model poses photos: Figure Modeling Poses

Source(google.com.pk)
Figure Modeling Poses Biography

The author says, "The pointers in this website will often seem obvious; reflection will usually show that they are often ignored in practise. Deliberate attention to them on the part of a large enough group of models and artists will give them greater weight. If so, I think that personal and professional relations between models and artists will improve, there will be greater respect for modeling as a profession and as a performing art, and artists and models will find themselves working better together to improve both the quality of professional modeling and the quality of artistic expression inspired by that modeling."The book is now available on the internet and has many helpful tips for artists and models."I started doing the job because it pays very well and I needed the money to pay for school, but then even after I'd settled into a 'real' job as a creative writing professor, I kept modeling on the side, I think because I'm sort of addicted to it. More abstractly, the book is an exploration about the relationship between being made into an object and objectifying others." - Live Nude Girl: My Life as an ObjectThe first thirty seconds of nudity are always the most jarring, charged for me and for those who are looking at me, at least if it is a class or artist who has never seen me naked, never worked with me in the past. The disrobing is a gentle shock, a surprise, a kind of eyewash, and the instant is electrified, more vivid than those that preceded it and those that will come after. My nudity might seem unreal, as if it can't really be happening, as if this strange other person can't possibly be presenting herself without a stitch and letting her body be drawn. So too might my nudity feel hyper-real, as if this person is the most three-dimensional object in space, vulnerable in her nakedness, but powerful in her command of the entire room's studious and uninterrupted attention. But after these first few seconds, the flamboyance and the frisson seem to settle a bit, and the artists get down to the task at hand, which is not merely to gawk or to watch or to gaze, but to transmit from their eyes to the model, to their hands, to the page or the canvas or the clay the image they hope to render over the course of those three short hours." - Live Nude Girl: My Life as an Object"It's almost like nudity becomes a kind of clothing, so think of it that way," says Kathleen Rooney, nude model and author of Live Nude Girl: My Life as an Object. "You're not naked, which is vulnerable and accidental. You're nude, which is purposeful and empowered." - Live Nude Girl: My Life as an ObjectThe classes are small and intimate. You will get individual instruction in either drawing or painting in a variety of mediums, depending on your current skill level or interests. The class is geared towards each student and their goals. If you are interested in drawing you will learn to draw from life with emphasis on shading and texture. If you would like to learn to paint you will learn about color, composition and how to build a painting, etc. If you have never drawn before Barbara recommends taking drawing first. For a list of materials for oil painting classes call or e-mail Barbara.
Working on a painting and having trouble? Why don't you just drop in for one or two sessions and Barbara will help you through it.Classes are on Friday evenings from 6:00pm to 9:00pm. $110. per month or $35. as a drop in. Teens and adults are welcome to attend from 6:00pm to 7:30pm at the childrens rate. $75. per month or $25. to drop in.This lens has the best reference sources for figure artists as I've found so far, from poses to anatomy to hands and feet. I've compiled it for anyone who loves to create artwork portraying the human figure, whether you draw, sculpt, or paint I hope there's something here to help you out.Your child will start out learning basic drawing skills and be introduced to drawing from life. He/she will also experiment with pastels, watercolor, oil painting, color pencil pen & ink, scratchboard, etc. Kids will be allowed free drawing time after their group projects are done. The students need at least eight classes of drawing before they are introduced to oil painting unless they show they already have good drawing skills.
Classes are open to children ages 8 and older (and moms/dads if they want to learn to draw too). Class is every Friday afternoon from 3:30pm until 5:00pm. $75. per month or $25. to drop in. Student should have a spiral bound sketchbook (9x12, 11x14), a 4B graphite pencil (not charcoal) and a kneaded eraser. A tote bag to carry supplies is also nice. The pencil and eraser set is available from Barbara for $2.
Students should wear old clothing that they won't have to worry about getting paint on and they should tie back long hair. Class size is kept small (around eight students) so Barbara can give each child the attention they may need with their projects. The childrens art class is usually full. Write or call to be put on the waiting list.In this in-depth study of multi-figured composition, draw from a live model to refine mark-making using different media. Begin with a warm-up series of short poses, then draw from a long pose for the majority of the class. You may bring your own supplies; a list of required materials is distributed during first class. Prerequisite: Figure Drawing.Justin Life received an MFA from Tufts University/School of the Museum of Fine Arts (‘07) and a BFA in Painting from the University of North Carolina at Greensboro (‘02); he also studied at the Winchester School of Art at Southampton University in England (‘02). His shows include “Affirming the Hand” at the Courtyard Gallery, Museum of Fine Arts, Boston (‘05); the “Student Annual Exhibition” at Grossman Gallery, SMFA (‘06); “Boston Young Contemporaries” at 808 Gallery (‘07); “MFA Thesis Show” at Tufts University (‘07); “Flora and Fauna” at EM Gallery, Winston Salem, NC (‘09); and “Boston Drawing Project 10th Anniversary Show” at Carroll and Sons Gallery, Boston MA (‘09). Life also teaches at Tufts University and the Boston Architectural College.
