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Interview with Daniel Miller

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“You have to persist doggedly and believe in yourself”

American artist Daniel Miller was born in North Carolina and began drawing from an early age. His military family moved frequently and he lived in various US states, Germany and Japan. After high school, he pursued his artistic instincts and became silversmith, goldsmith, painter, sculptor, designer and even art director.

Miller's art keeps evolving and he never stops learning. He created sculptural elements for many major films and became popular in Hollywood. Daniel also has sculptural installments in South Africa, Tokyo and even Caesars Palace in Las Vegas. He also taught himself computer 2D and 3D skills and made contributions to films and video games. Now, he is more focused on his own creative concepts through oil painting.

In this Q&A artist Daniel Miller shares with PoseSpace how he became successful in Hollywood, what life experiences influenced his work, who are his favorite living artists and more: 

When did you first know you wanted to become an artist? 

I cannot even remember that there was ever any other choice for me. I was so fortunate to have parents that were creative and supportive. I began drawing seriously and regularly around third grade and painting in oils at ten years of age.

You  created notable sculptural elements for many major films. Could you tell us more about this experience? Do you have a favorite one?

    This was the period of my life that I refer to as "my creative prostitution". I became successful in Hollywood as the go to guy for "Super-scale" set sculptures, meaning simply the biggest. In those days before digital arts, most set pieces had to be physically present. While this work was challenging and financially rewarding, it was about bringing my creative energies to bear for the realization of someone else's vision. I put my own art on the back burner. So, commercial art, right?

   The first examples of my "super-scale" sculpture was for "Honey I shrunk the Kids". Most all of the giant objects, from twenty foot stalks of grass to immense cheerios were designed and created by my crew, mostly carved out of various types of polystyrene and urethane foam. From there many other opportunities came my way, including "Cone-heads", "Stargate" and "True Lies".

   I think my favorite experience was on "Chronicles of Riddick". I was given significant creative control over the design of the sculpture on this film, and there were many cool figurative pieces. By this time I had developed my digital skills in 2D and 3D modeling. I believe I had an industry first in that there is a scene in that film that features both my physical sculptures in the foreground and my digital sculptures in the background as a "Matte Painting" set extension.

What life experiences have influenced your work?

Certainly travel. Being born into a military family, I lived in both Japan and Germany as a child. I believe this exposure to other cultures was key to my early commitment to being an artist. I confess to being something of a vagabond, at last count I have lived at more than thirty-two addresses, from Mexico, Canada and Africa plus nine US states.

What do you think of PoseSpace? Do you have a favorite model? 

Well, PoseSpace is a great resource of course! I was so pleased when I discovered it. Funny this, but I created a motorized turntable for photographing models about seven years ago. This was mostly for capturing the figures form and details to use as reference and texture mapping for digital models, so for the most part, the "T" pose. 

I love what PoseSpace does with the efficient accessibility of so many models through the pose tool. Usually I have a predetermined idea of the pose I want when I turn to PoseSpace. However, I have found while searching, that often the lighting on a particular set of photos is so beautiful as to inspire the creation of a concept for a painting in its own right. My favorite models are Becca and Vaunt. 

What has been your greatest artistic success?

In 2015 I started an extended series of paintings of the homeless in Las Vegas. I wanted to call attention to this marginalized population that we find so easy to ignore. That series has been in five gallery exhibits and the Las Vegas Library District toured it through their various branches for a year. I donate a significant percentage of sales revenue from that series to Homeless Outreach organizations. But the thing that makes it the greatest success for me has been the feedback from the viewers. I feel like I have made a difference in awareness of this crisis to some.

Do you have a favorite living artist, whether famous or completely unknown?

I have many, Jeremy Mann, Costa Dvorezky and Reisha Perlmutter top the list.

What advice would you give to young artists just starting in their careers or creative practice?

Be determined! You have to persist doggedly and believe in yourself. Creative work is like body building, you must work those muscles to succeed and even when you feel defeated and lost, keep at it. The more you work the better you will get, and stay true to yourself.

Tell us one thing you thought you knew, that it later turned out you were wrong about.

I have spent so many years painting and sculpting the female form. It has never ceased to attract and inspire me. In recent years though, I have been made aware of how important it is to consider the context of this pursuit. The objectification of women in our culture is so ubiquitous that it is easy to miss or just accept. The "male gaze" and all of the patriarchal baggage attached to it has become an issue for me. I love figurative art and cannot imagine it not being a part of me, but I now consider it my quest to uncover a direction and voice that supports the female form without exploitation.

