I’ve life modelled at The Conservatoire each year since 2016, but almost exclusively for Monday evening life drawing classes. This booking – inherited from Esther – was different, being one class within a wider ‘How to Draw’ course incorporating figurative art and much more besides.
I would be posing nude, and working with tutor Victoria Rance in the main art studio, but that’s as far as similarities to Monday sessions went. Rather than warm-up poses of 1, 1, 1, 5 and 10 minutes, we started with three of 2 minutes. Apparently warm-ups here are usually only a minute each, so maybe my height warranted double-time.
The main difference was that instead of then progressing to a single long pose, there was more flexibility to set-up tableaux and adapt pose times to suit the artists’ needs. Curiously for a midwinter afternoon, Victoria had an inspiration to create scenes from Shakespeare’s ‘A Midsummer Night’s Dream‘. I was to be Oberon… and Puck.
Standing on a podium adorned with flowers, leaves, pine cones and other decorative items, first I was to face to my right as Oberon with an outstretched palm, and next to my left as Puck playing a flute – which in fact was a plastic thigh bone, being the only available prop with flute-like proportions.
As Oberon, I held a small human figurine in my right palm. The idea was that instead of drawing the figurine, our artists would leave the space vacant and sketch me in my Puck pose in its place. One might think the figurine would be tricky to hold upright for half an hour, but it was a doddle. My femur-flute was another, weightier, matter.
The flute held for the required time – less than that of the Oberon pose as it was only for a mini-me sketch. We still had time at the end for a simple 15-minute sitting pose. Overall this was an enjoyable, engaging, nicely-balanced session. I even got creative myself: I’d made Oberon’s wreath from a bay tree in my garden the day before.
Pose minutes, 7:30pm-10pm
Part 1 : 2, 2, 2, 30.
— break —
Part 2 : 20, 15.
Artworks
With apologies to artists I’m unable to credit.
My fourth and final life drawing session of 2024 for Hesketh Hubbard Art Society at Mall Galleries was back on ‘quick’ pose duty (four 15-minute poses before the break and two of 30 minutes after) rather than ‘long’ (one pose for an hour either side of the break) or portrait (again, one pose, but clothed).
As ever here, I made a mental note of my six poses before arriving. Partly this was to make sure I wouldn’t repeat poses from my last two visits. Also, as this a multi-model venue with a regular influx of new young models, it gives me extra confidence that I’ll maintain a good standard. Of course, this need is pure self-inflicted psychologising.
After standing, sitting, standing and reclining in the first half, I sat down at the interval with a cup of tea and a pie (festive mince variety). Time flew as I chatted football with artist Graham Wood. We ranged from non-league Carshalton to bygone Wimbledon, to the Scottish contingent at Napoli. Quite rare subject matter in arty circles!
I stood and sat in the second half. Fifteen minutes into the 30-minute standing pose I knew I had a problem with my raised left arm. Vague tingles had started to become a cold heavy numbness. I couldn’t micro-manage it, so after five more minutes I had no option other than to apologise and try shaking it out for a few seconds.
Shaking provided only fleeting respite, so after another five minutes I was once again obliged to try exercising life into the troublesome limb. Tantalisingly close to the finish, when the physical dead weight was maybe equalled by the psychological burden, my sinister arm finally collapsed for good… just as “last 30 seconds” was called.
I kept my closing seated pose simple. Everybody seemed positive at the end, with no verbal criticism made of my malfunctioning appendage. Indeed I was asked why I put myself through such punishing poses when many models “just sit there”. The answer was as per the start of this blog: my compulsion to ‘maintain a good standard’.
I’m keenly aware of being an anomaly in the broad demographic of models who work here. I’m 55 years-old; male; ex-office worker; a bag of bones, bulges and blemishes; physically unusual, but rather unfit. I feel I have to work extra hard earn my bookings, otherwise there’s an endless supply of dancers and acrobats ready to take my place!
Pose minutes, 6pm-8:15pm
Part 1 : 15, 15, 15, 15.
— break —
Part 2 : 30, 30.
Artworks
With apologies to artists I’m unable to credit.
Artwork by Simon Whittle.
Artwork by Jeremey Deacon.
Artwork by Simon Whittle.
Artwork by Theo Phizza.
Artwork by Simon Whittle.
Artwork by Simon Whittle.
Artwork by Simon Whittle.
I knew this would be a tough one: two hours posing nude in a venue that’s one of the hardest to make warm, on the chilliest night of autumn so far, an outside temperature hovering around -1°C. I was not wrong.
The three main challenges at Topolski Studio are: (i) it’s cavernous, under a railway bridge arch near Waterloo station; (ii) its door is kept ajar during the first pose so late arrivals (and freezing draughts) can get in; (iii) its power circuit is easily tripped.
