Tag Archives: art model


For the purpose of modeling for fine artists, the basic parameters are the ability to hold a pose for at least 20 minutes, and to be comfortable with being nude in front of strangers.  There are certain protocols that artists expect from a model, and that models  should expect from the artist or group in turn.  The model is a professional collaborator in art making, deserves the respect of a dedicated craftsperson, and should  give complete attention to the practice of presenting the body as an inspired subject for artists.

There are different ranges of expectation for how long a pose can be held, from one minute (or less) to 5, 10, and 20 minutes.  A good model should have a repertoire of “gestures,” poses that are usually held a minute or two at a time, very dramatic and sometimes extraordinarily difficult, but usually taken without undue strain since the time involved is so very short.  Those with dance or yoga backgrounds almost invariably incorporate the positions and postures of these disciplines into their gestural routines.  While they traditionally serve to warm up both model and artists for the session ahead, gestures can be the most beautiful and artistically satisfying work that the model does.
Of course, not all poses can be held for the longer times, but those that the model undertakes for the 20-minute session must be taken and held without “drifting.”  Light and shadow patterns can dramatically change with even a tiny shift in position, and those patterns are just as important as the shapes the body itself takes in the pose.

Fundamentally, the creative process is a shared experience between the artist and the model with, paradoxically, the model being the more active participant.  Figure painters are gathered together for a singular purpose–the making of fine art–so their mindsets in the presence of the nude are radically different than anywhere else.  The more comfortable models are with their bodies, the more they will also understand what the artists are attempting, to be sympathetic with that, and project a cooperation of the creative spirit that is almost impossible to describe but which is palpable and invaluable to experienced artists keenly sensitive to receiving it.

Although many of the requirements for posing are the same, the documentary aspects of photography changes how the model is seen and expected to move.  The genres of glamor, erotic, and pornographic subject matters involve specialities and sensitivities unique to each, for which the model should be prepared well in advance of the actual working session.

Finally, beware of “auditions” (except as part of the application process for joining established model groups).  No reputable artist will expect or demand that a prospective model disrobe before being considered for work–references are all that are needed.  Those working in erotic photography should have a portfolio of work that they can show along with those references.  The studio is for working, the office is for talking.




The group practice of figure drawing and painting has to observe certain courtesies between model and artists so that the creative process can unfold without unnecessary interruptions.  A comfortable temperature in the studio, cleanliness of the posing dais, and adequate privacy from outsiders (and for the model to change) are only the beginnings of good professional manners.  There are some behaviors, too often overlooked, that need to be seriously addressed and definitely changed.  Cavalierly dismissing the impacts of tardiness, mob rule, overt criticism, cell phone use, unwelcome talking, and broken concentration tends to make the drawing session chaotic and unproductive of nearly everything but frustration.

First of all, be ready to start by the time the model is ready to begin–no dragging tables, easels, tabourets, portfolios, drawing boards, paintboxes, or rolling carts around the room in an attempt to set up while not only the model but the punctual artists are trying to work.  If you’re late, wait outside or stand in the back and work in your sketchbook until the break.

Only one member of the group should direct the posing, correct a mis-pose, light and tape the pose, and otherwise interact with the model on behalf of the group; other members should speak to the model through that coordinator.  The break is for chatting if the model permits it, but technical matters relating to the model’s work should be deferred to the coordinator.

No artist should talk about how the model looks during the duration of the session, or within earshot of the model (or anyone else, for that matter).  Keep grumpiness about the pose or the lighting or the costuming to yourself–real artists make the best they can out of the spontaneity of the given moment.  Besides, most sessions are meant to be workouts, chances to practice and build the skills that contribute to more laboriously crafted and carefully finished pictures later on.  In other words, you’re not in the group session to make a masterpiece–you’re there to flex and grow your hand-eye coordination under the stresses of time and chance.

Cell phones are not to be used in the studio.  Models who don’t want to be photographed can’t tell whether or not that’s being done when  a cell phone is waved around, and those models have every right to terminate the session and be fully compensated if they even suspect that photos are being taken without their permission.  In any case, ringtones are vastly annoying; the group has just had its concentration broken by their irritating noise, often unfortunately accompanied by the atonal yacking of a one-sided conversation that overrides the subtle working rhythms of the studio–quiet music, graphite and charcoal scratching gently on paper, and the tapping of brushes on water jars.

Each group has its own dynamic as far as conversation during the session is concerned, so if you speak and no one replies, that’s your cue to speak no more.  Wait for the break.
When its time to change your place on the floor to another perspective, or to go to the bathroom, or get coffee–wait for the break!  Its not only rude to the model who’s concentrating on holding the pose, but rude to the artists still trying to work who must now deal with the shuffle and scrape of someone moving through the studio.  If that person is leaving early, the rest of the group must also endure the dragging of tables, easels, tabourets, portfolios, drawing boards, paintboxes, and rolling carts around the room as well, often right in front of them and their view of the model.  If your picture is perfect, and not another jot or scratch or stroke can enhance its stellar beauty, then work in your sketchbook until the break signals the proper time for you to exit.

A larger group will have more strictures, and a smaller on fewer, but these are pretty basic to most situations in the figure studio.   After all, the model is usually the least physically active but most energetic member of the group, a silent wellspring of inspiration to the receptive spirit of the artist.  Breaking that bond of concentration is rude, selfish, and unforgivable; just a small amount of self-discipline contributes mightily to the harmony of dynamic drawing experience for everyone.


D. Riggs