8 a, b and c. You might consider whether you want a rich decorative element to your portrait or, conversely, a very plain, unadorned image. This will depend on your sitter, and you have to try to match the character of their personality with the way you portray them (a). You might decide that you need a little drama in the pose of the sitter, and here I show one in which the subject of the portrait is reflected in a mirror, standing by a mantelpiece, as in James McNeill Whistler's Symphony in White, No. 2: The Little White Girl (b). Or you might want to refer to the particular abilities of your sitter, as in this example, based on the portrait of Charles Dickens at his desk (c).
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