I was posing centrally in the main space near the door, surrounded by artists wearing winter coats, scarves or woolly hats. Five minutes into the opening pose, all three fan heaters around me cut-out simultaneously, along with all the plugged-in lamps.
It took five further minutes for tutor Mark Lovelace to unplug the non-essential items, find the fusebox and reset its switches. The little heaters whirred back into life. All the while I’d been thinking: if they stay dead, at what point do I quit before I’m dead?
I’m a ‘show must go on‘ kind of guy, but guidance on workplace temperatures says: “the temperature in all indoor workplaces must be reasonable“, with a minimum 16°C suggested… presumably for fully-dressed staff. I suspect we were below 16 here.
But the show went on and, whilst not comfortable, was tolerable. After the interval, an extra portable radiator was plugged-in but soon the power cut out again. Nice try. The fan heaters’ electricity was restored more quickly this time and stayed on till the end.
So the main narrative is the struggle to stay warm. Apart from that, however, this was another really nice session at one of Adrian Dutton’s groups. The vibe, friendliness, informal tuition, refreshments, pastries, great art, good pay, and tips encouraged too.
At various times in pose, I imagined this blog being nothing but paragraphs of…
cold cold cold cold cold cold cold cold cold cold cold cold cold cold cold cold cold cold cold cold cold cold cold cold cold cold cold cold cold cold cold cold cold cold cold cold cold cold cold cold cold cold cold cold cold cold cold cold cold cold 🙂
No complaints, though. I knew the likely situation before I arrived; there was little that Mark could have done to improve it. I own my choices, it’s still a privilege; afterwards, unlike London’s many rough sleepers, I can warm-up at home.
I gave my tip money to Shelter.
Pose minutes, 7pm-9pm
Part 1 : 15, 1, 1, 1, 1, 1, 5, 10, 20.
— break —
Part 2 : 20, 20.
Artworks
With apologies to artists I’m unable to credit.
Artwork by Helen.
Compared with the simplicity and serenity of my portrait session for The Croydon Art Society yesterday, this first-time booking at London College of Communication – a part of University of the Arts London (UAL) – required toil just to get on board.
Create an online profile, upload my CV, apply for the job, justify my application, prove my right to work in the UK, then get a visitor’s pass at reception, locate the lifts, go up to the 13th floor… and there find I can’t get through the door without a security card.
After hanging around outside for about quarter of an hour, I was eventually let in by a student attending the class. It vindicates my standard modus operandi: making sure I arrive with plenty of time to spare when booked for an unfamiliar venue.
Not far behind me came the course tutor, Anne Noble-Partridge of London Drawing. She immediately set her nine students to work rearranging the furniture and standing easels in an arc facing the area that would be my pose space.
In this session, Anne attempted to teach a framework of methods for observation and measurement. This included measurement simply by sight and measurement using a stick held at straight-arm’s length. Nothing too disruptive there, one might think.
To some extent, however, she was wading through treacle in trying to make the point that, whether or not students use the techniques routinely, they are universally useful skills for all artists to possess. Worth learning.
The challenge with university-level art students is that often they already have a keen sense of how they want to create. Established modes of self-expression may feel like an essential and defining part of their identity. These can be hard to unpick.
But Anne is nothing if not a force to be reckoned with. Resistance is futile, even when passive or subconscious. Apart from overcoming habit, the key is reassurance: this is not about smothering individuality, but rather broadening and underpinning capability.
For my part, I just made shapes. Lots of dynamic warm-ups, then standing for demos and students’ own practice of techniques before a seated denouement. Whatever the students’ perceptions, at least this model came away feeling better educated. 🙂
Pose minutes, 6:15pm-8:15pm
Part 1 : 5, 2, 2, 2, 2, 2, 2, 2, 2, 2, untimed sight measuring demo, 5-10, untimed stick measuring demo, 5-10.
— break —
Part 2 : 25.
Artworks
With apologies to artists I’m unable to credit.
Sight-measuring demo and stick-measuring demo.
Simply sitting in stillness. It’s so welcome and sometimes so necessary. When I’m life modelling I prefer short-duration dynamic poses that project an energetic tension, but for portrait modelling I turn my focus inwards, radiating only gentle quiet calm.
Even after a long walk on a cold wet mid-November evening, I was grateful to find an enforced peace of mind at the end of what has been a challenging period for me. Not stewing endlessly on negative thoughts or unresolvable circular worries. Just being.
Over the past two years, both my elderly parents have been sliding ever-more rapidly to age-related diminished mental capacity. Memory loss. Confusion. I’ve been a carer as best I can, often visiting and making their meals on my way to evening jobs.
