The Science Behind Drawing the Figure Intuitively

When an artist is trying to learn to draw a figure in proportion and get the arms and the legs all the right size, it takes a certain amount of deliberate study, since there are all kinds of things working against him (for example, psychologically, we give more importance to heads and hands, so we tend to make them bigger; foreshortening in a lot of poses gives artists false cues about how limbs relate to each other). So there's a phase where a developing artist might spend a lot of time deliberately measuring out everything in the drawing to get it just right. 

But all of that academic study may still not give the artist sufficient grasp of proportions so that they won't still be a stumbling block. 

So I encourage artists to work a lot from FAST poses, usually 30 second poses, and to do a lot of them. Why? Because in 30 seconds, there's simply NO TIME to think about what you see and transfer that into something you're drawing on the page. Drawing fast COMPELS you to develop an intuitive understanding of the figure and it's parts as a single whole thing. With practice, it compacts that "conscious competence" into the subconscious part of the brain where it becomes a reliable, intuitive function. Not guessing.

Abraham Maslow identified this in his "Four Phases of Learning." To paraphrase, the first phase is not knowing anything ("unconscious incompetence") The second phase is knowing you have to learn ("conscious incompetence"). The third phase is learning and understanding, but only at a conscious, academic level ("conscious competence"). The fourth stage, which is where you've internalized the understanding to the point of intuitive understanding is called "unconscious competence." 

Unconscious competence can be as exotic as an athlete pulling an impossible play to win a big game or as ordinary as pulling into a busy traffic lane while talking to the kids in the back seat. Unconscious competence is writing out words without thinking of how to spell them, etc.

Hiring and Working With a Nude Art Model

"Artist and Model," by Angelo Morbelli (1909)

There’s been plenty written for people interested in going into the field of art modeling, but much less written for artists interested in working with nude models. Working from a nude model is a traditional pillar of western art, but it can be an awkward situation for the inexperienced artist. And it can be a difficult experience for a model too. I have to say, I’ve heard some horror story experiences from models, and I’m hoping this article will serve to make the experience a more pleasant and fruitful one for everyone concerned.

If you’ve never worked with a nude model in any capacity before, it’s very worthwhile to spend some time at an established class or art school that utilizes nude models, if you can. Besides getting comfortable with the situation (and it’s perfectly normal to feel a bit awkward at first), you’ll be able to see how people with experience organize and run such a situation, and you may even be able ask for advice and get model referrals. If you are starting somewhere where you have no access to such a class, I hope this article will be of great help.

Professionalism
The media may portray the world of artists and models as something exotic and titillating, but the reality is that art modeling is a profession, like any other, and models should be treated in a mature, professional manner, and also be expected to behave in a professional manner. An art model’s skin is their working uniform, and it’s important to remember it as such. 

Unlike just about all other professions, though, an art model’s job is one in which they are inherently apt to feel more vulnerable, both emotionally and physically, and an artist/employer should keep that in mind. So be professional:

2.       1. Do not be overly familiar

2.       2. Do not make any physical contact

3.       3. Be respectful

4.       4. Be reasonable

5.       5. Pay properly, and respect the model’s legal rights

6.       6. Be aware of the time

7.       7. Don’t be a pushover

A simple rule of thumb is that the more comfortable the model is, the better a job they will do, and the better your art will turn out. 

1. Do Not be Overly Familiar
Maintain a professional demeanor. Treat the model as you would want your boss to treat you in an ideal work environment. You know that nightmare that people have of finding themselves at work naked? Imagine if it were happening to you, you’d want your boss to carry on as usual, maybe pretend not to notice, and not to make you feel any more vulnerable than you already do. Be that boss—professional and friendly.

If you happen to be an extrovert who oozes charisma and magnetism in your everyday life, it would be wise to tone it down in the studio, to avoid any risk of being misinterpreted. 

People who know me may know I’m the king of inappropriate comments, but when I’m working with models in a classroom, I turn off that part of my personality. Not only can it make the model uncomfortable, but it can make me seem less professional to everyone else in the class. 

Even if the model is a friend whom you know well, when they’re holding a pose, they’re working. You probably wouldn’t want your friends bugging you at work, either. 

If you’re working with a model privately, overly informal behavior can make them feel uncomfortable. And if you’re running a class, you may also influence the students in the class to behave in an uncomfortable or overly familiar way towards the model or each other. 

