On a bright, crisp afternoon in east London, Esther and I joined Avidyā for bagels. It was both a lunch and, in my case, an introduction. Avidyā had drawn Esther on many occasions but this was her first time meeting me and a first time drawing us together.
Two rarities in a single session: a private booking for one artist and a chance to pose as a couple. We began with quick poses for warm-up sketches before laying down in an embrace for our long pose. Through happy tears, Avidyā captured our aura. 🌈
When the time felt right we stopped for hot chocolates, then resumed for another half hour. This was just a start – both for the artwork and our connection. Avidyā will finish her painting in our absence, but we already plan to reconnect in a fortnight. ❤️
Ten weeks after my last visit to The Birds, I was back for part 2 of a double booking with Leytonstone Life Drawing. I love this group and felt blessed to return. As usual we began with quick poses: three of 1 minute, three of 3 minutes, three of 5 minutes.
Artwork by Phyllis.
Artwork by Jennifer Wolf.
Artwork by Olga Szynkarczuk.
For the last 5-minute pose, I manoeuvred my rear to the edge of a small square table and reclined down to the floor; not quite so easy as I’d imagined. It was a bit too high, even for me, so I balanced by draping my legs over the top and down the other side.
Artwork by Phyllis.
Artwork by Paul Green.
Artwork by Jennifer Wolf.
After an inverted pose that proved rather a challenge for everyone, not least myself, I went orthodox for the next 12 minutes: standing with my right leg a pace forward and fingers interlinked behind my backside.
There was time for one more pose of 8 minutes before our half-time break. For this, I sat upon the floor, right leg crooked and horizontal, left knee raised to support my left elbow with left forearm vertical, pointing to heaven. Or the pub ceiling, if you prefer.
Artwork by Phyllis.
Artwork by Paul Green.
Artwork by Jennifer Wolf.
I felt the first half had been positively received, but organiser Jenny was preoccupied with thoughts of some people who’d arrived, sat down, then immediately got up again and departed just before the start. My guess was they hadn’t expected a male model.
Artwork by Phyllis.
Artwork by Jennifer Wolf.
Artwork by Phyllis.
Artwork by Jennifer Wolf.
We resumed with poses of 20 minutes and 15 minutes, taking us to a finish. For both of these I sat on the small table, arranging my limbs within its confines. A male model maybe isn’t for everybody but it was nice to see artists looking happy at the end. 🙂
Instagram reels
It had been 4 years since I last modelled for a Halloween-themed event, and 7 years since I last posed on Halloween itself. This session at Drawing the Star wasn’t billed as a Halloween special, and anyway I had no time during the day to sort out props or body paint… but organiser Catherine Hall brought a skull, and a skull is all I need!
Artwork by Rae Birch Carter.
Artwork by Peter John Holmes.
To a life model, a skull can simultaneously be a prop, a focus, and an inspiration. Any pose undertaken with the skull could equally be presented without it, but the dynamic changes as the skull becomes a device for interaction. Suddenly, every pose is a duo pose. These began with timings of 5 minutes, 4 minutes, 3 minutes and 2 minutes.
Artwork by Alex McKenzie.
Artwork by Catherine Hall.
Artwork by Alex McKenzie.
The quick poses came to a head with three of 1 minute and three of 30 seconds. In a very literal sense they came to a head, as each of these was with the skull too: either raising it aloft or pressing it underfoot, feigning to throw it or thrusting it to the ground, or simply standing akimbo with skull on hip.
Artwork by Alex McKenzie.
Artwork by Alex McKenzie.
Before our break we slowed the dramatics with two poses of 10 minutes each. First, I stood up straight, left leg a pace forward, fingers interlinked below my backside. It’s a stance I’ve presented many times, but never before cradling a skull. I followed this on my aforementioned backside, sitting on the floor, skull held upon a raised knee.
Artwork by Rae Birch Carter.
Artwork by Irene Michaelides.
Artwork by Alex McKenzie.
We had a good circle of artists. As usual after the interval, before resuming Catherine invited a show of hands on preferred pose lengths for the final half-hour. Never was a popular vote concluded so speedily: the first voice said “two fifteens” and one-by-one each arm raised was an arm in agreement. No contrary view expressed.
Artwork by Mark Doherty.
Artwork by Catherine Hall.
Artwork by Alex McKenzie.
Artwork by Terence Williams.
Artwork by Joseph O’Connor.
For 15 minutes I stood stooped with my left foot on a low stool, left elbow on left knee and skull in left hand, while my right hand rested upon my lower back. To end, I stood straighter, put my left hand on my hip and, with a finger of right hand threaded behind the skull’s jaw, set the skull upon my right shoulder; cheek by jowl, if you will.
Artwork by Peter John Holmes.
Artwork by Catherine Hall.
Artwork by Alex McKenzie.
Artwork by Terence Williams.
Artwork by Joseph O’Connor.
Artwork by Rae Birch Carter.
Artwork by Mark Doherty.
When time was called, I shifted myself out the way as rapidly as possible so artworks could be set out upon the floor for admiration. Such a strong session, so many strong drawings! I’d felt invigorated from the outset by my co-model, the skull, and now it felt both gratifying and moving to see this outstanding response. Happy Halloween! 💀
This was a joy to behold. The first-floor function room of The Victoria Stakes was as busy with life drawing artists as I could ever recall seeing it. I have been working with The Moon and Nude for more than 10 years – multiple venues, always happy times, truly nice people – so it’s great to see business doing well. Time to give of my best!
Artwork by mi_sketches_
As ever, organiser Julia was attentive in asking me whether the room was sufficiently warm and checking that I wasn’t just playing the old soldier in saying ‘yes’. We began at 7pm with quickfire poses: 1 minute, 2 minutes, 3 minutes, 4 minutes, 5 minutes, all in the round; reorientating, repositioning, re-energising.
