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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!

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Jesse003 figure drawing art model. Find it in your pose Library when you create a new login.
Jenni026 figure drawing art model. Find it in your pose Library when you create a new login.

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Just create a login then go to the Library to download Jenni026 and Jesse003.

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

From Sketching to Sculpture

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Sample artwork created using our figure drawing reference photos
By Aleksandar Tancovski
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IrinaV drawing pose reference
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Sample artwork created using our figure drawing reference photos
By Jane Shanahan
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Vaunt drawing pose reference
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By Tim Skinner. We bought this sculpture.

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New Model AlyssaD

Lots of new poses from the brand new model, AlyssaD. She is another naturally redheaded model. As usual, we did a mix of relaxed natural positions as well as "posed" artistic poses.

From Our Blog

Interview with Dagmar Cyrulla

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“I enjoy making work that captures some of the things I have seen, reflected upon and learnt from”

Artist Dagmar Evelyn Cyrulla was born in Germany but grew up in Australia. Ever since she was a young girl, she enjoyed drawing and observing. She describes herself as an empathetic person, and empathy is one of the strongest feelings the viewer can experience after observing one of her paintings. This talented artist knows very well how to represent “snapshots of time” on her work and how to combine modernity and human nature through brush strokes.

“The Couple” by Dagmar Cyrulla, oil on linen 500 x 700mm (image shared by artist)

Cyrulla earned her Bachelor of Visual Arts in 1987, her Masters of Fine Art in 2009, and explained that she is constantly learning. Her work focuses on women and relationships, and she is always personally and emotionally connected to the concepts and ideas she represents. Australian and International media and institutions have recognized the value of Dagmar’s work over the past few years. This 2019 she was a finalist or winner of around 9 prizes and competitions. 

In this Q&A, artist Dagmar Cyrulla shares with PoseSpace how she found her artistic voice, what life experiences have influenced her work and the most exciting moments of her career:

You earned your Bachelor of Visual Arts in 1987 and you’ve been studying and painting for many years. When did you first know you wanted to become an artist? 

I studied my masters of fine art at Monash University Melbourne so I probably didn’t find my artist voice until then. I had great teachers in high school. So after high school I wanted to be an artist, but found it difficult to find my feet at university. My upbringing was very sheltered, so I never felt right in the university culture. After my first art degree I went on to study architecture, I think I did 4 years part-time or something like that. In hindsight I didn’t have the life experience to see that I could make a career through my painting and also felt I had to prove to my father that I was smart. I have found those skills handy, but we all have our individual journey. I have always drawn and painted and my family is creative: sewing, music, singing, etc. I would spend every day if I could on my floor drawing and I rarely watch television unless I am drawing. But I think that art is a direct reflection of personal growth and maybe I needed to grow before I found my voice. 

Studio session by Dagmar Cyrulla (image shared by artist)

Your work is about feelings. Why do you think you like to capture those “snapshots of time” in your paintings?

I think I am very empathetic. I think that comes from lots of self-reflection. I tried to really work out why I paint interior snapshots and why they are relationship based without just giving you a glib answer.  So I thought I would share some of my past with you. We (my mum, dad and two siblings) were immigrants who held on to our German culture and customs more than Germans. I guess because you are in a strange land and want to protect the family.  My father was working hard to make ends meet and we were very insular. There were never any babysitters. We rarely went out for a meal, mum would always cook and it was a very disciplined household. When I was 5, my grandfather came to Australia to visit and he loved the stories I would tell. So I went to live with them for a year in Germany near Stuttgart as he wanted to show me off to my grandmother. I went by myself. My brother and sister remained in Australia. From my parents perspective, they were giving me opportunity. A year passed by, I attended school in Germany and then all I remember is that I was badly behaved and the next minute my father was there to reprimand me and take me home again. Well, that is how I remember it. So I think there were a few things going on for me at that point. One, I had my father all to myself on the way home which I loved. Secondly I couldn’t speak English so I think that heightened my visual senses and observation. I also retracted into a world where I drew a lot. So as I grew up I was trying to work out my own family dynamics and relationships within that circle. I think I realised that life is about choice and that just because certain rituals happen in our house, it doesn’t mean that it is the norm. To distinguish something allows you the freedom to make the choice, rather than being trapped in a paradigm. I also believe that you need to adopt an attitude of continual learning. I enjoy making work that captures some of the things I have seen, reflected upon and learnt from. I love it when the viewer brings their stories to my paintings and loses themselves and maybe has an epiphany of their own. 

