[Karin Wells]

Before I take on a commission, I tell my client that I REQUIRE the following colors to be represented in a portrait:
Something that represents RED
Something that represents YELLOW
Something that represents BLUE
Something that represents BLACK and
Something that represents WHITE
By "represent" I mean that the wooden arm of a chair could represent black (mahagony), yellow (pine), red (cherry) - or whatever, depending on the way it is painted.

Each color should be a separate object...no dinky little "spots" on things unless the pattern has good design potential (like a bold stripe).

This forces them to loosen up in regard to clothing...adding ribbons, drapes, lace, etc. to come up with the required colors.

I also tell them that a white "something" near the face is the most flattering to a face. And they might want to include something "drapey," ruffles or somesuch in order to "get their money's worth out of me." (If the truth be known, I really like to paint the "tough stuff").

I don't know why, but my commissions are usually women and children...but a man in a suit would be a fun challenge. Whatever is lacking in the clothing (men are so limited this way) can be made up in the prop department (i.e., books, papers, wood paneling, furniture, etc.).

I approach a painting like a theatrical play - but with no plot and no dialogue....just a lot of character, stage set, costume and lighting to carry the scene in as timeless a way as possible.

I figure that for the dollar$ they pay me, a client ought to be given the opportunity to be portrayed in something better than a crummy unimaginative tee shirt and jeans...yuck.