Daniel Miller’s website: https://danielmiller-art.com

Interview by Andrea Miliani

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Interview with Julian Lewis

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“I wish I had known how much I was going to enjoy it, because If I had, I would have started modelling thirty years ago!”

Julian Lewis is a professional male life model located in Malmesbury, Wiltshire. He travels across the United Kingdom—and internationally— to perform challenging poses. Lewis started modeling three years ago to earn extra cash and then discovered a new passion.

Working with different artists helped him fall in love with this career and his body. Not only he learned more about his own anatomy and developed muscles holding different poses, now he also studies and works hard to provide the best experience for artists. Julian listens to artist’s directions and requests, owns props —from a rotating stool to a crucifixion cross— he can bring to studios, and assures the audience the discretion needed following a dressing and undressing protocol. 

In this Q&A art model Julian Lewis shares with PoseSpace hilarious anecdotes, how he manages his time, about Hen and Stag Parties with life models, as well as great recommendations to anyone who wants to become a figure model: 

Can you tell us about your background and how you got into modeling?

 I have been modelling for 3 years, and decided to do it because I needed cash to market my wine business. I had no idea how much I would enjoy it, and now I am pretty much full time, modelling across the UK for Schools, Colleges, Universities, Ateliers, Studios, private groups and Hen parties. In the autumn, I will model in Florence and Paris. I made the decision to Life model as I am body confident, and being body confident, nude that is, is the most important factor if you want to get regular work.

You also work in the IT sector and host wine tastings, how do you combine these careers?

It is hard. I spend 32 hours a week in my IT job, 10 hours a  month conducting wine tastings, and 15 hours a week life modelling. I am also writing a book on the subject, it will be released in December, either by Kindle Direct/Amazon or a London publisher. 

Has your perception of the human body or your own body changed after modeling for artists? 

My perception has changed massively. I believe any human form is beautiful. Regarding my body, I have learnt how to manage pain effectively by simply meditating and moving in centimetres. It is astonishing how easy it is to manage pain with the brain.

Do you have any interesting/funny/scary anecdotes you could share with us?

• I model for actresses, best selling authors and TV personalities... You never know who is going to employ you!

• I once modelled in the same pose for 2 hours, forgot about my dead foot when I got out of the pose, so fell straight into the ladies in front of me. Fortunately, no one was hurt except my pride.
• I also broke wind on my third life modelling gig —highly embarrassing—, but I got over it!
• I have modelled for the World cup winning England women’s Rugby Team and a very famous English TV presenter

What are the most valuable lessons you have learned as a figure model?

• Your body can do things you previously thought impossible!
• Artists/Tutors will afford you levels of gratitude that you have never received from any previous employee.
• I have a deep appreciation of art which I was previously uninterested in. 
• Life Modelling will raise your confidence hugely. 

Modeling requires body strength and you mentioned you always leave the studio exhausted, what do you do to stay in shape?

I frequent the gym about 3 times a week, take long walks and cycle long distances. I stretch every day in the shower, but because I model so much, my core strength is very high. 

Are you surprised by anything revealed in the artwork about yourself that you never realized as seen through someone else’s eyes?

I am amazed at every drawing I see. I marvel at the ability of most artists and the facial expressions that are drawn can be staggering. I didn't realise that I have quite good muscle definition.

Could you tell us more about the Hen and Stag Parties? 

Hen and Stag parties are very popular in the UK. They last about an hour and a half, are attended on average by between 12 and 30 Hens/Stags. After the initial surprise of seeing a nude male/female, the Stags and Hens really try and mostly achieve very good drawings. There will always be a couple of people who see it as simply titillating, but they are very much in the minority. Many Hens and Stags go on to take up life drawing as a hobby, and quite a few Hens have asked me to help them get work as a life model.

In the UK, the market for strippers, pole dancers, and butlers in the buff is dying... The market for life drawing at Hen events is growing massively and has been the subject of national press and the TV. I have been recently filmed modelling at a Hen party and the TV program will air in February. Anyone who wishes to attend Hen Life drawing parties should expect to see a professional life model perform exactly how he/she does in the studio. 

What do you think of www.posespace.com?

Posespace is excellent and is used by many of the Sculpture classes that I model for, when I of course cannot model. The results are excellent and you have a very good reputation in the UK. Your models are well photographed in interesting poses. We have nothing quite like it here.

