This article is aimed at both amateur artists and those who want to become models.
For participants, there are a few essential rules to follow during the posing session.
Models posing nude
- However, in sculpture and modeling, you may use, if the instructor and the model allow it, a compass to apply to the part of the model’s body to be measured.
- In the case of body painting, your brush will touch the model’s body.
- In Shibari sessions, roping the model may require you to briefly touch the model.
Do not ask the model if you can take their photo; this will likely make them uncomfortable.
The school may occasionally want to take photos to promote classes or workshops, but this always requires the prior consent of the model and participants.
The diversity of models
Royal academy 1811
Artists and art schools like to vary their models, and each model has its own unique characteristics.
We use male or female models, even non-binary models, of all ages (my art teacher was proud to say she had posed an 80-year-old gentleman), of all builds, races, and skin colors, and all types of physique: short, medium, tall, thin, muscular, overweight, even disabled, without discrimination. Acrobats are highly sought after to perform acrobatic poses.
Children are generally excluded from nude modeling for classes. The minimum age can vary, but is often between 15 and 18 years old. Although this type of practice is not sexual, it can be influenced by the age of consent (i.e., equal or slightly lower). Young children are not good candidates for artistic modeling, as they are not able to hold themselves still. However, it is best not to have minors (under 18) pose nude. Although we very often see in the paintings of famous artists (go see the paintings of the Sistine Chapel by Michelangelo) little naked angels (well, they are always boys!), or naked babies in their mothers’ arms, but those were other times!
Free or supervised session?
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School of Fine Arts 20th century
The free session, which generally lasts two hours, doesn’t involve a teacher; the model chooses the poses, but the artists can still talk.
This happens to me from time to time, for example, when the model is doing several poses on the same side, I kindly ask the model if he/her could turn around so we can vary the angles.
This type of session is reserved for experienced artists, as the artists aren’t supervised and beginners won’t be able to get any guidance.
- In supervised sessions, a teacher directs the model.
In workshops, the teacher provides guidance to the artists and painters, but they still retain their own choice.
In classes, the teacher can impose a theme, a posture, or a technique and directs the model to strike the pose. However, in practice, it is often the model who suggests a pose, with the teacher asking for a change if it does not suit him.
The teacher can also suggest exercises, for example, looking at the model for 5 minutes without drawing, then for the next 5 minutes, drawing the model from memory without looking at him/her (in my case, the results are disastrous).
Another exercise that teachers love is drawing while looking only at the model, not at the paper.
They can also suggest drawing only part of the body: the head, the torso, the upper body, or the lower body. Or just the hands, the feet, or the back...
The teacher can also ask his students to vary their techniques: charcoal, India ink, watercolor... The options are numerous.
The preparation
Model with towel
The model must have a separate room to undress to maintain their privacy. Failing that, a screen will suffice.
Before posing, he/her must wear a bathrobe or towel and must only remove it once in the model stand or dais.
A model does not perform stripteases, and should only appear nude while posing.
It is recommended that the model also have a shawl or piece of fabric (more or less sheer) to also pose with draping.
Sometimes at the beginning of the class, the illustrators are still preparing their clothes, and the model has already posed nude in the model stand, and they think, "Oh, it’s already started, I have to hurry!" The model or instructor often prepares props to support the pose: stool, chair, cushions, cubes, long sticks, ropes, etc.
I had a model holding a bottle in a wobbly pose to simulate a drunken man, another posing with their dog (who lay down obediently at its owner’s feet), and another playing their guitar while singing during the pose.
The model is free to suggest whatever they wish to vary and enhance the poses.
The gesture or very short pose
Colorful one-minute poses
Sessions generally begin with very short poses of about a minute (30 seconds to 2 minutes) so that the artists can get to know the model’s body and allow their eye to grasp its contours. This is called gesture.
The limited time requires rapid abstraction; the drawings are very quick; the artists must not focus on details, but rather draw the overall shapes of the body in order to free their gestures without constraints of realism or aesthetics.
Some prefer to limit themselves to a single part of the body during this exercise.
The same sheet of paper is often used to draw the different poses; they can be superimposed or drawn smaller, varying the colors to distinguish each drawing.
The pose is generally chosen by the model.
