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Art Models – Photos for Figure Drawing

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It's a great way to see how the site works and what you can do with Art Models Poses. Includes 48 photos.

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Life Drawing Demo

Poses for figure drawing & portrait drawing. Choose your view.

When you buy a pose, what can you do with it? This demo shows how 5 of our Poses were used for portrait drawing and full figure drawing. Notice how the photos can be zoomed in and out for details. Plus, interesting angles can be chosen to get the view you want, like the first Pose—Adhira in profile. Models: Adhira, Joe, Edison, Ayame, Thea
Thank you Jackson Konyango!

From Sketching to Sculpture

When you buy a pose, what can you do with it? Here are a few examples.
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Adhira232
Make this

By Aleksandar Tancovski
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IrinaV015
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By Jane Shanahan
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Vaunt203
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By Tim Skinner. We bought this sculpture.

Art You Make is Yours

Maybe you want to sell it; add it to your portfolio; share it online; display it in your home, office, museum, or gallery. You are free to do whatever you want with art created from our photos.

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Latest News Item

New Model Vox

Lots of new poses from the brand new model, Vox Serene. One of the most common request we get is for poses that are casual, relaxed, un-posed. We have attempted that (again) and here is a sampling. How did we do? Many of the models who ask to work with us are in their 20's. Vox, being older than that, brings some very welcome variety to the models offered by PoseSpace.
2019-3-20

From Our Blog

Interview with Brian Smith

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“My work is exclusively focused on the human figure and consequently I have been a longtime fan of PoseSpace”

Brian Smith is a professional artist, award-winning graphic designer, and art professor from Canada. He started his artistic career as a designer in 1969 and created his own business in 1979. Smith and his team earned several design awards and in 2004 he decided to become a full-time artist and focus on his fine art pieces —something he had been already doing on the side for many years.

Soon after leaving his company, Smith gained more recognition as a professional artist. In 2005 he was awarded the title of Honorary Drawing Master by the Drawing Society of Canada, in November 2008 he was named Artist of the Month by American Artist magazine and even got featured on TV on the show "Star Portraits" in 2009. Brian has also been teaching life drawing, portraiture and figurative abstraction for over 30 years in colleges and universities in Canada —such as the Ontario College of Art and Design University and the Haliburton School of The Arts—, as well as at his own studio.

“Underwraps - Secret” by artist Brian Smith 


In this Q&A Canadian artist Brian Smith shares with PoseSpace how he got into art, what artists influenced his work, how he discovered figurative abstraction and what he always says to his art students:

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

I am very fortunate to be the son of a full-time artist. My mother was a fashion illustrator and spent her working days as well as her time off, drawing people. So it was natural for me to become enamored with the idea of figurative work. At the age of 21, I was accepted directly into 2nd year on full scholarship at the Ontario College of Art and Design, graduating in 1969. Over the next 37 years I was a professional graphic designer including running my own business from 1979-2004, and my staff won over 90 international design awards over that period. In 2004 my two senior employees bought the company and I was then able to focus more on my fine art work that I had been doing all along in the background. From 1985 to the present I have been teaching drawing and painting the figure at several post-secondary colleges and universities as well as conducting workshops across Canada and a Master Class in my own studio.

Which artist or painter has influenced you?

Many of my painting influences are figurative abstractionists such as Richard Diebenkorn, Eberhard Hückstadt, Melinda Cootsona, Harry Paul Ally, Carmel Jenkin,  and Kathy Jones. My drawing influences are much more classical and include Pierre Paul Prud’hon, Edgar Dégas, Alphonse Mucha, Anthony Ryder, and Zhaoming Wu.

You’ve earned several awards. From your personal view, what’s been your greatest artistic success?

In January 2005, I was awarded the title of Honorary Drawing Master by the Drawing Society of Canada. Gerrit Verstraete, co-founder of the Drawing Society, noted that to receive this honour, an artist must “demonstrate a substantial commitment to drawing as well as mastery of drawing techniques. They have developed a body of work that positions drawings as complete works in themselves and not just preparatory work or ‘studies’ for paintings. A Canadian drawing master is an artist who loves to draw, who draws well, who is comfortable in one or any number of styles and who has spent many years creating drawings that in turn have become valuable contributions to Canada’s overall artistic heritage.” Previous inductees have included Robert Bateman, Peter Mah, Eric Freifeld and Ken Danby. Pretty good company.