Is there something you wish you knew before you started this career?

 Only that sadly, Artists/Tutors can still be very rude, ignorant and arrogant toward the model. Fortunately, these rude people represent about 1% of all people that I have worked for. Also, I wish I had known how much I was going to enjoy it, because If I had, I would have started modelling thirty years ago!

At PoseSpace we frequently receive messages from people who want to become art models but are scared or don’t know how to start this career. What would you recommend to them? 

To those who are considering Life Modelling, but need to take the leap of faith – do it!— you will not regret it and will probably wish you had done it some 25 years earlier (I do)! As a life model your confidence will rise dramatically and quickly. You will meet the most interesting people on the planet, even if they are a bit bonkers. You will delight in their kindness, support, gratitude, sincerity, and generosity. You will revel in their enthusiasm, passion and self – effacement. The only “must-have” you need is that you must be 100% body confident- not in terms of how you look, but in terms of being comfortable naked.

Oh, and you will get fit!

Getting work can take time, if you really want to do it, you will get work. But make it easy for yourself. Get a proper CV that is only about modelling. Get a business card, issue receipts, get a robe, use it, and always, always be on time. Work will follow. Email Art groups, schools, colleges and universities... If they say no, ignore and try again in a few weeks. 

Julian Lewis website: https://uklifemodel.com/

Interview by Andrea Miliani

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Interview with Lente Scura

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“My work is what it is due to learning traditional art approaches and techniques. Hardware and software are just tools”

Lente Scura is a talented Italian artist based in Rome who combines two main techniques to create fascinating paintings: digital painting and photo-manipulation. The artist statement describes very well the concept of the dreamlike work: “Lente Scura takes the viewer on an emotional journey through visually striking digital compositions filled with dramatic anguish and beauty, giving insight into the complexity of emotions of the subjects of each painting”.

This artist’s academic background includes two bachelor's degree —one in Literature and another one in Painting and Drawing— and a Master of Fine Art in Digital Art and Media. The roots of great masters’ techniques are present too, Lente Scura combines different styles: Surrealism movements of the early to mid-1900s, American painting of the mid-1800s, the German Expressionism and, of course, the classical painting of Italy.

In this Q&A Lente Scura explains how to use Photoshop to create unique paintings, the advantages of digital art, and provides valuable advice to young artists interested in digital art:

How do you start work — do you have any rituals?

I don’t have rituals in the strictest sense. I will, over the course of weeks, have inspirations and concepts mulling around in my head if you will. I tend to think about them and plan and design in this manner instead of spending large amounts of time fleshing out ideas on paper. This means the work is a stream of consciousness in its concept and its design. From there, it is finding the best references via stock images or scheduling time with art models to build the foundational elements. Once all resources are pulled together, I will make a rough and loose composition in Photoshop. That rough composition then becomes the underpainting layer. In traditional approaches, one will create a foundational sketch or underpainting and then create the final painting but building up layers. This is what I do, but I use a photographic based layer of arranged elements.

After the base composition is completed, I will create the final painting by using a painter over approach. This approach will slowly remove the foundation composition with a painted version that tends to be very different. Since I make changes as I work, the painting and the process will take on a stream of consciousness stage where I allow both technical consideration and mood and emotions to influence the final design and concept.

How has your style changed over the years?

The amount of work is lessened in terms of volume. I think more about each work and its meaning. The focus on the conceptual meaning of work has forced me to slow down the volume of work.

How did you discover www.posespace.com?

I discovered Posespace when researching a concept I was developing. I was happy to discover their site and services and their reference material of the human form has helped greatly in the development of paintings and their concepts.

Why digital Art?

I come to prefer for now digital art. Digital art allows for a combination of planning and fluid editing. I have come to like the ability to adjust based on technical considerations and based on my mood and inspiration. One of the frustrating aspects of more traditional approaches is being locked into a composition or taking the pains to go back to the drawing board and start painting over. Digital art allows me to make edits, adjustments, and corrections with minor efforts and with very little lost production time.

Do you have a favorite living artist, whether famous or completely unknown?

Not really. I tend to look to artists of the past, though there are many talented artists I see on social media that I follow. I would say there’s not one living today that I consider a favorite, though their work inspires me. Some of the artists listed below I admire and look up to and consider mentors. Only one is currently living and that is Odd Nerdrum, whose work affects me greatly.

