Girl in wicker chair

[Cindy Procious]

Originally Posted by Chris Saper

As to worrying about appearing unprofessional, I think the professional thing would be to tell the client that you have been working out some compositional ideas/color studies, and that you wish to take additional photographs in order to support the painting in its most successful fashion.

EXCELLENT advice!!!

[Virginia Branch]

O.K. Here is the situation. I haven't started yet because I am waiting for the clients to measure the space where the painting will hang and get back with me on how much room I have. The client lives in Mississippi. I will be going back to their location this summer. Would it be professional of me to say I would like to take more photos then? The subject of the painting will be a year older. Suppose they can just say 'no' and go with the one I have or cancel all together. I really want to do a good job on this one because there is potential for more business. Ugh!

[Michele Rushworth]

Take new pictures, show them the old ones and the new ones and tell them which ones you think are better and why. Then let them decide.

[Sharon Knettell]

It is usual to collect a non-refundable 1/3 to 1/2 of the fee before starting. This ensures more client cooperation and they are less likely to jerk you around.

Brilliant professional portrait painters in the past as Sargent would do a head over at least a dozen times. Many times after working for weeks, he would rip down the canvas and start anew. Do you think his clientele thought him unprofessional?

Also it would give you a good chance to rouge the child's cheeks and lips. This prevents a pasty look in the painting. It would also give you a great opportunity to do a quick color study from life which would help with the final painting. You could also change the color of the dress or add some desperately needed color accents, even spray paint the chair if they would let you.

One of the most important things about being a portrait painter is to realize that YOU are the one holding the brush and stop being intimidated by the clients. If you have a strong vision of just what the painting should be, you are in a better position to sell it to the client. After all if they picked you on the basis of what they have seen of your work, they should be encouraged to trust your taste and judgment.