What do you think of PoseSpace? Do you prefer books or individual poses?

My work is exclusively focused on the human figure and consequently I have been a longtime fan of PoseSpace. I am fortunate to live in a large metropolitan area and have fairly easy access to many excellent models. However, PoseSpace offers me the opportunity to choose different model "looks" and poses at a price that is very reasonable. One of the features I most like is the ability to see the pose from 16 angles and choose my pose from the various nuanced angles. Most of my PoseSpace purchases have been books/DVDs which give me an even further discounted price as well as so many more poses and angles.

Michaela reclining” painting by Brian Smith based on model Michaela (image shared by artist)


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

For the first 40 years of my fine art career I focussed on classical red chalk drawing of the figure much like da Vinci and Michelangelo. And, as I improved my skills over those years, I thought I had reached a pinnacle in my art. In 2002 I discovered figurative abstraction thinking: "How hard can abstraction be?" However, after 40 years of accurate, proportional, well-rendered figures, I discovered I knew nothing about abstraction and that it was immensely more difficult, more challenging, and therefore, more rewarding than lifelike, classical drawing. So, here I am at 74, deeply in love with being an artist and challenged every day I go to my studio to create work that is meaningful and maybe just a little bit better than the art I did yesterday.

How has your style changed over the years?

As I mentioned, I was classically trained in the typical red chalk drawing style of da Vinci and Michelangelo from the time I was 18 years of age. My goal for the next 40 years was to develop that specific skill in order to capture the essence of the model in a classical drawing. I still do classical drawing every week and I do regard it as the foundation of all my art. However, when I was invited to be a member of a 3-person exhibition at a major Toronto gallery, we decided (out of the blue) to spend the year leading up to the opening date, being more abstract in our work. The other two artists seemed to understand what "more abstract" meant and showed some very exciting and strong work. I, however, clearly had no idea how difficult abstraction would be and consequently, my work paled beside the other two artists. And the challenge for me began. Over the past nearly 20 years, I have explored figurative abstraction, bumped soundly into dead ends, thrown away a serious amount of canvas and paper, and have

also had some very exciting results. And I continue to grope my way into a style that I enjoy and that gives me satisfaction without becoming formulaic. Life is good!

What advice would you give to young artists just starting their careers?

I tell my students all the time to "Show up for work!" The great thing about being an artist is that, if you want to be a better artist, you simply do more art. So, show up for work as often as you can —even if you are not working on "the big project"—, just show up and work/play at your art.

Brian Smith’s website: http://www.drawn2life.com

Facebook: https://www.facebook.com/briansmith.aoca

Instagram: https://www.instagram.com/briansmith.aoca/

Twitter: @briansart

Interview by Andrea Miliani

To see media content (like video), go to the Full Post

Interview with Roy Stanton

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“My interest in the human figure as a subject is at the absolute foundation of what I enjoy doing as an artist”

Roy Stanton is a talented American artist based in Florida. Even though he has been interested in art ever since he was a little boy, he also studied Zoology in the University of Florida and worked as an animal trainer at the Busch Gardens Zoo for a few years. Later, Stanton took a different path in his professional career and started painting and sculpting, followed by studies of Digital Art and Computer Animation at the University of Washington.

Stanton is also an actor with a solid background in stage and film. He played Major Joe Williams on SyFy original series “Z Nation”. His interest in horror, science fiction, and fantasy is also present in his sculptures, paintings and graphics. This artist’s most recent solo show at the West of Lenin gallery in Fremont was called “Heroes, Villains and Monsters”.

Frankenstein by Roy Stanton (image shared by artist)


In this Q&A artist Roy Stanton shares with PoseSpace how he got into art, what he has learned on open studio sessions, who are his favorite living artists and why Vaunt is his preferred model:

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

Having a father who was a frustrated graphic artist (his family never encouraged him to follow through on the goal) meant I was exposed to drawing at a very early age through the pieces he would create at home, and I think being a fairly shy child meant I would spend more time on my own drawing than playing outside with other kids. Even so, I think a book my older sister gave me, “The Great Comic Book Heroes”, was the catalyst that really set up artwork as a permanent part of who I am. In fact, my earliest career aspiration was to be a comic book artist. That changed when I discovered and started paying attention to fine art and pop art, realizing the potential of telling stories and communicating ideas through a single image. My interest in sculpture came later and for a time dominated my artistic endeavors, but, eventually, I found that the enjoyment I get from simply putting pencil to paper and drawing is, for me, really unmatched by any other artistic pursuit.