Otto Dix, Albrecht Durer, Kathe Kollwitz, J.M. W. Turner, William Blake, Thomas Eakins, Edward Hopper, Winslow Homer, John Singer Sargent, Michelangelo Merisi da Caravaggio, Tiziano Vecelli (Titian), Jacopo Tintoretto, Artemisia Gentileschi, Rembrandt Harmenszoon van Rijn, Salvador Dali, Diego Velazquez, Francisco Goya, Frida Kahlo.

 What advice would you give to young artists interested in digital art?

Start with traditional art first. My work is what it is due to learning traditional art approaches and techniques. Hardware and software are just tools. They don’t make your work better and if you don’t have a firm traditional foundation, all the hardware and software will not help you. Having a well rounded traditional art background will allow you to transition to digital art and apply your knowledge easily. Equally, it will help you to push the technology in ways that have not been seen before. The artist is the visionary, technology of any form and making is just the tool.

LenteScura’s website: http://lentescura.net

ArtStation: https://www.artstation.com/lentescura

Etsy: https://www.etsy.com/shop/theartoflentescura

Behance: https://www.behance.net/LenteScura

Instagram:  https://www.instagram.com/lentescura

Interview by Andrea Miliani

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Interview with Betsy and David Bangley

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Betsy and David Bangley are talented and experienced figure models located in Pittsburgh, Pennsylvania. Betsy studied Drawing at the University of Toledo in Ohio; years later she decided to become one of the models she admired during her studies and began working at the Pittsburgh Center for the Arts. Soon, she became known as "Pittsburgh’s smiling model". Later, she trained her husband to model too. Now she is a seasoned figure modeling instructor and mentor.

This married figure model-team work in universities, colleges, galleries and art centers throughout the Pittsburgh area. Recently, they created an interesting project for figure drawing meetups, Pittsburgh Figure Drawing, where they create events and gather models and artists for unique life drawing sessions. Betsy and David also own a farm out in the countryside that grants not only privacy and comfort for outdoor sessions but also great opportunities to recreate scenes in a great variety of locations. They have even used a tractor to pull a trailer full of chairs and drawing boards along!

In this Q&A art models Betsy and David Bangley share with PoseSpace how they became figure models, how they felt the first time they posed nude, interesting and funny anecdotes, as well as valuable advice and tips to anyone who wants to become an art model: 

Betsy, you studied drawing at the University of Toledo in Ohio. How has modeling helped you improve your drawing skills?

Betsy: When I model, I listen to the instruction going on in university and community drawing classes. I get the best drawing instruction in the country for free! Beyond instruction, I get inspired. Seeing the participants' work, feeling their excitement and sensing their struggles challenges me to get out my own pencils and charcoals and draw other models.  

I also train other people who want to model by inviting them to join me at the open studio sessions David & I present.  I take the first few gesture poses and then offer the new model a turn posing. I draw the other model, and share my work with them. Invariably, they're excited to see themselves rendered in this ancient art form. 

Would you recommend artists to model?

Betsy: I would recommend for artists to model.  At the least, it gives you a sense of empathy for the work the model is doing. You understand the physical challenge better, but also, I think many artists are curious about what it must be like to be a model. When you draw, when you follow the contours of a model's body, you sense to some degree what it feels like to be that other person, to be the model. Your mirror neurons fire as if you were holding the model's pose even though you're standing in front of an easel drawing. Actually holding a seated pose —even while clothed—for 25 minutes will tell you volumes about the experience of the model, and after all, isn't that partly why we draw each other—to be in contact with our shared human experience?

David, Betsy trained you to model, how was this experience? Who had the idea?

David: Betsy had been modeling for a couple of years and found it to be a positive experience.  I had been improving my diet and exercise routine. When I felt strong enough to endure a 3 or 4 hour class I asked to get involved. I think it's important to state that you don't need to be a bodybuilder to model, but you do need to have strength and endurance to do a good job. I have done 25 minute standing poses where it would have been more comfortable just to run a 5K for that length of time and be in motion.

I asked Betsy to prepare me by simulating the classroom environment and drawing my practice sessions. Seeing the drawings was very helpful, since it was the first chance to see how the pose was being interpreted. I had never thought about how my form presented itself to an observer in terms of line, shadow, and balance. These were all new skills I had to learn. It's just not something ordinary people spend time thinking about.

Betsy was easy to work with, but I was concerned about how slowly the time clock moved, and how strong gravity was. There were lots of poses that I couldn't hold steady as long as I imagined I could.

