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This is your chance to find out a bit about the way this prospective employer works, and how you might fit in. It's a chance to find out what areas of work the company gets involved in, about the kind of painters it employs - freelance or full-time, and to soak up as much other information as you can that might be useful. It's also a chance to say a bit about yourself, to answer questions and to show your work, but it's a conversation and should be two- sided.

If no work is available at that time, (which may well be the case), ask if you can keep in touch and update the employer with work that you do elsewhere. You can send links to an online portfolio, and in that way keep a conversation going between you and the prospective employer. You will be walking a fine line between being a pest and being persistent so don't go overboard. However if you wait for the call, it may never come.
This is a matter of personal preference up to a point but I would suggest the following.
1) Be selective. Ten good projects will be far more impressive than twenty that might contain weaker work.
2) Good photos. Photographs don't have to be massive but I would avoid having a page full of 6'"x 4" prints. One 10" x 8" or similar and a few supporting postcard sized images per project would be fine. The photographs should be in focus and shown to their best. Correcting bad exposures on Photoshop for half an hour before printing can make a big difference.
3) Good presentation. Images should be laid out carefully on a page. Projects should be labelled properly, with the production name, venue and designer, especially if the interviewer is likely to have heard of them. I have been shown photos straight out of an envelope before now, the portfolio having been dispensed with all together. This gives a slapdash impression and comes across as being disorganised.