Pamela duLong Williams's creative process for portraiture begins with what the model projects. Body language is a very important part of achieving a likeness, therefore she does not pose my models. duLong Williams talks with them after they seat themselves, and the more they talk the more comfortable the sitter tends to become in the chair and in the artist's company. duLong Williams watches them move about in the chair until she is struck with a composition. Left to position themselves with no more direction than sitting or standing, the subject will take a pose that is characteristic of them.
The artist does not work from photos. The interaction between herself and the model is of paramount importance. The animation of her subject which occurs during relaxed sessions is what helps her
to understand the structure of their face and body movements, which enables her to achieve the resemblance of the subject. Secondly, the camera does not provide enough spacial depth (in terms of subtle but necessary transitions of temperature and intensity of color) needed to recede or project the form in space. Since her approach to all work is that of the impressionist school, she finds working from life is essential to portraiture as well as still life and plein air painting.