Building a portfolio
 

Maybe this has been discussed already, but I'm fairly new here, and although I've been spending a lot of time reading here, I'm still not sure how to approach this issue.

I really need to develop a portfolio of human portraits (as opposed to pets) and wonder what the best approach is. If I ask someone, say a neighbor to sit for me, they might feel obllgated to buy the painting from me and my real purpose is to get the practice painting from life and building a portfolio. There are some really cute children in the neighborhood, but again, the parents will think I'm just trying to sell them a painting. Any advice?

Doreen,

If you use the "search messages" feature in the menu at the top, you'll find several posts on the subject of portfolios. Select the option to "search titles only."

As far as what people will think, as long as you're clear with them in the beginning as to your purpose and the use of the painting and the ownership, there shouldn't be a problem.

Thanks, that search feature is really nice! It didn't produce too many threads but enough to give me another lead to check out.

I have a friend who asks friends and acquaintances to sit for a portrait (usually a photography session) and then she takes them to lunch as "payment" for the favor. She is then free to use the painting as she sees fit and the model is not obligated to purchase (or even see) the painting when it is completed.

BUT if somebody does want to purchase a portrait that you have done of, let's say, their child...what on earth is wrong with selling it to them? Do you not wish to be a professional portrait artist?

Karin, thanks for responding.

Yes, I do want to be a prof portrait painter. My problem is with the approach. I live in FL, the scam capital of the world, it seems, and everyone here has become so cynical that you have a really hard time approaching anyone about anything. I certainly wouldn't mind selling a portrait but when I'm asking to paint your child you might say no because you don't want to be swindled into buying a painting that you didn't ask for. That seems to be the prevailing attitude here anyway. I'll have to find a way to tip-toe up to the subject. Most of my neighbors don't even know that I paint.

Doreen,

I understand your predicament - approaching people to model can be a big challenge. You don't want to appear like a freak or some scam artist (heh, no pun intended).

This is further complicated when you are male approaching women and mothers of children.

I use models for concept paintings and stock portraits to take to shows. I have found that the best thing is to just be upfront and professional, be brief, and then walk away and let them contact you if they are interested.

I approached a young woman recently, gave her my card, told her who I was, and asked her to model. Her first reply was that she was 16. Without skipping a beat I replied that I would still like her to model, and would like to speak to her parents about it. I have a model agreement that they would have to sign and I would like one of them to be present at the shoot. And, I would pay her $20 per hour and she should talk to her parents about it, check out my website, and call me if they were interested. When the parents saw that I was for real, that I had a business card, and wanted their child to pose for tastful, fully clothed poses, they called me back, we had a brief conversation, and we scheduled the shoot.

My recommendation is simply be professional and be upfront. As for selling the works to the parents, well...as Karin said, that's what we do!

Hope that helps! :)

When I have approached strangers to model, I very much follow what Michael describes. In return for modeling, (I always have them sign the release first) I give them a copy of the photos and a 8" x 10" photo of the finished painting.

Doreen,

I started off painting people I knew. My first portrait was of the child of friends and I made it very clear that it wasn't going to be for sale for the forseeable future, since I was trying to build up a body of work, and also found it difficult to let a painting go unless I knew from the beginning that itwould be a commission which I couldn't keep. Then I painted a woman friend, and after that the daughter of my secretary. In each case, I had them sign a release and also gave them a copy of the picture (good photocopies once they became available).

I carried photos of my work in a small album, and got my first commission by showing a friend a portrait of another mutual acquaintance (a game warden) about whom we were talking. He was really struck by it, and asked if I could do a portrait of his wife, and I was on my way. Because I seemed to be painting people who were fairly well known in our area, it helped when I pulled out my mini-portfolio because others could recognize them readily and see that the likeness and spirit were true to the subjects. Once you have a portfolio and/or website and/or a name for portraiture in your area, it will be easier for you to approach people to paint them or their child, just as Michael described. At that point they'll be flattered rather than wary. Good luck!

Thanks so much for sharing your methods of approach, because that is the hardest thing for me to do.

Michael, you are right it's even harder for a man to do and the professional approach you describe sounds good to me.