Betsy continues to train new models, and has it down to a science now. I'm proud to have been her first trainee.

You’ve been a production manager, a flight instructor, the co-owner of a farm and now a figure model. What valuable lessons has modeling taught you that your previous careers didn’t?

David: I worked in show business, but in technical roles. I didn't do much performing. Modeling requires me to go into character like an actor. I recognized this slowly, but now getting into character is a key part of my preparation. I realize looking back on life that I was already doing that when I drove to the airport to teach flying. I "became" the flight instructor character to get the focus I needed, a revelation that came years later thanks to becoming a performance artist.

I also use the character of "figure model" to create a relaxed and confident atmosphere around the model stand. Some male models are blind to this and make women uncomfortable by sending a creepy vibe off the stand, even if it is unintentional and due to a lack of training and awareness.  It does make it difficult for males to get hired at schools. We are not there to show off or find dates. Professionalism brings the bookings.

How did you feel the first time you posed nude? Can you tell us more about that moment?

Betsy: The first time I posed, I was clothed, and I recall the most difficult part of the experience was opening myself up to truly being seen —not as much in a physical sense, as in being seen as a person, having my eyes studied, my facial expression captured. It felt as if my thoughts were on view. By the time I first posed nude, I had gotten used to being seen and studied, and I was very comfortable with being seen nude. My concerns were more about the nuts and bolts of modeling. I wanted to provide a beautiful pose that I could hold for the four hour session. I was learning about how often I needed to take breaks, so I just sat still for as long as I could —about 45 minutes. I remember I didn't know what to do with my thoughts, so I mentally calculated the Fibonacci sequence to 10,946 to fill the time. Nowadays, I know so much more about what I can comfortably hold. I know the importance of taking breaks every 25 minutes, and I relish the quiet time to meditate, to solve puzzles mentally and to listen to the class goings on.

David: We are both blessed with body confidence, so being nude around other people is not a challenge.  Figure modeling for my first real art class was a big milestone for me. I'd wanted to try it since I learned that artists used models when I was in elementary school.  That's a long held life goal! As a kid I literally wanted to be an astronaut and a figure model.  Why not aim for the most interesting jobs in the world?

How does it make you feel to see artwork inspired by you? Is there one in particular that you always remember or that had an impact on you?

Betsy: It's tremendously gratifying to see artwork inspired by my modeling work. For a time, I was the only female model at an area art center. I delighted in seeing students develop their skills through an 8-week figure drawing course. When they had breakthroughs and were able to capture my form or a likeness of my face, I celebrated right along with them. It felt good to be part of their progress.

When I first began modeling, I thought that I would just be a stand-in for a bowl of fruit or still life. Just something to draw. Now, I realize that when I am expressive, strong and creative in executing my job, the artists pick up on my joy in my work, and they are inspired.  My work animates their work. I love seeing artists in a flow state, enjoying what they are doing. I love hearing charcoal scratching paper furiously. I love the collaborative nature of modeling!

Artists have given me drawings and paintings of myself, and I feel tremendously privileged to receive a beautiful portrait of myself. Seeing yourself through the lens of another human's perception gives you a new perspective on yourself. You see yourself redefined in fresh light. It feels like a very slowly rendered compliment. 

David: I'm fascinated by the artist's ability to interpret me into something new. A camera takes a picture of me, while I'm just an inspiration to the artist. How do you draw confidence? How do you draw life experience? I've been portrayed as younger, bolder, stronger than I really am. This means that the performative aspect of my work is being picked up by the artist.  

My favorite painting was made during a Saturday afternoon class where Betsy stopped by to visit.  The idea was to create a montage of figures, and Betsy modeled as a meditating character while my figure is seen in busy body gestures all around her. The poses were all done solo, with the artists combining them as they painted. The students, instructor, and models collaborated so well during that project - it was a magic few hours. 

Do you ever get bored while modeling? What do you think of while you hold your poses?

Betsy: I never get bored. There are times when my foot has gone to sleep, or a muscle is threatening to cramp, that I am anxious for the timer to sound, but I am never bored. I fill my time meditating, planning my week's activities, or just listening to the drama around me. Sometimes I sense an artist's struggle, sometimes I listen for wise instruction from a professor, sometimes I sense the class going along in a state of flow. It's all interesting. When I got started as a model, David and I were running a small produce farm, and I would spend my modeling time rotating crops in my mind. Having time to be still is a boon whether I use it as spiritual time, listening & learning time, or problem-solving time.

