Presenting the portrait to the client

[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.