Chris, the pictures are a good idea and the final photo of the painting.

Leslie, your approach to friends is a great idea. I have a few friends that would be good models and if I approach them as you recommend they might be willing.

I'm also looking for a local life drawing group. I tried to start one awhile ago but nobody else was interested.

So now I have to dig up a release form and get to work. Thanks again.

Doreen, I'm also lucky enough to have two very photogenic granddaughters, and so far I've painted six portraits or figurative works of them, either together or separately. Family members are another wonderful lode. And it helps to paint different types, ages and genders, so that a look at your portfolio reminds someone that they'd love to have a portrait of their aging mother, and so forth. I have seen recommendations that it's good to have your subjects dressed in a manner that makes them look affluent, like the typical portrait subjects you see in areas where they're popular as potential family heirlooms, rather than doing character studies. I've done both and it doesn't seem to matter in my area.

By the way, several of my paintings are from quite old photos I've taken, either of strangers or of family members. I carry my camera with me almost wherever I go, and take shots on the beach, at parks, and so forth. If you're a camera bug too, you may have lots of material you haven't even thought of.

Thanks, Leslie.

I do have alot of photos and a huge family that lives up north. However, I'm trying to get more experience painting from life, something that's hard to come by. You're right though, I should drag some of those out too. Gotta get off the computer!

Be aware that if you paint from any shots you take of strangers on the beach or in a park, you need to get their signature on a model's release, especially if the painting might ever make it into your portfolio. There are privacy laws involved and the subjects of your photos/paintings may well see or hear of the painting you made of them. It's better to get the legal issues out of the way up front.

When my kids have been photographed in candid situations for local newspapers, the photographer takes the picture, then approaches us for the model's release. That way he gets the candid photo, but only uses it in the paper if I sign the release. (I guess you could call this the "shoot first, ask questions later" approach!)

Hi Michele!

Great advice, I had no idea such a law exists. I have a couple of portraits from models who posed in art studios, as part of an exhibit. I do not have a signed release and now you made me think that maybe I better take them out of the exhibit.

Whenever I draw or paint from a model in a class, or an open studio session where there's a model, I get him or her to sign a release for me, before the session starts. I don't know what kind of arrangement the model has made with the art school who hired them, but I want to know that I personally have permission to use their image, in case it turns out to be something I want to show later.

You might want to contact the art school where you saw the models that you used. They often use the same models over and over again, and you might still be able to get their signature.

Sounds good! I'll try that.

Newspapers here do not get model's releases before printing photos. In fact, I've been irritated with one in particular because they have run photos of my paintings twice, in different articles, without giving me attribution as the artist. I'm not talking about pictures in which there was a barely distinguishable painting in the background, but a photo of the portrait and a relative of the subject of that portrait, both prominently displayed, to make a point about the relationship between the two. That's not exactly the same issue but maybe it's close enough.

Back to the original issue, the newspaper's theory is that if the photo of a person was taken in a public place the individual can't claim that his or her privacy was breached. Don't know what a lawyer would make of that but this is the rationale I've heard.

I have only done this once or twice, but when I paint someone without having gotten permission first I just make a few changes in the features so that it's no longer a portrait of that particular person.

Doreen,

Wow, I am jumping in here late. When I got started, I offered to do portraits of my friends and their kids. The first understanding is when I have a show, they have to let me use it whenever I want. This way they have paid for the framing... plus, I think one of the best ways to market yourself is for people to see your work actually hanging in someone's house.

I have also done this with some businesses... I don't know if you caught the beauty salon photo in the pastel section of critiques, but that was along those lines, too.

Another thing I have asked of people if they are in "high" places is to compensate me by having open houses - where I show lots of art and meet lots of people. My last one was well attended. A lady that came owned a lovely store, offered to hang one there, and I have got a number of people from seeing the portrait hanging there.

My contract for commissions acts as a release. I also, having a graphic backgroud, keep a "book" of all my work, which consists of "sell" sheets with the portrait reproduced with a digital camera. That way I can release the portraits I mentioned above.

Thanks folks for adding more information! I have all the appropriate release forms, just need the models! Oh yeah, I could also use more time and energy and a more settled life. But I guess that's normal.