Presenting the portrait to the client

[Kimberly Dow]

I do not have nearly as many commissioned portraits as others here, but I'll throw in what I do. I invite the client to my studio for final approval, making it clear that I am pleased, but it has been explained before that they need to be 100% happy.

I have a few sheets prepared as well - their invoice - which is paid off then, one of my cards and a sheet I typed up about care and cleaning for oil portraits. I always tell them verbally, but not in the contract, that they have 30 days if they see something later that bothers them, say perhaps a wisp of hair, they can bring it back in and I will fix it. No one has done that so far.

I do not include a frame, but I do have a deal with a local framer for 20% for all my clients. So, if all is well I offer to go with them right then to the framer's and help them choose a frame. They really seem to appreciate that aspect. Most of my clients seem overwhelmed at the choices and do not have the patience to chose well. So I immediately grab some that would be classy and lay them out for them. It has worked out well so far for me. And I am pushy enough to get price quotes immediately for them and they usually let me know how much they have to spend - so I am kind of the go-between so they do not have to have the framer pushing the expensive frames.



I would love to present my portraits with a frame...it's a great idea when I have more coming in.

[Chris Saper]

When I first present my portrait to a client, I try to control as many variables as possible. I place the piece in a beautiful frame (yes, I work in standard sizes), I light it, I present in the best possible way I can. I painted my studio walls, lit by directional can lighting, so that the finished (almost finished) portrait is the only piece on the wall There's only one opportunity to make a first impression.

I have neither the interest nor desire to get into the framing business. But I have some beautiful presentation franmes, which I am more than happy to have the client buy, because I know that:

1) my painting will be presented always in that same beautiful frame (or at least as close to always as I can get); and

2) that a framed painting will find itself to a wall faster than anything else. A painting waiting 8 weeks at the framers, or in the closet will not enable other potential clients to see and enjoy it.

Should the client not wish to buy the frame, I keep on hand loaner frames - frames that, should I need to use them for a display. have a harmonious, cohesive look . I charge the price of the loaner frame on the final invoice, something I will happily refund upon the return of the frame in similar conditiion. If the client decides on a different frame, I am more than comfortable with that, but I don't want my portrait spending time under the bed when it can be spending waiting time on the wall.

I try not to leave anything to chance I don't have to...I would never present a portrait on the internet, for instance. I have no way of remotely guessing about someone else's monitor, its settings, programs, or any other variable. I would instead take the the time to snail mail a print of the portrait, one which I am satisfied represents the painting at hand most accurately.

[Michele Rushworth]

I've gone back and forth about presenting paintings in frames. When I can create the painting in a standard size, I do that, and I use one of my presentation frames, since I can see the value in making a good first impression. (Also, Chris, I really like the point you made about a framed painting making its way to the client's wall faster.)

It seems most of the time, though, that the compositions I work out just won't look as good at 24 x 30 and really should be 20 x 30, or I've got a tall narrow composition that really needs to be tall and narrow and doesn't fit any of the standard frames I can buy. I weigh the benefits of making the canvas size the best it can be for the composition, against the benefit of being able to use a presentation frame, and usually lately, the odd size wins out.

Chris, I like your approach of having the client come to your studio, and lighting the piece. What sort of lighting do you use for that purpose?

Once they have the painting, do you give them a box to take it home in?