THE MAKING OF AN OIL PORTRAIT

PORTRAITS become heirlooms. That is why I craft all of my work to superior standards of archival permanence and quality with an emphasis on aesthetic excellence. At its foundation, portraiture is a collaboration between subject and artist. It is preferable for a painter to work directly from life, but the realities of our modern, busy world make working from photographs a necessity. Although more difficult to accomplish, results similar to work "from life" can be achieved using photographic reference instead.

INITIAL CONFERENCE: I will confer with the client to determine the basic composition, size, pose, format, mood, type of clothing, background, and lighting. This conference may take place well before the sitting, or on the same day.

SITTING PHOTOGRAPHY: I do my best work when I take my own photographs as the basis for a portrait. Usually, this involves one session with the sitter which should last from 1 to 3 hours and result in 60 to 150 photographs. Under some circumstances, I will agree to work from an exisiting photo.

PRELIMINARY DRAWING: After the photographs are analyzed and the final decision is made as to pose and mood of the painting, I will prepare a preliminary drawing for approval of the pose. (See sample preliminary sketch.)

PAYMENT Schedule and Approval.  Although other arrangements are negotiable, an average situation is as follows: Before work commences, a written agreement is signed and a deposit paid by the client, usually 50% of the agreed-upon price. This is refundable if the agreement is cancelled prior to the photography session. Then, upon delivery and approval of the finished portrait, the remainder is paid.

OTHER COSTS: All materials, both artistic and photographic, are the responsibility of the artist. The client is responsible for travel expenses and accommodation expenses when necessary. Also, client costs include framing, taxes, if applicable, shipping, and insurance.

FRAMING: I can provide a basic frame if the client desires. Or I can use a gallery edge (painted canvas edge) to make a frame unnecessary. It's a personal preference, but I think most portraits look best in a frame.

ALL ASPECTS as outlined above are, indeed, subject to discussion. The goal is to arrive at the best possible keepsake, within a given budget. After all, both artist and client should expect a work of art that will be cherished and valued for generations.

MOOD: What mood do you want for your portrait. Formal, traditional, glamorous, dramatic, exotic, contemplative, pensive, spiritual, informal, natural, spontaneous, whimsical, mischievous, joyful, passionate, dynamic, enthusiastic, expressive ...