David: I've never been bored.  In a short pose I'm working ahead in my mind to the flow to the next pose in sequence.  This is rapidly changing as arms and legs get tired and need to be rested as the poses change.  Right leg at its limit? The next pose better utilize the left leg. But I also have to rotate on the stand and provide a visual flow. Some classes have sequences of 30-40 gesture poses in a row, a challenge I enjoy.

In long poses it's an endurance contest.  I am the general manager of an entire body.  During the 25 minutes I'm motionless between breaks I monitor the locations of limbs I can't see, down to individual fingers that need to stay put.  Some parts may want to cramp, which can be avoided if I carefully change pressure distribution or flex just a little differently. I make slow, careful changes. Some limbs will fall asleep or hurt, and I am in charge of making a safety determination about breaking the pose early or not.  I must actively monitor my facial expression so I don't "zone out." I monitor blood pressure so I don't "black out." There's a lot of executive activity going on. Over the last few years I've developed an amazing sense of time, often knowing within 20 seconds out of 25 minutes when the timer is going to sound. I get this intuition that a minute is left, and count down from 60 seconds.

How did you come up with the idea of the Figure Drawing meetups? Can you tell us more about this project?

David: We don't have a permanent studio in the city, and were seeking a "portable" studio so that artists can find us where we are working around town. The email list was getting cumbersome and was not interactive. The meetup has provided a mechanism to sign up for an event where we have limited space, and makes it easy to give directions to the venue. We also learned that some artists don't feel confident walking in to the established galleries where the really experienced artists are doing commercial grade work. We wanted to provide a low key alternative for the beginners around the area. We are teachers at heart, and want the emphasis to be on providing an opportunity to experiment and learn.

Do you have any interesting/funny/scary anecdotes you could share with us?

Betsy: I have never felt scared while modeling. I quickly realized when I began modeling that the naked woman in the room holds all the power. The artists were tremendously considerate of me, asking if I was warm enough, if I had enough padding to cushion me, if I needed a break, and would I like a cookie!

As to funny and interesting anecdotes, I once was modeling nude on the stand for a figure drawing class, holding a 2-minute gesture pose, listening to charcoal sticks hurriedly scratching against newsprint when the door to the studio burst open and a police officer walked in. I held my pose until the instructor asked me to put my robe on and take a break.  Apparently, a silent alarm in the old building had been inadvertently tripped, bringing one of our boys in blue to the rescue!

I have had air conditioner repairmen, prospective students on tours, and even wayward party-goers bust into the studio where I was modeling nude. I was happy to hold my pose as still as a statue while the instructor took care of the interruption. The party-goers were perhaps the funniest, as they were coming from an outdoor wedding at the park next door, and were looking for a restroom.  A nude woman and a room full of artists was not at all what they expected!

David: We have to be careful with space heaters in the winter, and every model is at risk of fainting, but I wouldn't describe those risks as scary. It does get interesting and funny at times. Because of our culture's general unease about human bodies first year students often fumble their drawing boards to the floor making a tremendous clatter in an otherwise quiet studio. Sometimes you'll hear two or three of these crashes in the same class. Betsy and I just take it as a compliment. 

Has your perception of the human body or your own body changed after modeling for artists?

Betsy: When I started modeling, I felt confident about being seen nude, though I still had parts of my body I didn't love.  Watching artists draw and paint all of me, representing me as thinner or younger or realistically, and studying my own reactions to their work was instructive to me. I recall seeing a drawing that I felt made my tummy look fat. Then I studied it again, and realized the artist had represented me realistically, and that the womanly curves in my abdomen were acceptable, beautiful even. Seeing the beauty of the drawing as a whole allowed my perception of my body to shift.

I saw the graceful curves of my hips and butt in a drawing by another artist, and realized that I had aspects of beauty. More recently, I was surprised to hear some women artists express delight as they painted my midsection, "Betsy's got such good abs!"  

I came to accept myself, even if there are parts of me I want to change, I accept that all of me is good and worthy. 

David: The takeaway for me is that both female and male bodies are beautiful subjects. Our current culture is biased towards the female body as a standard of beauty, but if you've ever been to a dance performance you'd know that we're missing something. I've learned that bodies are universally beautiful things and I don't need mass media to interpret that for me. 

What do you think of PoseSpace?

Betsy: I appreciate the work of the photographers and models whose photos are up on your site. I went right to your site when I began modeling to find elegant and artful poses, and I return to gain fresh inspiration. I also recommend your site to beginning models who are looking for pose ideas.  