As for making a living from it, ultimately I'd say that I'm a semi-professional artist, in that I've never solely made my living by it, but at times it has contributed a great portion of my income.

You’ve been attending an open studio on weekends, what have you learned throughout this experience?

I think the biggest lesson I've learned is the extremely valuable use of a model in creating imagery. For many years, after completing my formal instruction, I was doing work without using a model of any kind. In some cases I just didn't have access to one, but other times I simply was so taken with an idea I would dive in and ignore the step of working out a pose with a model. I wouldn't say that was detrimental, but going back to an open studio I was reminded of all that I had forgotten from not looking at a model. By the same token, when I discovered the PoseSpace website and started using the photos as reference, it was a similar revelation: it told me what I didn't know, and helped me to polish my skills in composition and basic figure drawing.

Do you have a favorite PoseSpace.com model or book?

As a matter of fact, I do; I love using Vaunt for a lot of my prelim sketchwork. She does some terrific pose work and has a body and face type that I like using in my painting and sculpture. I often get a "femme fatale" vibe from her, and those tend to be the females I like to depict: ones that have an edge and some complexity to them.

Drawing of model Vaunt by Roy Stanton (image shared by artist)

What are your goals or aspirations as an artist?

I think at this stage of my artistic life I'm more open to exploration than ever before, and am trying out new media as well as technique. I still have a strong interest in portrait work, but I'd like to get back to a little more symbolism in my paintings and re-acquaint myself with oil in creating those images. I have been greatly inspired by my new home in south Florida as well; we're surrounded by amazing wildlife, birds in particular. I think I'd like to capture many of the birds as the subjects of my new portraits. That doesn't mean I won't be using people in my art as well, I think my interest in the human figure as a subject is at the absolute foundation of what I enjoy doing as an artist, so I can guarantee that I'll be continuing to utilize open studio and PoseSpace as resources for future work.

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

I have three that stand out in particular: Kehinde Wiley, because his paintings are monumental, yet retain an unmistakable sense of life; and in the less "fine art" realm, Adam Hughes and Alex Ross. Hughes is a master of form and pose, while Ross brings a realism and humanity to his watercolor work that is unmatched.

Where do you get your imagery from?

Predominantly from the twisted avenues of my own mind. It's a pretty wild time in there, I gotta tell you.

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

I think that would have to be the notion that there was an endpoint in growing as an artist; that the education would, at some point, be over. Completely wrong. To be honest, I find that each image, at its beginning, holds the same excitement as the first, and the same challenges. Will it work? Can I accomplish what I want? Granted, I have the benefit of experience to bolster me up when those concerns pay me a visit, but I have to say that getting that little bit of uncertainty definitely keeps boredom from setting in. Give me a new problem to wrestle with, a new challenge to solve, and I'm a very happy artist.

Roy Stanton’s Facebook: https://www.facebook.com/TheArtOfRoyStanton/

Deviant Art: https://www.deviantart.com/roystanton

Interview by Andrea Miliani

To see media content (like video), go to the Full Post

Interview with Carol Heyer

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“I really enjoy being a freelance artist, spending my time working on the things I love”

Carol Heyer is an American full-time illustrator and writer who usually combines fantasy, sci-fi and realism in her work. She has created 30 children’s picture books—among them Humphrey's First Christmas and Once Upon a Cool Motorcycle Dude— and has earned several state awards. She has also worked for prestigious companies such as Disney and Scholastic, and even wrote Thunder Run, a film released by Cannon Films.

Her rescued dogs, Peanut and Cashew Nut, are her studio companions and coworkers. This talented freelance artist is constantly working on new projects. A few months ago, Heyer’s painting for a fantasy series, "The Root Doctor", won a Finalist Award in the CFA, The Circle Foundation For the Arts contest.

