should also probably be used in moderation, unless the hair is very short. Blondes and brunettes rarely have to worry about their hair “intruding” because these colors are fairly neutral, just as black and white are.

At this time of year, the question comes up regarding pure white garments after summer is over. The reason white was traditionally forbidden after summer (or Labor Day) is because it blends right in with the overall brightness of summer skies, foliage, and long daylight hours. Come winter, daylight wanes and skies turn a dusky blue, so pure white from head to toe, for example, stands out and its presence can be overwhelming. Stand back and look in the mirror. If your white pantsuit wears you, instead of you wearing it, as was the case in August, consider adding a black blouse and accessories for balance. You want your “message without words” to say masterpiece, not landmark.

Sandy Dumont, THE Image Architect is an image consultant and professional speaker based in Virginia Beach, with 30 years of international and national experience helping individuals and Fortune 500 companies improve their image. She conducts customized Branding for People™workshops on a regular basis.
For more information, visit www.theimagearchitect.com or call 757/627-6669.

 To view the original article in Tidewater Women, please visit here

by Sandy Dumont, THE Image Architect © 2007
Originally published in Tidewater Women, October 2007