2. Do Not Make Any Physical Contact
This ought to be pretty obvious. If you work in a factory, you do not want the guy you’re working for touching you, even if you’re in overalls and a welder’s mask. It’s annoying and it can be considered harassment. So don’t touch the model. If you want them to pose in a particular way, use words to let them know. Gender doesn’t matter in this case—a female artist has no more right to touch a model of any gender than a male artist does. 

If a model is doing a long pose (day or weeks long) the pose is usually broken into 20-minute segments. During the breaks, it’s not uncommon to outline the placement of the models feet on the floor with tape so they can step back into the exact positions—but still, tape around the model, or better yet, hand them the tape and let them do it themselves. Don’t touch them.

3. Be Respectful
Be the kind of boss you would want to have. Don’t be pushy, critical or unreasonable. Remember that you have hired the model to pose for you, and most models want to do a good job for you, so making their job harder or more stressful will only make it harder for you. If you want specific poses, clearly explain what you’d like, and most models will try to oblige to the best of their ability. But if they feel they are unable to hold certain poses, give them the opportunity to tell you so. 

If you have a problem with something about the model, bring it up with them privately. Do not embarrass the model in front of the other people. Every model I know seems to have horror stories about working for artists or teachers who were just horrible people, who bullied or embarrassed them in front of the entire class, and I’ve seen a few teachers seem to get a kind of erotic thrill out of ordering the models around and making them unhappy. One model I know was loudly criticized by a teacher about the color of her fingernail polish. Another model I know was asked to bend backwards—and hold it for four hours. 

If you treat your models badly, they have no reason to come back and work with you a second time. But much worse—you can get a bad reputation, and since most models network with each other, a bad reputation is one that will haunt you and make it much harder for you to hire other models in the future. Conversely, if you have a reputation as someone models can trust and feel comfortable around, they are much more likely to want to work with you, and refer other models. And if you’re part of an institution, the model may have recourse to complain to the management about you. 

4. Be Reasonable
“Kick your leg up in the air… and hold it there for 20 minutes!”
If you want a specific pose, by all means give your models directions, but remember the models are only human. If a model feels comfortable with you, they may try to go the extra mile, sometimes even when they should know better. Don’t ask for things the model can’t comfortably do.

Also, be aware of comfort issues like room temperature. Not only is the model in an emotionally vulnerable state, they are also physically more vulnerable to the conditions around them. You may be comfortable while the model may be freezing (and remember that very thin models and older models are much more sensitive to cold). Be sure there is sufficient heat in cold weather. If it’s really cold, offer them the option of posing in clothes or semi-draped. Always give the model the option of breaking the pose early if it’s too much for them or they get a cramp. I’ve known models who will pose through muscle cramps and fevers, and I was in a class where a model passed out in the middle of a pose. There’s no need for that. 

The kind of poses a model can hold for one minute may not be possible to hold for 5-minutes, and a 5-minute pose may not be possible to hold for 15-minutes. An experienced model knows what they can and cannot do, and if you give them the opportunity they can tell you so, which will avoid disappointment for everybody. 

If you’re working with an inexperienced model, it will be a learning experience for both of you. If you have experience, your directions can be quite useful for the model. If you’re new at it, too, the most important thing is to keep your eye on the clock so that the poses and the breaks are accurately timed, and communicated clearly. 

Specifically regarding long poses, even if you have the world’s greatest art model, I can guarantee you will observe some or all of the following phenomena: Muscle relaxation—as the model settles into a long pose their muscles will slowly relax. It’s more obvious with well-defined models, but it happens to everyone. Blinking and eye-movement, fingers or toes moving, or torso turning gently—models are only human, and holding still for long periods of time is unnatural to the human body. Some people’s neurology will respond to the unnaturalness with little motions. these aren’t really within the control of most models, and they shouldn’t significantly affect your finished artwork, even if they disturb your concentration a little bit. Breathing—Do I really have to mention this? Apparently so. Some people complain about the model’s breathing! As an artist, it’s better to learn to deal with these eventualities than let them affect your concentration, and if you’re running a class pass that learning along to the other artists there. 

Also be aware that good models may have a lot of other modeling jobs in the course of a single day, and you shouldn’t be so demanding that they are too worn out, injured or sick to complete their other obligations that day. Poses that can cause your models to cramp up or become sore, or conditions that can leave them with chills or a cough should be avoided. Imagine if you book a model and they have to cancel in the last minute because the artist they posed for immediately before you left them so sore or sick they can’t do anymore. Don’t be that guy.

