Portrait Registry

C. R. Bryant
About
My portraiture work takes on traditional formats is seen in a business rendering. Additionally, much of my work involves crew and owner portraits aboard private yachts and significant events such as the America's Cup. Portraiture is only a small part of my scope as an artist that typical involves paintings of a yacht owner and crew. I require personal consultation with clients in an office or home setting. I use professional marine photographers to record images under sail or dock side. I rely on photographs and I prefer to have clients select images from photographs to insure "what finished" will look like. (The question remains: of all the photographs one has ever seen of themselves, how many were they pleased with? A portrait should be no different.)
Pricing
Nils Johnson
About
I create a painting, not a photograph, although I use photos I personally have taken as references. Having someone sit for you—what client has time?—is a joy because all the information is right there and you are not fighting with an imperfect photograph. A portrait must say something about the sitter, something that cannot be seen with a photo. A painting must show, not what is there, but what the artist feels about what is there. My style is painterly; I like to see the strokes. It adds emotion. A client can come to my studio in my home in Lyme for several initial sittings and then be photographed so I can complete the picture at my leisure. Ideally, there would be a final sitting for adjustments. Or I may take pictures at the client’s home there. One picks up information subconsciously that finds its way into a painting, so it is good to see a patron in his/her environment.
Pricing
Mary Rose O'Connell
About
O'Connell's process for beginning a commissioned work starts with an interview with the client(s) to develop an understanding of the personality and essence of the subject they would like me to capture. The artist will use this information to create the appropriate tone and level of formality of the piece. Next, she develops and seeks alignment on the composition, selection of attire, setting, lighting and size of the work. The artist prefers to communicate throughout the process to ensure the outcome is in line with what the clients have envisioned for the piece. The painting can be done either from life or by the aid of high quality photographs. Whenever possible, she prefers to meet with the subject in their intended setting, so she can take an extensive collection of photographs from which to draw from during the process.
Pricing
Debra Keirce
About
I spend about one third of my time painting portraits. I also enjoy painting still life and landscapes. I attend the Portrait Society of America conference every year, and this year I will be attending the FACE Figurative conference in November. I also regularly teach and I host other master artists to teach portrait workshops in my home studios. Several of my miniature art portraits have been recognized in international shows. I promote myself as a classical realist painter who creates still life, portrait and landscape art from 2 inches to 4 feet tall. Depending on the year, I paint approximately the same number of commissioned pieces in each category.
Pricing

I prefer to work from photographs for portrait commissions. My pricing structure for portraits is the same for commissioned pieces of any subject. I do not charge by the body part. Rather, I charge by panel size. I include a custom frame of my choosing. If the client does not want me to frame the piece, we can discuss a small discount.

Nicole Alger
About
Alger’s process involves an hour long life drawing of the client followed by a photo session. The life drawing gives her an opportunity to study the client thoroughly as a way to supplement the work from photo reference. The client has the ultimate decision on which image to use. Among others, her portraits are owned by the American Arbitration Assoc., Fareed Zakaria, and Chris Meloni.
Pricing
JoEllen Reinhardt
About
A portrait begins with the perfect pose or arrangement. Therefore, in the beginning, Reinhardt finds it important to spend time with her client to discuss their ideas and expectations. The artist is happy to work either from life or from a photograph. Working from life may take several sessions and she appreciates that not everyone has the time or ability to sit still. When working from a photo, Reinhardt prefers to take her own, if possible. Then she will sit with the client and together settle on a pose. The artist begins each portrait with a charcoal sketch which she transfers to a toned linen canvas. Using a pigment such as raw umber, she develops an under-painting. This is a vital stage for establishing correct values and composition. The next layer involves big shapes of color, void of details, which will be added in the final stages. Over the course of several days the form continues to develop as more layers of paint are added until she is satisfied. The duration may vary depending upon the complexity of the piece. The painting is left to cure. Finally, a coat of varnish is added unifying and bringing out the luster of the paint.
Pricing
Tim Rakarich
About
Rakarich enjoys meeting the individual, if possible, and getting to know a bit about them personally. Rakarich likes to incorporate small hints or clues into the portrait that will make the final piece less stoic and more personal. Next, the artist prefer to take pictures of the subject to work from. The reason for this is two-fold. Firstly, no one has the patience to sit for 8-10 hours while being painted. Secondly, many times the photos that are submitted as reference lack specific details that are needed for an accurate finished product.
Pricing
Doron Putka, CM
About
Putka likes to take lots of photos in the most interesting light, and tries a variety of angles, positions and times of day. She does at least one sketch to use as a good color reference. She works on composition, sketching several possibilities. After consulting with the sitter, the artist combines the chosen photos with the color sketch, so the colors are as close as possible to what she really saw. Taking photos can require several days. Sketching can take from an hour to three, and more than one go, since it is difficult to sit for a portrait. It may require several sittings. The artist can go to the client’s home, do sittings at her studio, depending on the setting in which the client feels most comfortable. If the artist works from photos, the work might take a while, depending on how detailed it is, and the size.
Pricing
Timothy Neill, CA
About
A formal and traditional painter in many respects, Neill blends strong technical techniques with a very contemporary eye. His oil paintings portray a contemplative mood with a strong contrast between light and dark. For portraits, Neill prefers to work from a combination of model sittings and photographic references. An initial sitting is important for drawings and composition. After some work at his studio with reference photos, another sitting from life is advised in order to ensure likeness and capture depth.
Pricing
Matt Miller, CA
About
Matt Miller is absolutely fascinated by and loves painting people. He prefers to work from life without photographs, however in today’s busy world few people have the luxury to sit for multiple sessions to have a portrait done. As such, he will typically meet with a client to discuss the desired setting, attire, and the mood of the painting (whether formal or casual pose, type of clothing, etc.). At this point the pose is finalized and the artist takes a number of reference photos. Once started Miller will work with the photo until the painting is nearly complete and in the end arrange for a final sitting to finish the painting with the live person. Miller paints in a direct style without any initial sketch and typically works in his studio; however, the artist is happy to travel to the client’s home to work there if needed for live sittings. Additional details about the portrait are worked out with the sitter at this time.
Pricing

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