Short poses in pastel
Personally, when I’m posing, I like to suggest to the teacher for this quick exercise that the artists choose the pose they want (in a certain way). In practice, I move slowly, and the first artist must say "Stop" when they’re happy with the pose. The teacher manages the time and says "Next" after about a minute, and I resume my slow movement in the other direction. It’s then up to the second artist to say "Stop" when they’re happy with the pose, and so on until all the artists have chosen their pose (if there aren’t too many of them or the teacher decides to move on to longer poses). This exercise is generally appreciated by artists because it gives them a little power to choose a pose, whereas they usually have to be content with drawing the current pose.
The advantage of very short poses is that they allow the model to adopt original, even acrobatic, and more expressive positions, but they can’t be held for long. Sometimes balanced on one leg, or with arms and legs in the air, balanced on one buttock (I like this position), or resting on the top of the shoulders or on the head with the legs crossed in the air...
The model is free to let their imagination run wild, within the limits of their physical abilities, to try poses they would never have dared to attempt otherwise.
Multiple mid-length poses
10-minute pastel pose
Usually during workshops with artists who want to do a sequence of drawings.
Here, each pose is different, and the pose time is generally 10 to 15 minutes.
For beginner artists, this relatively short pose time is insufficient, according to them: the drawing isn’t finished, the proportions aren’t respected, the outlines are rough.
But my teacher told me that this is normal at the beginning, and that with a little practice, I could draw a body correctly in 10 minutes. After six months, I was able to create a decent drawing with good proportions, even if a little more time would have allowed me to improve it.
For beginners, there’s no point dwelling on details; a sketch is either right or wrong; it’s not the pencil lines you add that will save your drawing.
The case of photographers is special, because the pose does not need to be long, often one or two minutes, giving the photographer time to take the model from several angles.
Multiple or single long poses
Drawing lasting about an hour
Mainly in art schools, poses of 20 to 45 minutes are practiced so that students have time to draw, correct proportions, erase, start over if the result is not satisfactory, and finalize their drawing. An experienced artist who wishes to finalize their work and work on details will also need long poses.
Single (very) long poses (the model resumes the same pose after the rest period) are more suited to painting in an artist’s studio, or in the case of sculpture or modeling.
The same pose can last for hours, but rest assured, the model must have a rest period every 45 minutes (see Rules and Tips for the Live Model). The model must therefore be able to hold the pose for 45 minutes without moving (or almost), and return to the same pose after the rest period. To facilitate these poses and avoid turning the posing session into a torture session, there are a few tricks that can make posing easier for the model, such as supports for their limbs, which must remain in the air, or ropes suspended in the air for them to hold onto.
The artist can also ask the model to hold the pose for only one part of their body, for example, the upper body, if they are working on only that part for a given time, which allows the model to sit down. Then, later, for example, hold the pose for the lower part of their body, which will allow them to lower their arms.
It is important to ensure the model’s comfort throughout the pose; you don’t want them to faint mid-pose (it happens).
Dynamic poses
Dynamic poses
Dynamic poses in art are essential for infusing figures with energy, movement, and life. They transform a static pose into a scene full of action and emotion, making your work more captivating and expressive.
Key elements for creating dynamic poses:
- Use of the line of action: It guides the character’s movement and attitude, transforming a frozen posture into a scene full of vitality. A curved or wavy line of action conveys fluidity and energy, while the exaggeration of shapes accentuates dynamism.
- Manipulating perspective: Choosing the right angle, such as a high or low angle view, adds depth and movement to the scene. The convergence of lines and the distortion of proportions reinforce the effect of depth and movement.
- Integrating curves and counter-curves: These elements bring fluidity and balance to the pose, avoiding monotonous symmetry. The skillful use of these curves conveys the tension, twisting, or relaxation of the body.
- Exaggeration of forms: Making certain parts of the body larger or smaller accentuates energy. For example, an outstretched arm or an exaggerated forward leg gives the impression of intense movement.
- Construction from simple forms: Breaking down the pose into geometric shapes makes it easier to establish a solid structure before adding realistic anatomical details.
- Anatomical details and real inspiration: Understanding the model’s skeleton, muscles, and natural gestures adds credibility and expressiveness.
If necessary, ask the model to move very slowly to draw moving forms.
Between breaks and during rest time
Rest between two poses
Between poses, the model can take if he wishes a minute or two to move their limbs and to circulate the blood in his slightly stiff body.
They may sometimes need to move around the room to fetch utensils, sticks, stepladders, chairs, ropes, or other items, while remaining nude for a short time.
Then, approximately every hour, a 10- to 15-minute rest period must be observed. The artists and the model take advantage of this time to take a bathroom break.