“A moment III” by Dagmar Cyrulla, 92 x 92 cm, 2009 (image shared by artist)

You have earned several awards and recognitions, what have been the most exciting moments of your career?

The exciting moments of my career is when an artist comes up to me and says they love the way I paint and really connect with the work. It is like someone really understands you, speaks the same language. It also gives you a sense of connection. I think we are all still looking to connect with a tribe, without life there is no art.

What do you think of 

I love It is fantastic. I came across them when I needed reference material for a sculpture or painting because the model couldn’t be here. It is a terrific artistic aid. The only suggestion is that sometimes, it would be great to have the hair up for a pose as well as down, when I sculpt I need to see a few more muscle connections, but other than that it is fabulous, I love it.

Sculpture by Dagmar Cyrulla (photograph shared by artist)

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

I am often wrong about things, I hope I always will be as that is the only way to learn. I can not list one thing.

Which artist or painter has influenced your work?

Many painters that have influenced my work. There are so many that I look at depending upon what I am searching for in my own work. Specifically Eric Fischl, Velazquez, Degas, Jenny Saville… there are so many amazing painters who inspire and teach me things.

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

I am in the 30 finalists again for the richest portrait prize in the world - the Moran Portrait prize. My portrait of the Global Fashion Designer Kym Ellery is being exhibited. I was 'Highly Commended' a few years ago, a category which they introduced as a one off as the judges couldn’t decide. That is pretty exciting.

Dagmar Cyrulla’s website:


Interview by Andrea Miliani

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Interview with Sergio Ribeiro

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“Being an artist implies traveling thousands of miles, art must be taken out of the studio”

Artist Sergio Ribeiro was born in Lisboa, Portugal, and moved to Spain at a young age. His passion for art started when he was a little boy, his father and grandfather were craftsmen. Later, he had several art teachers and his passion for art encouraged him to travel and discover new cities: Roma, Paris, Amsterdam, Buenos Aires, Florence, Marrakesh, Berlin, Madrid and more.

Portrait by Sergio Ribeiro /  80x60 cm from series “Mujeres en intimidad” (image shared by artist)

Ribeiro learned different techniques and discovered his preferred mediums: oil and acrylic painting. His work combines movements such as expressionism and impressionism, and his life experiences also influence his work. This talented artist has earned several awards in speed painting contests and has participated in different exhibitions around the globe. 

In this Q&A artist Sergio Ribeiro shares with PoseSpace what he loves about oil painting, what life experiences have influenced his work and shares great tips for young artists interested in speed painting: 

You were interested in art since you were a little boy, and tried different mediums. What motivated you to be particularly interested in oil and acrylic painting?

When I work in the studio I like to use oil applying a bit of alchemy; when I paint live or when I go to speed painting competitions—something usual in Spain—, I paint with acrylic because of the ease of drying, although I don't always do it, sometimes I use oil. If you give me a choice, I keep the oil. It is brighter and more durable in time. Acrylic colors usually lose tone and shine when dry, but, with a finishing varnish, they can be recovered again.

You have traveled and visited many countries and cities. Do you remember any particular experience or anecdote that has influenced your artistic work?

Being an artist implies traveling thousands of miles, art must be taken out of the studio. Participating in speed painting competitions and art fairs have given me the possibility of touring many countries, cities, and towns. I remember, with special affection, my participation in the Art Shopping Carrousell du Louvre in 2017 (Paris). It was a pleasant experience, full of glamor and passion for art. It changed the way I approach the work that comes after the creation of an artwork. It was also the best way to see in situ what is being done today worldwide.