David: The Art Institute of Pittsburgh had all the Live Model Books in the library, and I would have been an idiot not to study the poses. So I did! I also followed the website, with particular interest in the couple poses when Betsy and I started working together. We needed some sort of baseline to figure out how we could model together and not make it too erotic for a classroom. Posespace got there first and was a valuable study tool for us.  It's common to hear our instructors telling the students about posespace.com.  It's a well known resource.

How do you view the current state of art modeling?

Betsy: I am concerned that new models miss the benefit of learning from experienced models. I had a friend who shared important advice and instruction with me when I began modeling. Without her I would have been lost. However, I still had to figure out a lot of details like where to find pose ideas, how long to hold poses, the importance of holding an eye-point to keep from bobbing my head, and how to find poses that wouldn't pinch nerves or over stress muscles. And, I discovered the importance of walking to stay fit and doing yoga to stay flexible.  I share all of these things with my modeling students, and am glad to be able to share the benefit of my experience with them.

David: We are both proponents of training instead of "diving into the deep end" which has been the standard for new models.  A little bit of training makes a class run better for all stakeholders. We have developed a process that starts with classroom simulation, followed by a first real assignment working with a mentor model. The mentor does the first short poses, followed by the trainee. Then the mentor does the first long pose, again followed by the trainee.  This makes the first solo assignment easy.

At PoseSpace we frequently receive messages from people who want to become art models but are scared or don’t know how to start this career. What would you recommend to them? 

Betsy: The first thing I recommend is for a potential model to go to an open studio session in person and watch a model work with an eye to doing it themselves. They may be able to talk with the model during breaks to get their insights. There is nothing better than talking with a working art model.

Here are the basics I tell all my modeling students: First, be safe. Take breaks every 25 minutes for at least 5 minutes. If you ever feel the least bit faint, sit down quickly and safely. Don't worry about alerting the artists or instructor before breaking your pose, just land safely, and put your head down to return blood supply to your brain.  Even fit, young art models faint due to low blood pressure, and the artists will thank you for preventing an injury by breaking your pose.

As to choosing poses, models hold two types of poses: short gestures of from 1 to 5 minutes or so, and longer poses of up to several hours. The gesture poses are meant to present stilled motion —dancing, playing a sport, or having an argument.  The longer poses are meant to be something you can hold and get back into. In both cases, you are always searching for the most dynamic and expressive pose you can hold for the prescribed period of time. You find out what you can hold through experience!  

It always helps to put a twist in your pose. Twisting adds complexity and creates beautiful lines. You might want to try some poses out yourself, and have a friend or partner take a photo with your phone so you can see what the pose looks like.

Probably the most important thing in modeling is to show up for every booking.  If you accept a modelling job and then find you can't work that date -- you change your mind, you get sick, or your car breaks down -- it's critical that you alert the person who hired you. When the model doesn't show up for the session, the artists who have prepared, gotten excited about getting to draw, and taken the time to show up and pay for the session, are left with nothing. It's a terrible feeling. You are like a surgeon. Without you, nothing happens.

David: Best advice is to go talk to a figure model about it. Failing in that, talk to the coordinator of an open studio session. Don't expect to model right away, ask to observe a drawing session and demonstrate that you are reliable and willing to learn.  Many of the men who contact me want to jump right in and get naked, but won't show up for training. That's an instant way to disqualify yourself.  

Do you see yourself as an art model for the rest of your life?

Betsy: I plan to model for as long as I can comfortably work. I have met an 80 year old model and admired his work, but I also know that due to the physical nature of the job, I will probably bow out before I reach that milestone.  

David: Nope! It requires strength and endurance that I won't have forever. I'm lucky everyday that I wake up healthy enough to do this. 

Figure Drawing Meetup: https://www.meetup.com/Pittsburgh-Figure-Drawing/

Betsy’s Art Blog: https://betsyblissart.blogspot.com/

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Interview with Jean-Pierre Leclercq

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“During my forties I joined a few artist’s workshops and discovered that I could draw with pastels”

French artist Jean-Pierre Leclercq defines himself as a traditional painter. He enjoys working with pencils, pastels and oil paint. His work involves romantic symbolism and exalts the female silhouette. Jean-Pierre’s paintings are realistic, delicate and beautiful.

