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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

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

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With the help of a customer who noticed some gaps in our Session list (thanks for letting us know!), we now have Sessions for all our most recent models. Check them out on the Session List page.
2019-6-20

From Our Blog

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.

“Conque”, painting by Jean-Pierre Leclercq

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. 

“Olivia 1” by Jean-Pierre Leclercq inspired by oliviap051 

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.

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

Interview with Lewis Braswell

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“The world will not (and should not) settle for warmed-over mediocrity. Artists were made to be extraordinary”

Lewis Braswell defines himself as a Christian artist who seeks “to remind the viewer of his or her relationship in the divine dialogue among God and people”. His work —inspired by the Renaissance masters— explores the human male figure as well as the meaning of manhood, expressed primarily with charcoal and washes on surfaces.

This talented artist has always been fascinated by the way the human body can tell a story and this became his passion. Braswell was born in North Carolina, got a bachelor degree in Science in Religion at the University of Mount Olive and recently earned his bachelor of Fine Art at the University of Central Florida. He has participated in several exhibitions and has worked as Art Gallery Assistant and Art Teacher and Instructor.

“The Spirit of God” by Lewis Braswell (image shared by artist)

In this Q&A artist Lewis Braswell shares with PoseSpace how he combines art and religion, the challenges he faces with the nude figure and how he learned to appreciate cinema and video games:

What are your goals or aspirations as an artist?

As an artist with a basis in faith, I seek to mimic the Creator by acting creatively. I try to choose subject matter that gives the most effective means of doing this and in this way I worship the Creator. Ultimately, the art must reflect my heart and be clearly evident to the viewer. If this does not happen, the art is a failure.

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

Undoubtedly, my favorite artist is Michelangelo. His work is completely descriptive of what is necessary for any artist to expect of him or herself. Michelangelo saw the best of what was around him and made it better in his own work. That is what today's artists have to keep in mind. The world will not (and should not) settle for warmed-over mediocrity. Artists were made to be extraordinary.

What challenges do you face working with the nude figure?

The nude figure provides for me the most timeless and expressive way in which to engage a viewer. The challenge, given the complexity of the figure, is in moving the viewer beyond what may be understood as familiar and requiring that they ask the tough questions that he or she may be avoiding. Because the human body can be used to represent something literal as well as something ideal or symbolic, there often arises difficulty in an interpretation. My preference is that the art will speak beyond any hesitancy in comprehension and meet the viewer at exactly that point of resonance.

Drawings by Lewis Baswell inspired by PoseSpace models JesseJohnV (image shared by artist)

How do you use PoseSpace.com’s photos?

I have tried to learn how to represent the figure through several means and the photos have been key in my initial understanding of anatomy and movement. In referencing these photos, I have repeatedly found that my later drawings from imagination have a much higher level of information to provide. PoseSpace and the Art Model Books are really providing some of the absolute best resource material for artists of the figure. I tell drawing students about them all the time.

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

Beginning a drawing is very special and may be different each time. The surface material upon which I work usually initiates a direction and gives information on my choice of medium. It is significant to me how I find this material. I often look for suitable drawing surface material in the trash and the discovery of a something useful is, to me, priceless. The size of the surface material is also very important and a formulation of possible compositions may develop just from understanding the dimensions. All of this takes place both physically and mentally before any kind of mark is made on the surface material, but I see it as beautiful and necessary. Basically, I  try to let the surface have the first say in what develops.

“Study for Life” by Lewis Braswell (image shared by artist)

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

Lately, I have been forced to recognize the artistic elements of cinema and video games. I am such a traditionalist that for a long time it was inconceivable for me to acknowledge these contemporary methods of visual artmaking. However, in learning the level of dedication and persistence of the workers in these fields and in experiencing some quality pieces for myself, I must say that I am sometimes very impressed.