“Rootdoctor”. Fantasy Art 30 inches by 40  acrylic
 /Circle Foundation of the Arts Finalist (image shared by artist)

In this Q&A artist Carol Heyer shares with PoseSpace how she got into illustration, who are her favorite artists, how PoseSpace helps her develop her art and what life experiences influenced her work:

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

My mother was a great artist and she taught me how to draw when I was a young child. She instilled a love of art that never left me. My father was artistic too.  He made gold rings cast from wax forms. Eventually he started making contemporary sterling silver jewelry. I learned jewelry making from him and made jewelry for a few years.

I took art in high school and then when I went to college, they asked me what my major was, I said art and I’ve never stopped painting and drawing.  I work mainly with acrylic paint on portrait canvas and prefer working larger, at least 30” X 40”.

Which artist or painter has influenced you?

There are so many, but I think my all-time favorite is still Maxfield Parrish. I love his colors, the contrast between cool and warm. I also like N.C. Wyeth and Andrew Wyeth.

Alla Prima, or direct painting is a style I really appreciate, and among the artists I admire are Richard Schmid and Tibor Nagy.

Have PoseSpace photos and books helped you in your artistic career?

Definitely! For years now, I’ve bought all of the books offered and many, many of the individual poses and sessions for various freelance assignments I’ve worked on.

How?

Well I’m a full time illustrator with little time to hire models. So I take full advantage of PoseSpace and all of the amazing photos. I’ve painted angels, and wizards, book covers, educational art et al. I always say I’ve painted everything from bookmarks to book covers!  I prefer to work realistically and having great reference is essential for me to get the results I’m after. I often take several PoseSpace images and meld them together to fit my composition.

Angel drawing by Carol Heyer based on michael 022—01 (image shared by artist)

What is the importance of gesture drawing for you?

Figure drawing is really important in all my work. Gesture drawing brings a spark of movement and energy to all of my illustrations, from humor to realism.

Do you have any shows or activities on the horizon that you’d like to tell our readers about?

I was invited to show my art at in the TRAC 2019 Invitational Show, (The Representational Art Conference). I currently have three paintings on display.  The name of the show is Imagine and the art leans toward fantasy, which is my specialty. Among the artists showing are Boris Vallejo, Julie Bell and Roger Dean, etc. all artists at the top of their field.  

I’m also working on a new children’s Halloween picture book and I’m having so much fun creating the characters and writing the text.

I like to have at least three easels going at the same time.  I.E., one with fantasy art, another with children’s illustration and of course one with my current assignment.  If I find I get bogged down on one painting, I switch to another and work on it for a while. Then I can go back to my original work with a fresh eye.

What life experiences have influenced your work?

I worked for several companies in their art departments, including a movie production company. There I worked on story boards and production art, as well as writing. One of my scripts Thunder Run was produced and released in theatres. Another was produced and released to video. I worked there for some years before going out on my own to become a freelancer, illustrating and writing children’s picture books et al.

I really enjoy being a freelance artist, spending my time working on the things I love.

Carol Heyer’s website: http://www.carolheyer.com

Facebook: https://www.facebook.com/carol.heyer.7

Twitter: https://twitter.com/carolheyer

Pinterest: https://www.pinterest.cl/carolheyer/boards/

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

Interview by Andrea Miliani

To see media content (like video), go to the Full Post

Interview with Tiziano Gilardoni

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“I’m convinced that art is a continuous flow”

Tiziano Gilardoni was born in Italy in 1974 and is currently living in a small town near Milan. He is a self-taught artist who creates beautiful sculptures using modeling clay and plaster. Even though his favorite expressive medium is sculpture, he is also a talented photographer and painter.

After studying Gilardoni’s work, anyone can understand the value that this artist gives to lines, light, textures and emotions. He can capture images of the Uriezzo Gorges and make viewers admire nature’s composition or draw a nude female model and encourage people to praise her or sculpt a mermaid and arouse powerful feelings in the audience.

“The Mermaid”, sculpture by Tiziano Gilardoni (image shared by artist)

In this Q&A artist Tiziano Gilardoni shares with PoseSpace how he discovered sculpting, how Rodin influenced his work, who is his Art Model muse and how he explores different styles:

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

If I look back to my childhood I remember I took in my hand a brush earlier than a pencil. There is no precise time in my life when I decided that. When I grew up I attended technical studies but I never stop drawing and painting during my free time. Then there have been times in which I worked nonstop on many projects in parallel and times when I created very few works.