You have created groups for artists. Why do you think it is important to have these communities?

It could be summarized in one word: Sharing. The idea of creating groups of artists was born after seeing that there is a lot of individualism and secrecy and little desire to help those who start. Having a group of artists gives me the possibility to share my acquired knowledge, after years of experience, and, at the same time, learn from all my colleagues. Also, having a group of artists allows you to develop educational and informative activities, organize collective exhibitions, pictorial meetings, competitions, art magazines, and endless activities.

What do you think of

I love it and I recommend it whenever I can. For an artist, it is not always easy to have a live model. At you have a wide and great variety of models with many possibilities and download options, high-quality image and in large formats; essential things for artists who like to see all the details, nuances, etc.

Painting practice by Sergio Riberio inspired by Jesse014 (image shared by artist)

What contemporary artists do you admire?

I like many, but I could highlight the techniques of  Tibor Nagy or Jeremy Mann and I like the ideas of Banksy.

What life experiences have influenced your work?

I think that life itself is already a worthwhile experience, and the experiences that we accumulate over time are reflected in your work. Therefore, the more intense and enriching your life is, the more authentic your work will be. Two experiences that changed my life were: a traffic accident left me in a wheelchair and the other was to do the Camino de Santiago.

You have won speed painting contests. Can you share some tips for young artists who are interested in this technique?

Speed painting contests are like intensive training art schools. Many tricks are learned and ideas are shared, seen and copied.

Live painting is the best school for an artist. I recommend participating in these competitions and not giving up after the first failure, because at the beginning it is a bit hard to create a large-format artwork in just a working day, but with practice and a little patience it is achieved. The best advice is daily work and perseverance.

Artist Sergio Ribeiro painting in Vilanova de Arousa, in Galicia, Spain (photo gallery)

What are your next goals?

Although I feel fulfilled as a person, there are always goals that I set every now and then and that should never be lacking in someone’s life. Setting goals helps me move forward. You must always have dreams to fulfill. I would like to have a residence for artists. A big building with industrial warehouses. A huge place that serves as a workplace, a space to train new artists in different disciplines and for seasoned artists, a space to exhibit. A place that is avant-garde but above all that is extensive. The eternal problem of artists: space. In Germany they have taken advantage of old industrial areas as areas of contemporary art, locations to create, test new trends.

Sergio Ribeiro’s website:


Interview by Andrea Miliani

Spanish Interview (original version)

Desde niño se interesó en el arte y conoció distintos medios. ¿Qué lo motivó a interesarse particularmente en el óleo y la pintura acrílica?

Cuando trabajo en el estudio me gusta usar óleo aplicando un poco de alquimia, cuando pinto al natural o cuando voy a concursos de pintura rápida, algo habitual en España,  pinto con acrílico por la facilidad de secado, aunque no siempre lo hago, hay veces que uso óleo . Si me das a elegir, me quedo con el óleo. Es más luminoso y duradero.en el tiempo. Los colores acrílicos suelen perder tono y brillo con el secado, aunque con un barniz de acabado se pueden volver a recuperar.

Ha recorrido muchos países y ciudades. ¿Recuerda alguna experiencia o anécdota en particular que haya influenciado su trabajo artístico?

Ser artista implica recorrer miles de kilómetros, el arte hay que sacarlo del estudio. Participar en Concursos de pintura rápida y en ferias de arte me ha dado la posibilidad de recorrer infinidad de países, ciudades y pueblos. Recuerdo con especial cariño mi participación en Art Shopping Carrousell du Louvre en el año 2017 (Paris). Fue un grata experiencia, llena de glamour y pasión por el arte. Supuso un cambio en mi forma de enfocar el trabajo que hay después de la creación de una obra y la mejor manera de ver in situ lo que se está haciendo a día de hoy  a nivel mundial.

Ha creado grupos para artistas. ¿Por qué le parece importante construir estos espacios?