5. Pay Properly, Respect the Model’s Legal Rights
Set a price per hour or per session and stick to it. Be sure to make the rate clear to the model beforehand, and that they agree to it. 

Also be aware that the rate for photography modeling is higher than the rate for drawing and painting. There are different laws involved in photography modeling and the models have different rights that have to be respected. This means NO taking “reference photos” for paintings or sculpture unless you’ve discussed and negotiated it with the model before you start. 

Generally, when you do a drawing or painting of a person, you have rights to that piece of art as your own creation. However, when you take photographs, the model retains rights to their own image, unless they legally release those rights to you by way of a document called a model release, which you should always use when photographing a model. You should keep these release forms on file, because you’ll have to produce them if you want to have your photos sold or published, or shown in galleries.

What rate should you pay a model? It varies considerably, based on what part of the world you’re in, and what you’re asking the model to do. The best way to find the going rate is to ask local schools or artists, but remember there is always some variation, and some studios pay more than others, like any other job. Also, each model has a rate they’re willing to work for. Some may ask for more than whatever the “standard” rate is. It’s their prerogative. 

6. Be Aware of the Time
As artists, we always seem to need just one more minute to finish a drawing. But be aware that more experienced models know exactly how long they can hold a particular pose, and running overtime can result in aches and cramps and make later poses more difficult for them. 

7. Don’t Be a Pushover
So far I’ve touched on your responsibilities towards the model, but at the same time, the model has equal responsibilities to you. You have a right as an employer to expect the same kind of professionalism that you show the model. Most of the time, everything will move smoothly, but there are a few common difficulties that you might encounter.

1. Lateness
Personally, I don’t mind if someone’s a few minutes late. Travel can be unpredictable, and things happen. But if you are teaching a class scheduled for a specific time, you also have a responsibility to your attendees to start on time, and more than a few minutes of lateness can make the paying customers unhappy. 

2. Last minute cancellations
Stuff happens, maybe a model gets sick, and they have to cancel in the last minute. But this is usually a pretty rare occurrence. If a model has to cancel, they ought to give you enough advance warning that you have sufficient time to book a replacement. It’s not reasonable for a model to cancel an hour before a class, since it doesn’t give you any time to book a replacement.

3. Unprofessionalism
Inappropriate behavior, poor hygiene, disrespect, compromised mental state (ie: being high or drunk) and even flirting, are much rarer situations, but they occasionally do arise. These can require a little more delicacy to deal with. For example, I’ve had a model who behaved inappropriately as a result of receiving bad news immediately before coming to work, in which case a few moments to compose herself before we started did the trick. 

Poor hygiene is pretty unusual for art models but it sometimes happens. Usually, they’re already more self-conscious about it than you are. The very few times it’s happened, I haven’t said anything, and it hasn’t been repeated. 

Compromised mental states may include being drunk or high, but sometimes it can also be a result of illness or even prescribed medication. Don’t judge too quickly, but do get to the bottom of it and discern whether it is a problem you can work around and whether it may be a problem in the future. 

Very occasionally, you might even have a model act disrespectfully. Don’t assume any of the above problems are meant disrespectfully by themselves, but if a model is clearly demonstrating they are unhappy with the job, or you or the class, that they are testing you, or they just don’t want to be there, it can create an uncomfortable work environment.

One summer I had a lovely young blond model that all the members of my art group really enjoyed drawing. At first she was excellent, offering us a variety of interesting poses, and really inspiring the group. But she quickly caught onto how popular she was with my attendees, and she started testing the boundaries by showing up later and later each time I hired her, and becoming lazier and lazier in her poses, to the point I had to give her direction for every single pose, or she’d just lay on the floor in the same position all day. She really pushed my boundaries too far. I stopped hiring her.

Flirting. Nudity is a two-edged sword. Just as a person working nude is in an inherently more vulnerable state, their nudity can also be more intimidating if they choose to act flirtatiously. It doesn’t matter if they are flirting with the students, other models or you, and it doesn’t matter whether the model is male or female. It may be perfectly innocent, but the recipient may not feel that way, and in any case, it will make all the other people in a class feel a little awkward. Should it happen with your model, be aware that they might not be doing it consciously. But intentional or not, make clear that the behavior they’re showing may compromise the work environment. 

In all the above cases, DON’T LOSE YOUR COOL. Don’t chastise the model in front of the class, but call them aside, and discretely discuss it with them in whatever way is appropriate, and strive for a win-win conclusion. Personally,  I feel it’s better to smooth over ruffled feathers and find a solution to make everyone happy, but also, when you lose your cool, you also lose your authority, because it looks like you’ve lost your control of the situation. That’s never desirable, especially if you’re running a class. If the model continues to behave unacceptably, don’t fight with them, just don’t hire them again. 