The rule is that the model is only nude during poses, when they are in the model stand, and that the rest of the time they cover themselves with a cloth.
During workshops between artists, the warm and welcoming atmosphere may encourage the model to deviate from this rule, for example, to view the works and chat with the artists while remaining naked, with each school being more or less strict on this rule. This has happened to me several times as a sketch artist, and it’s not a problem as long as sufficient space is maintained between the model and the subject.
However, during rest periods, if the subject prefers to be alone to unwind and relax, do not disturb them.
It’s also possible, with the subject’s consent, to take a group photo with the subject nude at the end of the session, perhaps as an end-of-year souvenir.
The model stand
Model stand on wheels
The model stand or dais is an essential element in a drawing or painting studio, serving as a support for the live model during their poses.
It is most often made of wood and can be fixed or rotating, depending on the type of work being performed.
Its height can vary from 30 cm to 80 cm, and it can be at least 120 cm x 180 cm or larger to allow the model to lie down and keep the participants’ eyes at approximately the same height as the model’s pelvis.
It is covered with a mat and a sheet for hygiene reasons, a solid color, and to allow for a variety of poses without pain or instability. It must be stable, ergonomic, and adaptable, designed to optimize the model’s comfort and the quality of the artistic work, to avoid any movement during the pose, and must be able to support the weight of the model and accessories such as stools, chairs, cubes, etc.
For sculpture, modeling, and photography, stands with wheels are often used to rotate them to view the model from different angles.
The position of the stand can vary depending on the type of session. For art schools, the stand is generally against a wall, with the students positioned in an arc in front of the model and elevated above the model. For studios with multiple artists, the stand is often in the center of the room, giving each artist the freedom to move around and choose their own angle of view in relation to the model and the pose. Indeed, viewing the model from one side with foreshortening is more difficult to draw than seeing the model from the front or back. Each artist will choose their own angle of view depending on the desired effect.
By default, the model should be well lit, with spotlights ideally to see him/her well from all angles, but we can also work on the light by illuminating only one part of the body and leaving the other side in shadow.
Important: The stand is reserved exclusively for the model during the session.
Visitors are not welcome during the session
Visitors prohibited
It is normally forbidden to enter the room once the session has begun, so as not to disturb it.
Some studios lock the door at the start, so bad luck for latecomers.
In any case, visitors are not welcome, so as not to distract the model and the artists, and to avoid putting the nude model in a vulnerable position during a pose.
Similarly, participants must focus on creating their artwork and not disrupt the session.
The portrait
Pencil portrait
Although portraiture is not necessarily part of a life drawing session (why be nude for a portrait ?), artists are free to choose which part of the body they wish to capture, and some may choose to do only a portrait for a given pose.
Portraiture places much greater demands on the model; not only must the body remain in position, but the head must also remain relatively still. Facial expression is particularly difficult to capture.
A mirror may be necessary to help the model achieve the desired expression.
An average portrait session typically lasts twenty minutes, although several sessions may be required to complete a portrait. Photographs are a valuable tool for portraiture.
Lighting is also a key element, and it is important to have adequate lighting to bring out the small details of the face. Adjusting the lighting for portraiture is more time-consuming and demanding than for people.
Private sessions
Painter's studio 1885
Some schools can organize private sessions at the request of artists, either at their own premises or at the client’s home.
But many artists who use live models have a well-stocked address book of models they contact directly.
Why use nude models?
Nude study
Drawing with costumed figures is useful, but it lacks essential information about the character’s constitution.
Some artists, such as Leonardo da Vinci, used skinless cadavers for a better view of structure and musculature.
In recent years, a connection has been made between social issues of body image, sexualization and art modeling with some promoting wider participation in life drawing, including at a younger age, to provide an experience of real nude people as an alternative to social media representations of idealized bodies.
The artists are also nude
The social benefits of life drawing had been suggested by David B. Manzella in the 1970s while director of the Rhode Island School of Design.
Nude models were introduced to the young people’s classes with the permission of parents.
Models often cite acceptance of their bodies as one of the benefits of modeling.
While younger women continue to be the typical model, men and older models are welcomed in cities with an active arts community such as Glasgow, Scotland.
Some artists, in order to demystify the idea of being naked in solidarity with the model, have decided to draw naked themselves.
