procedures and practices
Initial Contact -
Phone calls and emails, establish the client's expectations.
- individual and availability
- time frame
- approximate size, style
- intended location (office, public, privates space) of painting
- feel
- travel arrangements
(travel, accommodations, and other associated expenses are
additional to the client)
Meeting -
It is essential for the metaphor to be personal to spend some amount of time together while preparing and progressing through the painting. To get more than a likeness I need more insight into the individual than traditional portraiture.
- one on one time
- interacting in family, group, work, or social environments
- ‘shadow’ you (I try to make myself as unobtrusive as
- contract agreement signed
- notes, sketches, and photography
Research and Reference Material -
I take my own photographs and bring a photographer/assistant as well.
- candid shots of individual and belongings
- posed shots of individual (approximately 1 hour)
- a minimum of 150 photographs (usually many more)
- notes and sketches
- artist/client select reference images for painting
(timely done after the research phase in person or through email)
Preliminary drawings
Sketches of elements that may be used in painting are emailed to client. Artist retains complete creative control of the painting.
- thumbnail of overall composition
- final sketches of individual and elements of painting
- client final re-approval for painting
Final Painting
Final unframed painting is delivered.
- final image of painting emailed to client
- painting shipped (at client’s expense) or hand delivered
- painting is unframed (artist happy to advise on framing)
- artist retains copyright of painting (unless previously negotiated)
- artist retains all research and reference material (unless
previously negotiated)