Hand-executed portraits of ourselves or our loved ones are priceless reminders of the past which often become prized family heirlooms.

If you're interested in commissioning such a portrait and wondering how much it will cost, see Prices for a basic fee schedule. Bear in mind, however, that the following questions must all be answered before I can give you an exact quote.

• How many subjects will be included, and how will they be posed?
  
• What medium and materials will be used?
• What are the desired dimensions of the final work?

Once we answer all of these questions and agree upon the fee, a non-refundable deposit (equal to 25% of that fee) is due before work on the portrait can commence — along with a signed Portrait Agreement describing the commission, the agreed-upon fee, the amount of the deposit, and any other applicable particulars. 

Timeline for completion of the work is contingent upon receipt of the deposit. In other words, the work won't be officially scheduled until the deposit is received. When completed, the work will be available for review in-person and online. If you choose to accept the work, the remainder of the commission (plus applicable shipping, handling, and tax) is due prior to delivery.

If you choose not to accept the work, Daniels & Mara Studio (my business entity) retains the 25% deposit and any applicable fees (i.e., onsite photography and travel). However, the remaining amount due on the original portrait is forgiven, and the work becomes the sole property of the artist (me). For the record, I've never had a portrait declined.

Your Rights to the Image

The Copyright Act of 1976 grants me full rights to any image I create, unless those rights are specifically signed away by me in writing. Accordingly, my standard Portrait Agreement grants you co-rights to the image. This means that you'll have my written permission to reproduce the image (say) on a Christmas card, post it on your website, and so on — as long as you cite me as the artist. It also means that I retain the right to use the image, as well. This simply means that prior to delivering the work, I may take a high-quality digital photograph for my portfolio, for display on my website, inclusion in a book, or other promotional usage.

If you wish to buy exclusive rights to the image (which would disallow my usage) the fee for the work would be significantly increased. For this reason, the co-rights option has been the preference of all of my previous clients. It's certainly my preference, though it's still your choice.

Subject, Pose, and Setting

As noted elsewhere on this site, I primarily work from photographic references, since most people don't have time to pose for an entire portrait. And I believe my best work is based on photos I've taken of the subject(s) myself. However, I'm willing to work from existing photos if they provide enough visual information to achieve a reasonable likeness. (For a more in-depth discussion of photographic references for hand-executed portraits, see Portraits.)

The number of subjects, their poses (head only, full figure, etc.), and the complexity of the setting all affect the size and format of a work. So this must all be decided before choosing the dimensions of the intended piece. After taking several shots for the charcoal drawing shown left, I knew I had to include all that lovely detail around my models. And to do it justice, it couldn't be less than 18" high x 24" wide.

Medium and Materials

Choice of medium is primarily a matter of preference, though it can also depend on pocket-book and time constraints. If you came to me in December with a Christmas commission, for instance — a charcoal drawing may be our only option, since drawings are more quickly executed than oil paintings.

In addition to being a less expensive and more rapid medium, charcoal is capable of rendering a variety of velvety lines, textures, and values — all of which have been used to great effect since the days of our cavemen ancestors. Enduring, charming charcoal works by the likes of Michelangelo, Edward Hopper, Kathe Kollwitz, and Picasso survive and delight us to this day.

On the other hand, no one can argue with the aesthetic impact of an oil painting. Not only does it allow for the full expression of the subject's flesh, hair, clothes, and surroundings; it also gives off a subtle, fluid light that somehow elevates the image to a higher plane. Thus, it is well worth the time and money if you can afford it.

I usually execute charcoal portraits on acid-free, white Strathmore paper. But I'm willing to work on other papers, using either charcoal or brown conte crayon (used left in my drawing of Abraham Lincoln). Base rates for conte are the same as charcoal rates (see Prices), but there may be a small surcharge for special papers like Hahnemuhle Ingres (a more expensive but beautifully textured support for any drawing).

I begin all oil portraits with an acrylic underpainting because it speeds up the process by cutting days off the drying time. For example, the picture shown left is of the underpainting I did for the first gallery image on my Portraits page. Once the size and format are set, I will construct stretcher bars to those dimensions, and stretch and gesso the cotton duck canvas myself.

Size and Format

The dimensions of a work are comprised of its height, width, and orientation. Works that are higher than they are wide have a portrait orientation; and works that are wider than they are high have a landscape orientation. You may be familiar with these terms from applications like Word or Excel, which let you print documents in either portrait or landscape views.

The size of a work may be influenced by multiple factors:

• The number of subjects in the portrait
• The amount of background included (i.e., objects and elements surrounding the subject)
• The wall space where you intend to display the work
• Budgetary restraints

The primary influence on size and format is usually the number of subjects. Portraits of a single subject are often higher than they are wide — while portaits of multiple subjects often require a landscape orientation (wider than they are high).

Complex backgrounds, however, may also require a single-subject work to be executed in a landscape format. And if you have a large area of wall space that you wish to fill, we might actually work the pose and setting backwards from those required dimensions. Ditto if you have only a small amount of wall space available.

And cost, of course, may also be an issue. But rest assured that I am willing to take all of these considerations into account, and work with you in every instance. So please feel free to contact me to discuss your specific portrait needs.

Meanwhile, here's a sample of my standard Portrait Agreement. I recommend that you click the Fullscreen link to view it.