In conclusion, I hope this has been a useful and practical guide. In addition to running figure drawing groups for over 20 years, both in schools and independently, teaching art, and producing art events and draw-a-thons, I also have a few decades of experience in managing production departments and projects for major advertising agencies. My experience is, 99% of the time, when you treat your people with confidence and communication, and work with them rather than over them, they will give you the best they have to offer.

© Jeff Sauber
Thanks to Gerry McGann for catching the typos!

The Old Man Mad About Drawing (Hokusai)

I'm fond of paraphrasing this (badly) but it's about time I stop mangling the master's words and let him speak for himself. If you've asked how long it takes to get good at drawing, here's the simple answer.

 

“From the age of 6 I had a mania for drawing the shapes of things.

When I was 50 I had published a universe of designs. 

But all I have done before the the age of 70 is not worth bothering with. 

At 75 I'll have learned something of the pattern of nature, of animals, of plants, of trees, birds, fish and insects. 

When I am 80 you will see real progress. 

At 90 I shall have cut my way deeply into the mystery of life itself. 

At 100, I shall be a marvelous artist. 

At 110, everything I create; a dot, a line, will jump to life as never before. 

To all of you who are going to live as long as I do, I promise to keep my word. I am writing this in my old age. I used to call myself Hokusai, but today I sign my self 'The Old Man Mad About Drawing.”
― Hokusai Katsushika

Got 5 minutes? Treat yourself to this delightful little documentary:

Another Perspective on Van Gogh

V. Van Gogh, Self Portrait, 1889
CLICK on all art to enlarge!

No question that Facebook has been cutting into my blog writing, but here's a blog post inspired by an on-line discussion of Van Gogh, and I think it extends into the whole media perception of artists, visual and even musical and film: we love our artists tortured.

There's no better tortured artist than Van Gogh, and for a century, we've speculated on just how tortured he was. Certainly, he had issues. His depressions are well documented, and there's evidence that he was self destructive, possibly to the point of losing an ear (though a recent theory blames Gauguin for cutting it off!).

But does his art, with it's explosions of color and strangely tight, yet disconnected, strokes reflect the breakup of his wits? Some have suggested it's a reflection of his world breaking up around him. Some have suggested he suffered from astigmatism and couldn't see clearly (then how could he see the canvas well enough to put the pain on it?). Perhaps signs of absinthe poisoning?

If you follow the textbooks you know it's any or all of these things. BUT...

If you're an artist, you know that art is a discipline more than anything. To get better at expressing yourself, even unleashing your inner demons, you have to develop a skill and a technique and that can take years. Besides, Making art makes you feel GOOD. Even if you, or Vincent, are having a terrible time, spending a few hours just painting or drawing is a wonderful escape. It's calming and, as I like to say, it's like running a comb through your brain.

Some years ago, I had the opportunity to visit the Van Gogh museum in Amsterdam. I saw the things you never see-- his beginning paintings, the art that influenced him, and he was placed within the context of HIS period, and not ours. And a very different Vincent emerged.

According to my friend: "...when you look at the development of his artistic style over the course of his career, his illness manifests itself very clearly in his brushstrokes and use of colors..."

To which I say: "Sure it would seem so, but when you go to the Van Gogh Museum in Amsterdam you find a bunch of interesting things that dispel the myths. There's a wall of his paintings as a beginning artist. He starts out pretty average, but works with great discipline, producing up to three paintings a day, just to develop his skill. A lot of people forget that art is a skill that requires years to develop, both technically and strategically. 

Left, Woodblock print by the Japanese Master Hiroshige.
Right, Van Gogh's painting of the same

Secondly, Japanese woodblock prints (Hiroshige, et al) were taking Europe by storm due to the vividness or their colors and the use of broad, flat abstract areas of color, in contrast to the typical earthy European pallet (and consider how dark and moody the Dutch pallet had been prior to that modern age. There are paintings where Van Gogh copies Japanese prints, and paints in the style of those prints to learn how to use colors in that way. (you don't see those outside of the museum, much). The Asian influence, along with the desire to shock the establishment, were the biggest influences on impressionism. In that regard, he was just going along with the rest of the kids. And then there was the German influence. At the same time the Impressionists were horrifying the art world with their raw imagery, German chemical companies had discovered how to produce vivid colors that fueled the impressionists' madness.