But it’s now overwhelming. Five months in the ‘system’, tests and assessments, NHS and social services, yet still no formal diagnoses so no support forthcoming. It’s even been traumatic trying to organise private home care visits. Until this day. At last.
The arrangement is not yet ideal (can one ever be?) but prior to this job I was able to introduce a carer to my parents and, for the first time, leave their house knowing they had a safety net of sorts. Another person to call in each day, help out, make dinner.
And so here with The Croydon Art Society, I did not sit serenely believing problems had all been solved or relinquished. I did not even feel satisfaction. Only relief. Relief that one hurdle had been cleared and I could draw breath before tackling the next.
Supporting a loved one (or, for me, a loved pair) living with dementia is both mentally and emotionally draining. I can’t begin to imagine how it is for my parents themselves. Thank you, Croydon Art Society; for inviting me, and for all your friendly warmth.
Pose minutes, 7:30pm-9:30pm
Part 1 : 55.
— break —
Part 2 : 45 continuation.
Artworks
With apologies to artists I’m unable to credit.
Artwork by Jenny Arnold.
Artwork by Jenny Arnold.
Artwork by jenniegro.
Artwork by Evi.
Artwork by Mandy Gomm.
Artwork by Mandy Gomm.
Photo by Mandy Gomm.
On Saturday I modelled for an all-day London Drawing skills workshop, focusing on ‘Heads, Hands and Feet‘. Tutor Rachel Mercer led the session, in which artists were invited to: “Tackle all your problem areas in drawing from the body…”
With 13 artists in attendance, Rachel first explained the anatomy of each body part in exquisite detail, then demonstrated techniques for drawing them. Theory done, it was time for some practical work, beginning with feet and repeating for hands and head.
My role was to sit in the centre of the space, back-to-back with fellow life model Mike, separated by a partition whilst artists and easels encircling us. We remained dressed other than to remove shoes and socks when required.
Feet were set unevenly at a sixty degree angle, one slightly forward. For hands I had my left hand palm up and fingers loosely curled; right hand similar but palm down. To finish, the head-pose was a standard portrait study.
I suspect few of us regard our feet as our most beauteous features, but the artists did what they could with mine. Perhaps surprisingly, it seemed everybody’s best artworks were the drawings of hands. Portraits… were definitely me! It was fun.
Aside from portrait-only sessions, this is surely the least dynamic form of modelling. I became literally less than the sum of my parts. That said, between poses I had some engaging conversations as a whole person, not just detached objectified extremities.
This was my first time at the Artizan Street Library and Community Centre venue. Hopefully not the last. And hopefully not the last time working with Rachel either, but with a baby on the way, my feet won’t be her priority. 🙂 Very best wishes, Rachel!
Pose minutes, 10am-4pm
Part 1 : feet, feet, hands.
— break —
Part 2 : hand, head.
Artworks
With apologies to artists I’m unable to credit.
Duo model bookings have become something of a scarcity. Esther and I had three in the two months immediately prior to the first UK COVID-19 lockdown. We’ve had just three in the four and a half years since.
To some extent this is for positive reasons. Life models had campaigned successfully for many London art groups to increase their hourly pay rate. Whilst this was overdue and very much needed, it means groups are less able to pay in full for two models.
Generally, Esther and I try to take a sensible pragmatic approach when agreeing duo fees, especially with groups that have given us lots of solo bookings. Not buy one get one free, nor undermining the market, but fair for all parties.
Esther has been modelling with Cosy Life Drawing London for many years, starting before they arrived at their current Framestore venue. For me, this would be a début appearance in any setting for the group.
Many artists here are animators and, as is often the case with animators, they favour lots of very short poses. We were impressed they did not compromise on the quicker pose times, even though their number of models had doubled.
Despite having so few opportunities for professional practice, when we got underway we found ourselves slipping effortlessly in and out of complimentary alignments. This was entirely unrehearsed, with no time for forethought, and with very little conferring.
Only once did I find myself in an uncomfortable position: a 10-minute kneeling ‘battle’ pose holding a stick while Esther brandished a sword. Esther’s moment of discomfort came when she curled up with her head resting in my lap, but legs not ideally placed.
Occasional misjudgements are inevitable with rapid repositioning, but overall it was a really good dynamic session for a well-organised, kind, considerate group of talented artists. Thoroughly enjoyable. And check out these artworks..!
Pose minutes, 7pm-9:30pm
Part 1 : 1, 1, 1, 1, 1, 2, 2, 2, 2, 2, 5, 5, 5, 10, 10, 2.
— break —
Part 2 : 2, 2, 2, 2, 2, 15, 15, 15.
Artworks
With apologies to artists I’m unable to credit.
steve ritter 