Se podría resumir en una sola palabra: Compartir. La idea de crear grupos de artistas, nace después de ver que existe mucho individualismo y secretismo y pocas ganas de ayudar a los que empiezan. Tener un grupo de artistas me da la posibilidad de compartir mis conocimientos adquiridos con los años de trabajo y a la vez, aprender de todos los compañeros. Además, tener un grupo de artistas te permite desarrollar actividades formativas e informativas, organizar exposiciones colectivas, reuniones pictóricas, concursos, revista de arte y un sinfín de actividades en conjunto.

¿Qué piensa de nuestro sitio

Me encanta y la recomiendo  siempre que puedo. Para un artista no siempre es fácil disponer de un/a modelo al natural y en tienes una amplia y gran variedad de modelos con muchas posibilidades de trabajo y opciones de descarga, gran calidad de imagen y en formatos de gran tamaño, cosas imprescindibles para artistas que nos gusta ver todos los detalles, los matices, etc.

¿Qué artistas contemporáneos admira?

Me gustan muchos, pero podría destacar las técnicas de Tibor Nagy o Jeremy Mann y me gustan las ideas de Banksy.

¿Qué experiencias de vida han marcado su trabajo?

Creo que la vida de por sí ya es una experiencia que merece la pena  y esas vivencias que vamos acumulando con el paso del tiempo quedan reflejadas en tu obra. Por lo tanto, cuanto más intensa e enriquecedora sea tú vida más cargada de autenticidad será tu obra. Dos experiencias que marcaron mi vida fueron:  un accidente de tráfico me dejó en una silla de ruedas y la otra fue hacer el Camino de Santiago.

Ha ganado concursos de pintura rápida. ¿Puede compartir algunos consejos para los jóvenes artistas que se interesan en esta técnica?

Los concursos de pintura rápida son como escuelas de arte intensiva. Se aprenden muchos trucos, se comparten ideas, se ve y se copia.

Pintar del natural es la mejor escuela para un artista. Recomiendo participar en estos concursos y no abandonar al primer fracaso, porque al principio cuesta un poco resolver una obra de gran formato en una jornada de trabajo, pero con la práctica y un poco de paciencia se consigue. El mejor consejo es,  trabajo diario y constancia.

¿Cuáles son sus próximas metas?

A pesar de que me siento realizado como persona, siempre quedan objetivos que me marco cada poco tiempo y que nunca deben faltar en una persona. Marcarse objetivos me ayuda a seguir adelante. Siempre debes de tener sueños que cumplir. Me gustaría tener una residencia para artistas. Un gran edificio, con naves industriales. Un sitio enorme, que sirva de lugar de trabajo, un espacio para formar a artistas noveles en diferentes disciplinas y para artistas consolidados, un espacio para exponer. Un lugar que sea  vanguardia pero sobre todo que sea grande. El eterno problema de los artistas: el espacio. En Alemania han sabido aprovechar las viejas zonas industriales como zonas de arte contemporánea, donde crear, poner a prueba las nuevas tendencias. 

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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.

“Manage our Xpectations” by Daniel Miller inspired by vaunt035  (image shared by artist)

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".

Artist Daniel Miller working on the sculpture
 for film "Chronicles of Riddick" (photograph shared by artist)

   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.

Sculpture by Daniel Miller  for The Chronicles of Riddick (photo shared by artist)

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.

“Morning” by Daniel Miller. Image shared by artist

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.

“Introspection” by Daniel Miller inspired by vaunt043  (image shared by artist)

Daniel Miller’s website:

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. 

Photography shared by model Julian Lewis

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

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:

Interview by Andrea Miliani

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

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.

“Volando di Nuovo Sulla Luna” by Lente Scura, inspired by model Ginger (image shared by artist)

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.

“Bellezza Che e Perduta” by Lente Scura, inspired by model InnaBG (image shared by artist)

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

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.

“Distaccare” by Lente Scura, inspired by model Ginger (image shared by artist)

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.

“Il Falso Sogno” by Lente Scura, inspired by model AnaIv (image shared by artist)

LenteScura’s website:





Interview by Andrea Miliani

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