Time in a nude modeling session (long pose) is expensive, so it is important to prepare ahead of time so you can make the most of your modeling session.
Here are a few tips to make you more successful: 1.
Pack everything you need the night before.
There is nothing worse than getting to the session only to find you have forgotten paper for the warm up drawing poses, because you were focused on painting.
2.
Plan ahead.
Don't bring a canvas or paper that is too large to fill in the time allotted for the pose.
Also, make sure that the surface is not so small that it frustrates you because you can not put in the detail you want.
This planning goes for the all aspects of the painting or drawing - composition, media choice, even to your position to do the work - standing at an easel for long periods can stiffen up your back.
I plan small stretching breaks to make sure that I still enjoy the session after it is over.
3.
Arrive early.
I was painting at the last session, and the painters need a table to put their materials, so it was important to arrive early so I could get a place near a table.
Also if you arrive early, find out what the pose is going to be, and where the lighting will be to get the best position for the image you want to create.
4.
Do not come in late.
It is disruptive to the model and to the others who are concentrating on drawing or painting the model.
5.
Take care of setup tasks before the session starts.
This way you can take maximum advantage of the pose time.
6.
Do not be afraid to participate in the discussions of lighting and pose.
These are very important to your work, and you want to make sure that you and everyone else gets what they need.
Do not be shy! 7.
Usually there is a break.
The model will do the best he or she can to get back into the same position.
Again, contribute to this exercise, as you will be looking at the model from a unique perspective, and all the inputs are important for getting the pose right after the break.
8.
The model will be making minor moves throughout the long pose.
It is important to get the basic shape and position correct as soon as possible.
Then you can refer to the model for color and shape, but do not change your basic shape and position each time the model moves.
Finish painting or drawing the initial image, using the model only as a reference later in the pose.
9.
Often there is music during the session and it can be a point of contention.
Some people like music, some do not.
Most people like different kinds of music.
I try to be flexible about the music, because I am there to paint, not to focus on the music.
Make sure you are heard, and if you really can not stand the music, then you may need to find another session next time to attend or try bringing your own music to listen to using earplugs.
Try to be considerate of others needs as well as your own.
10.
Painting or drawing is an individual act.
Do not judge yourself by comparing your work with another person's.
That kind of comparison is not productive.
I believe the best way to judge your work is to ask yourself did it convey what you wanted it to? Did the work contain changes in it that you wanted to achieve to improve from prior work? If it did what you wanted it to, and incorporated the changes you wanted, then the work is a success, no matter what anyone else did or did not do.
Here are a few tips to make you more successful: 1.
Pack everything you need the night before.
There is nothing worse than getting to the session only to find you have forgotten paper for the warm up drawing poses, because you were focused on painting.
2.
Plan ahead.
Don't bring a canvas or paper that is too large to fill in the time allotted for the pose.
Also, make sure that the surface is not so small that it frustrates you because you can not put in the detail you want.
This planning goes for the all aspects of the painting or drawing - composition, media choice, even to your position to do the work - standing at an easel for long periods can stiffen up your back.
I plan small stretching breaks to make sure that I still enjoy the session after it is over.
3.
Arrive early.
I was painting at the last session, and the painters need a table to put their materials, so it was important to arrive early so I could get a place near a table.
Also if you arrive early, find out what the pose is going to be, and where the lighting will be to get the best position for the image you want to create.
4.
Do not come in late.
It is disruptive to the model and to the others who are concentrating on drawing or painting the model.
5.
Take care of setup tasks before the session starts.
This way you can take maximum advantage of the pose time.
6.
Do not be afraid to participate in the discussions of lighting and pose.
These are very important to your work, and you want to make sure that you and everyone else gets what they need.
Do not be shy! 7.
Usually there is a break.
The model will do the best he or she can to get back into the same position.
Again, contribute to this exercise, as you will be looking at the model from a unique perspective, and all the inputs are important for getting the pose right after the break.
8.
The model will be making minor moves throughout the long pose.
It is important to get the basic shape and position correct as soon as possible.
Then you can refer to the model for color and shape, but do not change your basic shape and position each time the model moves.
Finish painting or drawing the initial image, using the model only as a reference later in the pose.
9.
Often there is music during the session and it can be a point of contention.
Some people like music, some do not.
Most people like different kinds of music.
I try to be flexible about the music, because I am there to paint, not to focus on the music.
Make sure you are heard, and if you really can not stand the music, then you may need to find another session next time to attend or try bringing your own music to listen to using earplugs.
Try to be considerate of others needs as well as your own.
10.
Painting or drawing is an individual act.
Do not judge yourself by comparing your work with another person's.
That kind of comparison is not productive.
I believe the best way to judge your work is to ask yourself did it convey what you wanted it to? Did the work contain changes in it that you wanted to achieve to improve from prior work? If it did what you wanted it to, and incorporated the changes you wanted, then the work is a success, no matter what anyone else did or did not do.