This is the humble start of what I hope will become a nice resource for figure drawing and anatomy links online. Please feel free to reply and post any links you feel the list could benefit from. I will add them to the list periodically after they have been reviewed. Please be sure they pertain to figure drawing and anatomy only. Thanks!Depending on the position of your subject and the angle from which you are viewing her you will find that the shape and overall perspective of the leg will change.In the following examples I will try to demonstrate the proportion of the leg in relation to its position by adding a line down the centre and then dividing it into equal parts. Also note the angle of each line as this will help you understand and set out your own sketch. Please remember that this is only a guide.In this first example of a kneeling nude you can instantly see that her lower left leg appears shorter than her right. This of course is an optical illusion as there is no way her leg could have become shorter based purely on how she is posed. It is a good demonstration of how the proportion of the legs change depending on their position and how they are being viewed. Notice also the shape of the leg in relation to the muscle groups. Her upper leg gently curves over the quadriceps at the front and leg bicep at the back down to the knee. From the knee her shin to the front appears flatter but there is a distinct curve over her calf muscles at the back of her leg.
In the next example the upper left leg appears shorter than the right. Notice again the shape of the leg in relation to the muscle groups. In this example the subject is of a lighter build. Her upper right leg appears flatter as she has stretch her leg back slightly and her calf is more defined as she is pointing her toes and tightening the muscle showing more of its shape on the back of her leg.in the next sketch of a nude lying on her side you can see that she is of a slightly heavier build, again note the shape of the legs in relation to her position. It is always important to take into account the position of the subjects legs in relation to the rest of their body. As demonstrated in these sketch's. Once you start to bend the subjects leg and move the subjects position the proportions of the upper and lower legs change making them appear longer or shorter.
In the next two poses of a squatting nude each nude has her legs spread and they are positioned in such a way that despite them being slightly differently posed they both still appear equal in proportion. This is because you are viewing them front on.Below are some more examples to help you understand the perspective and proportion of the legs when posed differently Notice the proportion of the legs when they are extended as in the standing pose and the nude lying with her leg outstretched. Also notice the apparent shortness of the lower leg on the kneeling nude.Depending on the position of your subject and the angle from which you are viewing her you will find that the shape and overall perspective of the leg will change.
In the following examples I will try to demonstrate the proportion of the leg in relation to its position by adding a line down the centre and then dividing it into equal parts. Also note the angle of each line as this will help you understand and set out your own sketch. Please remember that this is only a guide.
In this first example of a kneeling nude you can instantly see that her lower left leg appears shorter than her right. This of course is an optical illusion as there is no way her leg could have become shorter based purely on how she is posed. It is a good demonstration of how the proportion of the legs change depending on their position and how they are being viewed. Notice also the shape of the leg in relation to the muscle groups. Her upper leg gently curves over the quadriceps at the front and leg bicep at the back down to the knee. From the knee her shin to the front appears flatter but there is a distinct curve over her calf muscles at the back of her leg.In the next example the upper left leg appears shorter than the right. Notice again the shape of the leg in relation to the muscle groups. In this example the subject is of a lighter build. Her upper right leg appears flatter as she has stretch her leg back slightly and her calf is more defined as she is pointing her toes and tightening the muscle showing more of its shape on the back of her leg.in the next sketch of a nude lying on her side you can see that she is of a slightly heavier build, again note the shape of the legs in relation to her position. It is always important to take into account the position of the subjects legs in relation to the rest of their body. As demonstrated in these sketch's. Once you start to bend the subjects leg and move the subjects position the proportions of the upper and lower legs change making them appear longer or shorter.In the next two poses of a squatting nude each nude has her legs spread and they are positioned in such a way that despite them being slightly differently posed they both still appear equal in proportion. This is because you are viewing them front on.

Figure Modeling Poses