And finally, he and his brother Theo owned an extensive collection of Gustav Dore's etchings, and you can find that illustrative style of strokes used by Van Gogh in both his drawings and in his paintings, where he was a pioneer of "non-painting" brushwork, but not the only one in his day (look at Seurat's pointillistic paintings).  
 

One of Van Gogh's drawings, utilizing the same kind
of strokes he used to apply paint.
Drawing of Montmajour.

Van Gogh may have suffered from debilitating mental issues, but he was also an extremely disciplined, dedicated pioneer."

I'd also go so far as to reiterate that I'm not sure whether his art was the expression of the illness or an escape from it.  

Dore's original
"Prisoner's Exercising."

Van Gogh's painting of Dore's
"Prisoners Exercising"

Images from http://commons.wikimedia.org/wiki/Main_Page

Are you more curious? Check out the museum's website: http://www.vangoghmuseum.nl/en
Special thanks to Carl Allen Salonen.
 

DRAW-MANIA! moves to Thursdays!

First off, my apologies for not updating the blog more often. Not to sound corny, but with all the stuff we've had going on this year, I just wasn't able to devote the time to it.

"So, Jeff, what's been going on with the group?"

 

Out top story is that after several years offering Draw-mania! on the last Monday of each month, we've moved up to the THIRD THURSDAY of each month. This should make it a little easier for a lot of people who just couldn't free up Monday night.

 

Otherwise, it's still the same exciting Draw-mania! you've relied on for your creative needs. We'll still have a bunch of outstanding Figure models, both male and female, some familiar faces and some new ones. We still have Mike Ogletree for our DJ, offering an eclectic mix of tunes spanning all genres. We'll still be presenting live performances from some of the newest talent in New York City. And we're still in NYC's coolest rock and roll tiki bar! and the price is still the same--a mere $15 smackers for the whole kaboodle!

And did I mention the tiki drinks? If you haven't been to Otto's yet, you might not know they offer some of the best tiki cocktails and affordable beers! Imbibing is optional, of course, but if you are buying, they're there for you!

If you haven't been yet, COME! Our first Thursday event will be September 18th., 2014. 8pm.

Draw-mania! HOBOKEN!

April 3rd was our first real Draw-mania Hoboken event, and it was a resounding success! Our first event went as planned, but scary weather reports kept most people from attending. April's event was mostly smooth sailing! We has a great crowd in attendance, and people seemed to be really draing up a storm. We had 5 terrific models, including 2 new faces (but they will be back!) and entertainment provided by three outstanding comedians, Boris Khaykin (MTV, Bath House Brothers Variety Hour), Nathan Rand (Invitation to a Beheading), and Tim Warner (colleges and comedy festivals all over the place) and two musicians, Calem Ingram and Sho Handa, playing selections from their newly released album Making it Possible.

We'll be back at Teak on the Hudson May 1, 2013 for the next Draw-mania! Hoboken. You should be there!

Draw-mania! Goes INTERSTATE!

Hi folks!
Sorry I haven't posted anything new in a while. The Summer Sketch group has been going strong, still meeting a couple of Sundays every month (all year long, not just the summer), and attendance has been terrific--enough people to get a fun sense of community but not so many that it becomes awkward or overcrowded.

Draw-mania!, our monthly draw-a-thon and variety show, has really taken off! We're approaching our 15th event, and we're going strong into the coming year. If you've never been to one, just imagine a space filled with over 30 artists of all skill levels, from absolute beginners to seasoned pros, sketching, chatting, and, should they so desire, drinking, as they draw from 6 of the top art models for four hours! There's a break for the models every 20 minutes, and that's when a comedian, storyteller or musician takes the stage for a 10 minute performance. It' a blast!
We've been going strong every last Monday of the month in the East Village, at the possibly legendary and always amazing Otto's Shrunken Head (538 East 14th st.). Well, Starting in March, we're adding a second monthly Draw-mania!, just across the Hudson river, in Hoboken, NJ! If you're not familiar with Hoboken, you should be! It's incredibly close to Manhattan (The Hoboken PATH Train station is about 8 minutes from Manhattan's 14th st. & 6th Ave PATH station), and in the 80s it was where all the artists went after Soho priced them out. Nowadays, it's a cool, cozy neighborhood that features a lot of unpretentious bars and restaurants. We'll be at Teak on the Hudson (16-18 Hudon Place), a rather upscale place with a fun, exotic vibe, great cocktails and food, and an amazing riverfront view! Our first event will be March 6th, 8pm to midnight, and I'm putting together a great lineup of models and performers.