This talented artist started his career in 2003, after turning 40 years old. Leclercq’s hard work and effort, along with the study of the great academic artists allowed him to succeed in his artistic career. In 2012 he was one of the finalists of the 11th International ARC competition and has showcased his work in many galleries and exhibitions in France.

In this Q&A French artist Jean-Pierre Leclercq shares with PoseSpace an interesting story of how he got into art, which artists have influenced his work and how the Art Renewal Center inspired his artistic career:

When did you first know you wanted to become an artist? 

I never really wanted to become an artist. I love art, all kinds of art. I also play music but for me drawing comes naturally. It has always been there; paper and colored pencils were part of my childhood. I didn’t choose an artistic career because mathematics was safer and, since I am colorblind, painting usually ruined my drawings. It was during my forties that I joined artist’s workshops and where I discovered that I could draw with pastels, at first because the colors were written on the sticks, and later I got into painting by selecting the colors I needed carefully and by frequently asking people around me for feedback.

How did you get started with New Realism Art?

My interest in academic painters allowed me to discover the ARC and all this movement of renewal of this painting style. I had the chance to live in Versailles for a long time and I was able to visit the Louvre and the Musée d’Orsay regularly.

Which painters have influenced you? Any contemporary artist?

First the 19th-century painters, French artists like Gérôme, Bouguereau, Lefevre, Cabanel, and others like Waterhouse ou Alma-Tadema. I was also very impressed by an exhibition at the Petit Palais on Sargent and Sorolla. Among contemporary painters, I particularly enjoy Zhaoming Wu and Jeremy Lipking for their lights. I am fascinated by Roberto Ferri’s flesh and I had the pleasure of doing a one-week internship with Shane Wolf who is a great painter and a great teacher. 

Do you have a favorite PoseSpace.com model?

I love Olivia Preston and I am working on a long project with Thea.

Tell us one thing you thought you knew, that it later turned out you were wrong about. 

About the sketch I learned the hard way that you always have to fix the graphite pencil before painting. Besides, I only use charcoal for my preparatory sketches.

Jean-Pierre Leclercq’s website: http://www.jpleclercq.fr

Facebook: https://www.facebook.com/jp.leclercq

Artquid: https://www.artquid.com/artist/jpleclercq/jean-pierre-leclercq.html

Interview and translation by Andrea Miliani. 

Original responses:

When did you first know you wanted to become an artist? 

Je n'ai jamais vraiment voulu être un artiste. J'aime les arts, tous les arts. Je fais aussi de la musique mais pour moi le dessin est juste naturel. Il a toujours été là, feuilles et crayons ont accompagné mon enfance. Je n'ai pas choisi une carrière artistique car les mathématiques étaient plus sûrs et comme je suis daltonien la peinture venait souvent gâcher mes dessins. C'est vers la quarantaine que j'ai intégré des ateliers d'artistes et où j'ai découvert que je pouvais dessiner aux pastels tout d'abord parce que la couleur était inscrite sur les bâtons puis je me suis mis à la peinture en sélectionnant bien les couleurs à utiliser et en demandant régulièrement un retour de la part de mon entourage.

How did you get started with New Realism Art?

Mon intérêt pour les peintres "académiques" m'ont permis de découvrir l'ARC et tout ce mouvement de renouveau de ce style de peinture. J'ai eu la chance de vivre longtemps à Versailles et de pouvoir assez facilement et donc très régulièrement me rendre au Louvre et au musée d'Orsay.

Which painters have influenced you? Any contemporary artist?

Tout d'abord les peintres du XIX, les français comme Gérôme, Bouguereau, Lefevre, Cabanel et d'autre comme Waterhouse ou Alma-Tadema. J'ai aussi été très marqué par une exposition au Petit Palais sur Sargent et Sorrola. Parmi les peintres contemporains, j'apprécie particulièrement Zaoming Wu et Jeremy Lipking pour la lumière. Je suis fasciné par les chairs chez Roberto Ferri et j'ai eu le plaisir de suivre un stage d'une semaine avec Shane Wolf qui est un grand peintre et un grand professeur.

Do you have a favorite PoseSpace.com model?

J'adore Olivia Preston et je travaille sur un long projet avec Thea.

Tell us one thing you thought you knew, that it later turned out you were wrong about. 

A propos de l'esquisse j'ai appris à mes dépens qu'il faut toujours fixer le crayon graphite avant de peindre. D'ailleurs je n'utilise plus que du fusain pour mon dessin préparatoire.

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artwork by Kjetil Hansen