Lewis Braswell’s website: https://lewisbraswell.wixsite.com/artist

Facebook: https://www.facebook.com/lewis.braswell.5

Interview by Andrea Miliani

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

Interview with Les Satinover

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“I clearly and seriously believe the human form is the highest and most meaningful subject matter to consider for art”

Les Satinover is an American figurative artist whose primary concern is “to capture the figure, primarily male, through this prism, evoking strong emotions for the viewer in the encounter of Flesh and Form”. Even though idealized male figures stand out in most of his paintings, also landscapes have an important presence. He moved to Austin, Texas, a few years ago —from North Scottsdale, Arizona—, and this change of environment had an impact in his creative process.

His work is colorful, realistic, honest and beautiful. Satinover’s techniques show a background in art studies: in the 70s he got an MFA and a BFA degree in Painting and Drawing, and since then he has participated in several art shows and earned many recognitions. However, he worked for 36 years in a successful parallel career in corporate retail design. It wasn’t until 2012 that he retired and decided to work full-time on his own art.

Painting by Les Satinover (image shared by artist)

In this interview, Les Satinover shares with PoseSpace how he got into art, which artists have inspired him, how Austin’s landscape has influenced his work and his thoughts regarding the male body in art:

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

My earliest inclination as a teen was exclusively creative leaning and I began drawing in pencil and pastel, graduating into watercolor (I received a junior high school summer watercolor scholarship to Cal Sate Northridge, CA). Before I could drive,  I took my bicycle to the local library after school, poured over every artist monograph and art history tome, checked those out that met my interests in representational subject matter, and would go home and make studious copies. I intuitively selected great master work such as the still-lifes of Jean-Baptiste-Simeon Chardin, and the  domestic interior scenes of Johannes Vermeer, that captured all the jeweled light and interior spatial evocations that stir me to this day. I simply remember that I ALWAYS felt that I would be an artist, so there were never any inner conflicts as a young man or frustrations in trying to settle on a purpose in and meaning for my life.

Painting by Les Satinover (image shared by artist)

A few years ago you moved to Austin, has this new location influenced your work? If so, how?

This is a perfect question in light of my recent work and one that I submitted to you - wherein I incorporated my own self imagery and two models from your catalogue. The Austin Hill Country is simply resplendent with verdant landscape, rolling hills and oak and cedar trees,  that are expressive and abundant. I painted my self portrait as a take on an artist with models in the natural setting of the beautiful Lake Travis area. The area's sunlight, water and rocks is quite breathtaking and parallels my imaginative panoramic expressions of western landscape coupled with pairing forms in deep space. And Austin is also a hub of creativity, artistic expression and a certain degree of open-mindedness.

In an interview for LandEscape you mentioned that you want to “push for the acceptance of the nude form”. What challenges have you faced working with the nude figure?

I clearly and seriously believe the human form is the highest and most meaningful subject matter to consider for art. Throughout many centuries preceding the 20/21 century, in western art, male nudes as a classical subject was de rigueur and a large part of the canon and studio/atelier practice. I want to strategically bring back an acceptance of the male form particularly along with the appreciation of its beauty and majesty. That being said, there is still a social inhibition that attaches shame to representations of men without clothes. So, my work is honest,  but not prurient!

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

I can’t say that I do, however I think your service and quality in the provision of source material is invaluable.

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

I was in a show late last year at bG Gallery in Santa Monica California.

How do you view the state of figure art in the current art culture?

I think figurative art today is expansive, rich, sometimes steeped in a classical pedigree, inventive, infinite in possibilities and exciting!

What advice do you have for amateur figurative artists who have a special interest in the male figure?

The subject matter is still a pretty tough sell to commercial art galleries, but I am fortunate in that selling it is not a dictate for the work I love and do.

I retired from a 36 year career in corporate retail design and went into my full time studio practice in 2012. I work entirely in service of my own vision without the financial requirement to make sales. Validation is an extra. What comes after that is fate.

Painting by Les Satinover (image shared by artist)

Les Satinover’s website: http://les-satinover.squarespace.com

Interview by Andrea Miliani

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

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

Choose Your View


artwork by Kjetil Hansen
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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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