Hope you can make it, it's gonna be a blast!

for more info:
www.draw-mania.com

If you're on Facebook:
https://www.facebook.com/DrawMania

And if you're on Meetup.com:
http://www.meetup.com/FigureSketching-NYC/
http://www.meetup.com/Figure-Drawing-HOBOKEN-Draw-Mania/

Looking for modeling work? Here's some guidelines...

Summertime is especially hard for a lot of models. A lot of the schools are out, and the artists who might be hiring privately are enjoying some rare time out of the studio or shopping their canvases around trying to get a sale. I certainly understand that it's frustrating for a model, and I certainly respect anyone's attempt to drum up business in our current crazy economy.

I run a few classes, but not that many, and I have a limited number of availabilities for models, nevertheless, being out there, models frequently contact me looking for work. But one thing that really strikes me is how badly a lot of models present themselves. I'm currently in the "self-improvement" field and I coach people is all sorts of business and goal related skills, and before that I worked in advertising for many years, where I often freelanced and had to promote myself, and just as frequently was in charge of projects where I did the hiring. So I've been on both sides of that coin.

Here are a few pointers in presenting yourself--your best self.

First Impressions are HUGE
Remember that the first impression you make will color everything else people will find out about you, so make a solid, professional first impression.

Present Yourself Professionally
The first contact you have with a prospective employer should give them the impression that you know your business and that you have a clear grasp of what the job entails.

Be Honest
You don't have to lie about your experience if you don't have a lot. But don't sell yourself short, either.

Pricing
Do some research and find out what is reasonable to charge your clients. The fees a model gets vary widely in different parts of the country. You don't want to cheat yourself out of some bucks, but you also don't want to price yourself out of work, either. Call the kind of places you want to work and ask questions, talk to other models, and find out what's reasonable. Remember, also, that rates for drawing classes differ widely from photography. Some people will want to haggle with you for a lower rate, others can't afford to pay more than a certain rate, so know what you're willing to work for, and whether you're flexible on that point. In any case, don't start looking for gigs without an idea of what you'll be getting, and don't be shy about asking.

PUTTING IT ALL TOGETHER

DON'T
Send an email asking "Hey--need a model?" and wait for a response before sending more. You won't get a response. I get a lot of emails like this, and I no longer even respond. It tells me whoever sent it isn't really putting much effort into their modeling, and no particular pride in it. They may not have ever modeled before. There are plenty of models who take their job seriously and want the people they contact to know it. 

And don't forget to check your spelling. I'm a terrible speller, but I've discovered no matter how smart I am (or think I am), if I spell words wrong, I don't get taken seriously. So I found a free plug-in for my browser that checks my spelling.

Don't agree to take a job until you find out what they're paying!! I try to be very fair and upfront, but I'm surprised how many models will agree to take a job before I've even told them the particulars.

Don't stalk a potential employer! If they have a class that's open to the public, it's probably OK to drop in and say hello, and maybe (ideally) drop off a printed copy of your description and picture (see below). You should definitely follow up with everyone you've contacted for work maybe every 2-3 weeks, but for heaven's sake don't call or email every week, call several times a day, or any of those things you wouldn't want your ex to do.

DO
Send a brief business-like letter, just one or two paragraphs, that describes yourself, the kind of modeling work you're looking for, your experience (If you've modeled for well known schools, artists or been in well known projects, let people know! Don't be shy, show off!),  areas where you're willing to work (how far you're willing to travel, for example) and anything else you think might be pertinent. Be sure to include contact information.

And definitely include a picture or a link to a web portfolio, if you have one. Your work involves inspiring artists with your appearance, so share it! Don't necessarily send  nudie pic, in fact, even if you're looking for nude work, I think it's better not to until you know more about who you're contacting. Do send a nice headshot. It doesn't have to be professionally taken, just nice and clear. It will help people remember you, give them an idea of your look and body type, and give you a huge advantage. If you've been modeling a while, you might want to put up a web gallery of your favorite pix. It can be very persuasive.

If you're comfortable with the price you want to charge, you can consider putting it into your email, though some people think it's better to discuss your rate only when you talk to the person on the phone or in email exchange. Personally, I always like to save the talk of pay until I talk on the phone with a person when doing any kind of job discussion. You can get a better feel for the kind of a person you're dealing with and what kind of a job it is.