I’m not sure I’m an artist... of course, I produce something that could be addressed as pieces of arts in the common sense, but I think that this definition should have deeper implication in the social impact of the works, time will tell.

You draw, paint, sculpt and even do photography… how did you develop all of these artistic skills?

I used to be a self-taught painter and an amateur photographer until I decided to attend a part-time 2 year course at the Italian Institute of Photography in Milan (IIF). This gave me the motivation and the critical view to seek harder for the topics and the fields of expressions I really felt belonging to me. Then in the following three years I attended some courses in the local art academy to improve my technique in life drawing. And in the meanwhile I discovered sculpting, that has been literally a revelation: I’ve never considered that could fit my way of expression until the first time I modeled a piece of clay, and from then on I realized it was the most natural and comfortable way for me. It has been the real driver to study human anatomy.

I’m convinced that art is a continuous flow: after a while that I deal with the same subject or the same technique I feel that I’m becoming self-referential, therefore I try to focus on a different topic, to experience something new or I even jump from sculpting into photography or drawing. And each project has its proper language that best fit to it: one shall be expressed by drawing, another could only be represented by a statue, and a third can only be a black and white photo. In the end, I started developing some skills to find my way, now I try to learn new skills that could fit the ideas I have in mind.

Which artists have influenced you?

I saw the marble of The Kiss at an exhibition in Milan, I started turning around it and I would never stop... in that time I understood that Rodin would have been my reference for sculpting. Sculptors can be divided in two groups: those who create a statue with a main view, and those who think that all the point of views are equally important. Rodin belongs to the second, and me too. When I work on a figure I want it to communicate something from each point of view: as long as the observer turns around it he/she should find new details, a foreshortening that provide an impression never felt before, or an unfamiliar point of view that compel him/her to stop and look again, literally a physical journey around it.

And then I like the color and the technique of Redon, the “flat” fields of color of Gauguin, the portraits of Helmut Newton, the atmospheres of Jeff Wall and the high contrasts of Salgado.

Do you have a favorite PoseSpace model or product?

The one I used most is the pose set of Vaunt. I liked this shooting very much because the poses fit pretty well with the ideas I had in mind, both for sculpting and drawing. But I also have some paper book as reference, I usually go through them when I have some new project in mind and I want to figure out the right posture and details.

“A World Apart” sculpture by Tiziano Gilardoni (image shared by artist)

Do you have a favorite source of materials?

I like to go to exhibitions and look at the work of other artists, and I also look at art sites on the web. All these provide me suggestions and techniques for future experiments. But the ideas for my projects usually come from everyday life and go through a long process of sedimentation and rethinking, only when I have clear in mind what I want I finally start working.

How has your style changed over the years?

I like figurative art and even if sometimes I explore new combinations, I think I will remain linked to figurative topics. And I’m moving towards simplification, both in subjects and shapes. Looking back to the last years I know that I usually oscillate between “color” and “monochrome” times: I really like powerful colors, when I decide to work with then I privilege saturation and vividness, they really become the key point of the composition; then after a while I come back to the monochrome, especially when I use photography, it is a kind of catharsis to clean the mind from the resonance of colors and prepare myself for the next step.

Tiziano Gilardoni’s  website: http://tizianogilardoni.weebly.com

Behance page: https://www.behance.net/tgilardoni7801

Interview by Andrea Miliani

To see media content (like video), go to the Full Post

Interview with Joseph Pearson

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“I believe in the power of art to provoke and expand society’s re-imagination”

Joseph Pearson is an American artist based in Asheville. He paints people and figures using pastel pencil, charcoal and oil. His art embraces the social realism concept: he enjoys drawing scenes from the street and mirroring a reality. In this artist’s paintings, you can find a woman in a coffee shop scrolling through her smartphone or a young boy getting a haircut in the barbershop.

Pearson recently held an exhibition in a private high-school called "Thoughts on the Times: Reflections on Today's Current of Racial Injustice and Violence in America" and he was pleased when he realized that the young students understood his work. He believes that art can heal and open minds.