Artwork by Rosalind Freeborn
In my mind, poses up to 5 minutes in length are ‘quick’, whilst 10 minutes to half-hour is ‘medium’ and anything more is ‘long’ insofar as breaks may be needed. We moved to medium with a 10-minute pose, after which a 15-minute pose ran on to 20 minutes so the final pose before our half-time interval was shortened from 20 to 15.
Artwork by Rosalind Freeborn
We ended with a 40-minute pose. Feeling in a good place, both within myself and the room, I offered to stand. Julia announced this to the artists, noting that offers to stand for the long pose are: “rarer than Willy Wonka’s golden tickets“. It was my pleasure to be their golden ticket; I felt connected and appreciated.
Artwork by alexander english
Artwork by Rosalind Freeborn
This aura of positivity preserved me from needing to pause for a stretch. A slight shift of thumb position on my left hip plus occasional micro heel-lifts were all I required. As the session concluded, magnificent artworks and many a kind word from artists were ample remuneration for an auric admission. Hope to be back in February!
If ever there was an evening for getting indoors and undressed, this was it. While last Wednesday saw a drizzle of rain before life modelling, this Wednesday had a deluge. My umbrella offered scant protection from wind-whipped volleys. By the time I arrived at the Garrett Centre for Adrian Dutton’s group, much of me was drenched.
Once again I was impressed by the artists whose commitment motivates them to join us whatever the weather, even when Zoom is offered as an alternative. More than 20 made the effort, occupying seats set out as a square, with a couple more standing by easels. We began: a 15-minute pose, five of 1 minute, then 5 minutes, 10 minutes.
Next I was asked for a 20-minute pose that would take us up to the interval. Knowing Adrian would be preparing hot dhal, snacks and tea as a half-time treat for everyone, and that it’s not unknown for his kitchen toils to result in the pose time over-running, I opted to lay down. Wisely as it turned out; a halt was called after 33 minutes.
The dhal was a delicious dish for which it was well worth tarrying a little longer on the floor. After an ample break we finished with poses of 10 minutes and 20 minutes: first standing, then sitting on the floor. Back in my still-damp clothes, I took time to admire the inspired artworks… in no hurry to navigate home ‘twixt puddles and darkness.
At long last, a date lined up for 2023. I’d already had to decline bookings with Tanner Street life drawing for February as I was in South Africa, and for July as I was going to be in North Macedonia (excuses, excuses). Third time proved to be lucky. I had no travel plans or other bookings for 11 October so I would only have to miss my regular Wednesday evening yoga group – not an infrequent sacrifice for art’s sake, sadly.
Artwork by Clive.
Artwork by Kate.
Artwork by Daniela.
Artwork by Clive.
After a delightfully warm sunny autumnal weekend, the temperature dropped and sky darkened ahead of this midweek evening. Maybe the forecast for drizzle discouraged artists from attending in droves, but a minor influx as we got underway ensured seats were taken on all sides of the square space. We started with two poses of 2 minutes, two of 5 minutes, two of 10 minutes, and then 15 minutes to the half-time interval.
Artwork by Daniela.
Artwork by Clive.
Artwork by Daniela.
Artwork by Clive.
Artwork by James.
Artwork by Clive.
Artwork by Kate.
While artists were invited to pay their admission fees, I was first in the kitchen area to pour tea and partake of the white chocolate biscuits. After our break, a single pose of 55 minutes would see the session to its end; feeling magnanimous, I offered to stand. This evidently not being a common offer, it was accepted without dissent. I folded my arms behind my arched back and settled into a balanced stance. We began.
Artwork by Clive.
Artwork by James.
Artwork by Cliff Barden.
Artwork by Daniela.
Artwork by Kate.
Artwork by Raphael Elizabeth.
I was offered a stretch-break after 20 minutes but felt fine, so declined and carried on for another quarter of an hour. When I did stretch, I kept both feet rooted to avoid any need for marking positions. Come 9pm, my work was done… and a nice evening was about to get even better. Super-talented artist Clive invited me choose any one of his works as a gift. Extraordinary generosity – thank you, Clive! It will be framed. 🙂
Photo by Tanner Street Life Drawing.
After 30 bookings in 7 years, life modelling for classes at The Conservatoire has the comfortable feel of slipping into – or indeed, out of – a much loved garment. Naturally poses vary on each occasion but the grand old art room, with its facilities, furnishings and fittings is a reassuring constant. But what’s this..? New furniture? For the model? Incredible but, yes, The Conservatoire’s art room now has… a chaise longue!
The trouble, as tutor Victoria Rance observed, is that I am a ‘model longue‘. Being a six-foot-four model longue, I’m not optimised for a dainty lopsided sofa. One seeks to make a virtue of one’s predicament, however, in this case contriving most novel uses of the new prop as seemed reasonable for three poses of 1 minute, one of 5 minutes and one of 10 minutes – the latter with legs on the side arm and head lolling.
For our long pose of 2 hours I’d said standing would be fine. Not quite sure why I say rash things like that, but there it is. Even so, Victoria realised that martyrdom was not essential to achieving the desired outcome, and instead turned the chaise longue 90º and bade me perch upon its high side. This I gladly did and, after what must have felt to the artists like an eternity of bum-shuffling for maximum sustainability, we began.
The sustainability manoeuvres worked as I remained motionless on the edge for fully 45 minutes before taking a first stretch break. This lasted about quarter of an hour, in which time a selection of cakes and pastries from The Conservatoire’s cafe magically materialised. Perk! Slightly fatter, I resumed for 35 minutes, then took a much shorter stretch before finishing in good condition at 10pm. All hail the chaise longue!
steve ritter 