I hope this info is both helpful and lucrative. There are a few older posts on this topic and other model-related information. feel free to read it, share it and comment on it. I'd love to hear what you have to say.

Draw-mania! Testimonials

Sure, I have great things to say about Draw-mania!, our monthly art-a-thon extravaganza, but what do the people who come to Draw-mania! think about it? Watch!
http://www.draw-mania.com

Come To Our Events! NOW!

I guess I've been remiss in posting to the blog for a while. But as many of you know, We've been going strong out in the real world! Summer Sketch session are still meeting roughly every two weeks. You can sign up for the next one(s) here: http://www.meetup.com/FigureSketching-NYC/

And in concert with my friend Pedro Hernandez, and an incredible crew of models, we've been presenting the Draw-mania! draw-a-thon, which is now a monthly event at Otto's Shrunken Head on 14th street in Manhattan, the last Monday evening of each month. We feature half a dozen of your favorite art models (some of the top models in the city!), a terrific DJ, and a ever-changing assortment of performers to entertain during the breaks. For the latest on that, go to th website http://www.draw-mania.com and like the Draw-mania! page on Facebook http://www.facebook.com/drawmania

What materials should I bring for my first figure drawing class?

This is a question that comes up often, and different schools and different teachers might have specific requirements for their students. Since the Summer Sketch Group is a casual, uninstructed drawing session, there are no requirements, but I'll offer you some good basics to start with, and explain why I recommend them. You'll find that these are also the same items that are most commonly suggested to beginners in many schools.

Paper (to draw on, of course)
There are many different kinds of paper, but hands down, the most popular kind for beginners is rough newsprint. Newsprint is basically the stuff they print newspapers on. It's cheaply made of recycled paper and wood pulp and it's very inexpensive, so you can go through a lot of it without spending a lot of money. Rough Newsprint also has a rough texture, and a kind of softness, which makes it excellent for use with softer drawing materials like charcoal, drawing chalk, dry pastels and crayons. In fact, many of the top anatomy and drawing teachers absolutely love drawing on newsprint for its particular feel when drawing. You might too.

The biggest drawback of newsprint is that it's not made to last. It has an acidic nature and eventually turns brown and crumbly, just like an old newspaper. It also tends to be unsized, which means that it's absorbent, and so not great for paint or markers. Still, it's great to start with and fun to draw on.

The next most common type of paper is called Sketch Paper. The companies that make sketch paper typically also make Drawing paper, and the sketch paper is usually just a thinner version of the drawing paper, and typically somewhat less expensive than the drawing paper. These papers are bright white, "acid free" so they won't turn yellow and crumbly, and are "sized" which means they've been treated with a starch solution to make them less absorbent so they're good to use with paints, ink and markers. Sketch paper is more expensive than newsprint.

What Size paper to bring?
Good question! Most of us feel comfortable with notebooks that are 8 1/2" x 11" in size, but art schools usually ask students to buy pads that are much bigger. Why is that?

The bigger the paper, the more detail you can put in your drawings! And the more details you put in your drawings, the more you train your eyes to see detail the details.

At the same time, it doesn't do you any good if you're still doing little drawings swimming on a giant page. I generally recommend getting the biggest pad you can comfortably carry under your arm, usually about 11 x 14" or 12 x 18." These pads also work well if propped up against a chair, while the bigger pads sometimes need an easel, or an additional back board to support them and keep them from flopping around. But remember, there is no "right" or "wrong" in art. If you want to use bigger pads, do it! They're sitting on the art store shelves for you.

Drawing Materials

Charcoal is probably the most classic of all drawing materials, and certainly one of the first. Cavemen used it! Charcoal is simply burnt wood. It comes in a variety of different types and is also inexpensive. Here are the most common types:

Vine Charcoal
These thin strips of charcoal are actually what is left behind when vines are baked in a kiln. The remnants are light and brittle, and they leave a light, delicate line on the paper which can be brushed off of some papers easily. It's popularly used for the underdrawings of paintings. Some people really like the texture of it.

Willow Charcoal
Is very similar to vine charcoal. sticks of willow wood are baked in kiln until only charcoal is left. It has the delicate properties of vine charcoal, but the pieces are bigger and stringer and sometimes produce a darker line.

Compressed Charcoal
Think of this as charcoal compressed into sticks that are square or round in cross-section. In actual fact, the charcoal is usually ground to a fine powder and mixed with a binding agent, and sometimes clay or other ingredients to give it a smoother texture to draw with and better adherence to the paper. Compressed charcoal is heavier than the others, and also offers a broader tonal range that the unprocessed charcoals, which is to say you can get much darker shadows and lines that with the others. Compressed charcoal usually comes is different degrees of hardness. The softer it is,the easier it is to smudge and blend, and also the softer ones will let you make darker marks on the paper.