Anatomy and morphology course with live model
Anatomy course with model
Anatomy courses in art school are essential for students to master the internal structure and morphology of the human body, in order to create realistic or idealized artistic representations. These theoretical and practical courses generally cover:
- The study of the skeleton: understanding the arrangement of bones, joints, and possible movements.
- Musculature: learning about muscle groups, their function, and their tension or relaxation depending on the pose.
- Volume and mechanics of the body: deepening the concepts of volume, shadow, light, and movement.
- Observation and drawing: practicing sketching, flayed figures, and live models, with sessions dedicated to the representation of different parts of the body (faces, hands, feet, etc.).
- Complementary approaches: studying the morphology, perspective, and topography of the body.
During practical classes with a live model, participants will be asked to feel their own bones and muscles, then visualize them on the model and draw them. Ideally, the instructor chooses a fairly muscular model.
Then, the instructor skins the live model to remove its skin and clearly reveal its bones and muscles... Uh, no, that was in the Middle Ages, so the models can rest assured!
Can a photograph be used instead of a live model?
A photograph can never replace the captivating experience of drawing or painting the real object, whether it be a human being, a flower, or a landscape.
A photograph is a snapshot at a precise moment; it fixes that moment. The real, living person is much more: first, a structure of flesh and bone, with a skeleton and muscles. Second, the skin, a reflective and breathable surface, captures the light, shines, and reflects the surrounding colors. Then there are the tensions, the pulls, and the angles of the pose, different for each model facing you. And finally, there is the model’s mood — some would say their soul.
Draw from a photo
Even seated, the body will never be completely still; it will find its own balance during the pose, unbeknownst to you. The muscles and flesh will gently stabilize under the influence of gravity. The slightest movement of the arm will alter the contour.
Perhaps the next model will become your ultimate inspiration. An art teacher encouraged his students, throughout the session, to fall in love with their model. It’s not a question of sexual attraction. A beauty that has nothing to do with stereotypes, but with what she exudes. The turn of her head, the fall of her hair, her strength, her vulnerability, her luminous skin. Sometimes, the artist finds it hard to breathe, so beautiful is the pose, and marvels at the model’s ability to evoke this atmosphere that the artist must try to capture; a photograph cannot evoke such a feeling.
The case of hen party
Hen party
A hen party or bachelorette party is live modeling sessions held at your home, with a nude male model for the girls or a nude female model for the boys, or of the same sex in the case of LGBT participants, usually followed by a cocktail reception in a cheerful and fun atmosphere.
The goal here isn’t really artistic, but rather festive.
The session is usually supervised by an art teacher to give this activity an artistic feel, but the participants are rarely artists and are mostly creating their first nude drawing of their lives.
The posing session is quite short (1 to 1.5 hours), most often followed by a cocktail reception and, if the model agrees, photos between the participants and the nude model. It’s important to note that the model is a real art model posing for art schools, not a stripper, and that the model’s body should not be touched.
Everyone has their own opinion on this type of activity; some models and art schools do it, others don’t. As long as you respect the model and the rules, you should be free to choose your activity as you wish.
Shibari sessions
Photo Shibari from HwG-Paris
Shibari (縛り), literally "binding" in Japanese, is an art focused on the aesthetics of the restrained body. Far from being simply a matter of tying the body in ropes, it encompasses a philosophy of connection, listening, and mutual respect. Each connection becomes a visual composition, where curves and muscles are highlighted by geometric rope patterns.
Artists now use it in photography, dance, drawing, theater, and more.
Always respecting the model and with their consent, participants rope the model for a drawing or photography session.
Embarking on shibari is a journey where technique, art, and human connection meet.
Through the gradual mastery of knots, attentive listening to sensations, and absolute respect for your partner, you will discover a world rich in emotions, shared trust, and sculptural beauty. Take your time, experiment with each step, and let the rope guide you...
Be careful, there are a few safety rules to follow, so it’s strongly recommended to have taken an introductory course before practicing.
A few schools offer Shibari classes and workshops in France.
Music during the pose
Posing and playing music
Some workshops play background music during the session, often classical, but this is not the case for most.
For certain occasions, such as a music festival, the school may organize a session with participants playing music, or even the model can play an instrument and sing at the same time.
Pointed compass
Reduction compass
In sculpture and modeling, compasses are used (thickness, reduction, or transfer).
They are a specific tool, often consisting of two (sometimes three) hinged arms, used to measure or transfer proportions between different parts of the body or model.
The artist applies them to the part of the model’s body they wish to measure. They are frequently used by sculptors to ensure consistent measurements.