Gesture drawing of Anarebecca by Joseph Pearson (image shared by artist)

In this Q&A artist Joseph Pearson shares with PoseSpace how art helped him to express himself, what artists influenced his work, details about the art-making process and his greatest achievements:

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

My background in art started when I was about 4-5 years old. I copied the illustrations in an old Sears and Roebuck catalog. I loved the idea of being able to make a figure from lines and shade. As a child and into adulthood I was an extremely shy person. Drawing allowed me to express myself in ways I couldn’t say in words and still does. The nude human figure has been a staple of artist training for hundreds of years. It is the most challenging and to me the most interesting subject. I especially love the female form for its grace, curves and sensuality and natural beauty. In addition, the figure allows me to connect with other humans in the expressing of my ideas because of our common humanity.

What are your goals or aspirations and which artists have influenced your work?

I believe in the power of art to provoke and expand society’s re-imagination. Throughout history, the arts have played a pivotal role in the expression of viewpoints and in influencing a change of perceptions and ideas about a given subject. That’s my goal as an artist. My major influences are the social realist artists, especially those of the old WPA (Works Project Administration) under President Franklin D. Roosevelt.

I had the honor of training with and being the friend of the late Hughie Lee-Smith, one of those artists. I love the works of the Charles White, Elizabeth Catlett, Jacob Lawrence.

I love Thomas Hart Benton, Raphael Soyer and many others of this school. Edward Hopper is one of my all time favorites!

How did you discover PoseSpace?

I discovered www.posespace.com searching for figure drawing resources.

Charcoal drawing of model MikaM by Joseph Pearson (image shared by artist)

Can you tell us about the process of making your work?

My art making process starts with an idea I want to express, this may be something I read, hear in the news or just an idea that comes to mind. Then I gather source material to develop the idea. If the final product is to be a drawing I may keep it gestural or I may develop it further depending on the idea I want to convey. It all starts with gesture, gesture is everything! That’s what I practice most from posespace.com.

I paint people as portraits and figures. I work in oil, charcoal and pastel pencil. I am a muralist and printmaker.

What has been your greatest artistic success?

My greatest artistic success(s)... there have been many. Most recent is having had an exhibition at a private high school where I addressed social injustice and the kids got it! That’s the power of art! Prior to that I had the honor of painting a mural and doing four charcoal portrait drawings for a very popular downtown restaurant here in the city. 1971 as an art student at the Art Students of New York I was awarded a full scholarship to attend this venerable institution! In 1998 I was awarded the prestigious Pollock-Krasner Foundation of NY grant. In 1999 I Commissioned by the White House Historical Association to represent the state of MS in celebrating the 300th anniversary of the White House (2001 calendar). There are many other activities I count as major success that can be found on my website.

Joseph Pearson’s website: josephart.net

Facebook: https://www.facebook.com/pages/category/Artist/Joseph-Pearson-Artist-1785168475036811/

Interview by Andrea Miliani

To see media content (like video), go to the Full Post

Choose Your View


artwork by Kjetil Hansen
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Choose your view: You get all the views in high resolution, which lets you choose the one you like best and zoom in for details. Or use multiple views—like Kjetil Hansen did in this artwork—and reference them again and again; all for just $5.99 (or less) per Pose.

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About Live Model Books

Live Model Books serves artists, illustrators, and anyone who needs a human figure reference with high-quality full-color photos of the figure in 360-degree rotation. Our books, disks, and downloads make it easy for artists to get just the pose they want, exactly when they want it and at an affordable price.

Through our Art Models project, we seek to help people further their understanding of the human form by providing quality reference material that can be studied at length and in close-up detail.

One of the ways we do that is through the use of lighting, studio space and camera settings designed to create images of the human form that comes as close as possible to what you would see if you were standing in the studio with the models. Another is by providing a variety of formats that make the images both affordable and convenient—no matter how you choose to work.

The human figure is a challenging subject. It is a complex form of light and shadow, with subtle variations in color and texture, possessing both complex angles and smooth curves and all interacting in an endless variety of configurations. That is challenging enough but for many people learning the figure is complicated even more by social taboos that make it difficult to find nude art models to study. This fact makes an already challenging subject even more difficult. That is a problem we wish to solve and, as a result, we hope to encourage more and better figurative art.


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