All of the above charcoals can be used to draw thin lines with the point, like a pencil, or you can use the side of the charcoal to get a broad sweep of color onto your paper.

Charcoal Pencils
Compressed charcoal in a pencil! You can't put down broad sweeps of color the way you can with a charcoal stick, but you can get more accurate lines and sharpen it like a pencil, and it's less messy.

For bigger pads, above 11 x 14" I do NOT recommend pencils, simply because it takes too long to fill in large areas, and you can get hung up in little details and lose sight of the whole drawing.

Other fun materials:
There are many other materials that you can use in a figure drawing class. many of them come in a stick or block shape similar to compressed charcoal.

Graphite Sticks
Graphite, the same stuff in your pencil, can be got in big crayon-like sticks. Actually the "lead" in you pencil is a combination of graphite powder, wax and sometimes other ingredients (but no lead!). Graphite sticks are sometimes rated in hardness scares just like pencils or compressed charcoal.

Dry Pastels (Drawing chalk)
Dry pastels are made of finely powdered artist's pigments mixed with a binder exactly like the kind used in the making of compressed charcoal. They are fun to use and come in a huge variety of colors. Traditionally, carbon black, sepia, sienna and umbar (all shades of brown, except for the black, of course) are sued for figure drawing, but you can choose any color you like! Some popular brands include Conte Crayons, Neupastels, Koh-I-Noor, and Alphacolor.


Oil Pastels
These are a kind of crayon made of finely powdered pigment combined with an oil. Pastels for kids, like Cray-pas brand, are combined with mineral oil. They never dry up and are fairly easy to wash off hands with soap and water. Artists' pastels are combined with an oil medium which will eventually dry, making your drawings permanent. Oil pastels have a rich texture when going on the paper, are easy to blend and come in many colors.

Oil Bars
Are very similar to oil pastels--big bars of color, comprised of pigment, wax and an oil that eventually dries. These are bigger than pastels and offer the opportunity for bigger art works and more painterly effects. Two popular brands are from Shiva and Windsor Newton.

Crayons
Yeah, I'm thinking of Crayolas! Cheap and easy to come by, good quality crayons offer a great range of colors and very little mess. Actually, many different art supply manufacturers make wax crayons, and some offer excellent quality. Some are even water-soluble, and can be gone over with a wet paintbrush for more effects. Some good brands are Crayola, Prang, and Caran D'ache.

Markers
Broad markers can be fun to draw with. You can fill big areas of color fast, the marker are inexpensive and the felt tips can be very expressive. The drawbacks of markers are that some use smelly solvents (alcohol or other solvents), and the ink gets absorbed into the paper more easily than most other drawing mediums, so the lines might "bleed" and get fuzzy on some papers.

Brush and Ink or Paint
A watercolor brush with flexible bristles is great for sketching with! Watercolor brushes typically come to a fine point, and also spread, so with a little careful handling, you can get a great variety of line-width. You can also use water "washes" to get a big tonal range. Some people use a bottle of ink, and put a few drops of it in a little dish, or right from the bottle (illustrators like to use permanent link, or "India Ink" which becomes waterproof when it dries, but fountain pen ink, which is water-soluble, also works well). Both kinds of ink come in many colors.

You can also use watercolor paints in a similar way you'd use ink. Watercolors come in a solid cake which you can just stroke a wet brush over, and also as a paste in tubes. Watercolor is always water-soluble.

In addition to watercolor brushes, Asian (Chinese & Japanese) calligraphy brushes are a good choice. The usually have excellent points and nice responsiveness, and there are many inexpensive ones that work well. These brushes have either brown bristles, which are very much like sable brushes and create a sharp, clean line, or white bristles, which are more flexible and create a softer mark.

Asian calligraphy inks are also a great choice. They come in bottles and sticks. The sticks have to be ground on a special stone palette, but the bottled ink can be used just like any other bottled ink. Asian inks are made from pine soot and produce a very dark black which can be diluted for a very broad range of tones.

Hope that gives you enough to get started with! Find the ones that appeals to you, and get comfortable using them. After that, if you like, try some of the others. Art is all about experimenting and developing your skill. Practice and have fun.

All images are public domain, courtesy Wikimedia Commons http://commons.wikimedia.org/