I Am a Model - a Beginner's Guide to Fine Art Modeling
***Parts of this written in collaboration with the lovely and enigmatic, Lora McKenna, a striking model and wonderful mentor and friend.***
I am a model. I am not slender or petite. I have crooked teeth. I keep my fingernails short and unpainted. Sometimes I let my highlights go too long between touch-ups. I bruise easily and get ingrown hairs. I have stretch marks on my breasts and hips. I am a Fine Art model.
Fine Art models are not delicate or fussy. Fine Art models are not worried about getting paint on ourselves or our clothes. Fine Art Models are work horses, like athletes, waiters, actors or dancers. Our bodies are our tools to exhibit line, texture and character. Modeling for art requires strength, discipline, and an acute sense of how our position looks to the viewer.
Put plainly, I take my clothes off for money, but I am not a stripper. There is nothing sexual about what I do. Yet nudity without the reward of sex makes people uncomfortable, and those who are not familiar with the art world often express curiosity bordering on dismay as they proclaim of themselves, "I could never do that."
There are, however, plenty of men and women who DO want to be Fine Art models. And with them in mind, I offer the following advice.
So You Want To Be A Model
There is stark contrast in photography and figure modeling. While there is a flash and glamour in the former, there is something bare and simple in the latter. The lights in a classroom are intended to create contrast and shadow, and the position is about creating interesting subject matter, not about hiding flaws. It can be both physically and mentally challenging. You need hold a pose for mere moments when sitting for a photograph, but are expected to maintain utter stillness for as long as thirty minutes when figure modeling. Difficulties aside, it is perhaps the only “performance-type” occupation that does not discriminate based on gender, body type, or attractiveness. As the head of one college art department said to me in our first meeting, "Anyone can be a life model, because all shapes and sizes are reflected in life."
Love Your Body
I am very comfortable with my body. I know what it looks like and how I feel within it. Nevertheless, the first time I modeled nude for a sketch group I'm standing there in my robe when suddenly it dawns on me that I'm supposed to be naked. How will this robe come off? Will I have to actually remove it? Someone intending to sit naked before a group of strangers needs to feel good about his or her body.
Unfortunately, there is no magic pill to cure self-consciousness. You have to work from a base of accepting your body. It’s the only one you have, and it’s completely unique. It’s that fact that makes artists want to work with you to begin with: they have never seen a body just like yours. So find what you like about yourself and embrace it. And if you can’t do that, then perhaps nude modeling is not for you.
*Note: there are modeling jobs that do not require you to pose in the nude. Portrait and costumed sessions are two possible options for the demure. Just keep in mind there are less opportunities available for someone who is only willing to pose while clothed, and priority will often go to the more versatile model.
Know Your Body
Figure modeling is all about creating negative space and arranging your limbs in interesting ways. It’s about taking a snapshot of everyday movement and holding it. As I am often hearing, there is nothing worse than a model whose eyes wander or who can’t maintain a pose. How do you avoid this? Know your body. Since the most important thing about life modeling is being able to stay still, it’s vital that you have a working knowledge of your physical limitations.
In the beginning I was taking on more than I could handle in my poses. I would stubbornly hold myself in painful contortions and wake up the next morning finding it difficult to move. After a few sessions like this, I became more in touch with what my body can and cannot do. I have come to know how long I can balance with my weight on one leg. I know my bent legs fall asleep about fifteen minutes into a seated pose. I know how far I can turn my head for a five-minute versus twenty-minute pose -- and you need to know those things, too.
The best way to learn about your body is to practice. Do some yoga or go through a range of stretches. Pay attention to how your muscles respond to certain extensions and positions. Listen to old injuries, joint stiffness, and anything painful. Once you find a range of poses, time yourself and hold for 5 minutes. Work yourself up to 20 minutes in 5-minute increments. If you find at any point that you can’t comfortably hold at least a dozen different interesting poses for at least 20 minutes each, figure modeling is not for you.
Know Your Mind
Staying awake for twenty minutes in a particularly warm room can be a downright challenge. Many times when my mind is blank I’ll bite the inside of my cheeks to keep my eyes open. It is imperative to pick a point on the wall to keep your eyes from wandering (in case you missed it above, I’ll say it again: artists hate wandering eyes!), and focus on something to keep your mind off the temperature of the room, your leg falling asleep, or your grumbling stomach. For me, the time always seems to pass more quickly when I’m doing long math problems in my head. However, if you’re a person who enjoys meditation, you can probably ditch the long division. Figure modeling can be mentally stimulating or a mental vacation, whichever works best for you.
You have to be realistic when considering figure modeling as an employment option; not everyone is cut out for the job, and that's okay.
Model Qualities
There are not a lot of requirements for being a model. Show up. Be on time. They're the same basic requirements for LIFE, so it's shocking to me how many models fail at them. So many, in fact, that professors assume up front that a model will be late or fail to show, until you prove through repetition that you are not one of them, that you are you: a responsible adult who is capable of the following.
Show Up
It sounds like a no-brainer, but sometimes it is as easy as just showing up. Earlier this year I shot with a photographer traveling from Germany. I was a few minutes early arriving at the studio, and was informed by the owner that both the photographer's models had failed to show the previous day. No phone call, no email, no nothing. And he was paying for the studio space, and paying them to be there.
It's frustrating enough that both models pulled a "no-call, no-show", but this is a man who was only in the country for a limited time, and had no way to book replacements on short notice. He wasted an entire day waiting for two inconsiderate girls who never showed up. DO NOT BE THIS PERSON. It's possibly the most unprofessional thing you can do.
Be On Time
You hear this about every job. About every class. Hell, in college if I was even one minute late for class I was locked out and dropped a letter grade. I failed third semester ballet because of this, and had to repeat it the following semester at the dreadfully early hour of 8am. Yet for some people, being on time just never sinks in. Here's the deal: if you can't be on time, then modeling is not for you. Because it's not just about being on time once, it's about being on time after each and every break...and you get a break about every twenty minutes. Teachers are counting on you to limit yourself to five minutes and get back to work. If you run behind, then class runs behind. Catch my drift?
Tip from a working model: some professors give longer breaks than others. One professor at the Art Institute is forever reminding me to take my full five minutes to stretch and move around. I ignored his advice at a different college, and was in horrible pain from not getting enough circulation. You're given these breaks for a reason; take advantage of them.
Be Prepared
Being prepared can mean any number of things, and it's another one of those qualities many models seem to be lacking. I shot a series of recreations of old black and white nudes last fall, and I called the photographer the night before to discuss the hair style. The photos were from the 1900-1920s, and I wanted to be sure I got the period just right. He was impressed that I did the research, and the three long, painful hours spent pin curling my head resulted in beautiful and authentic pictures. I was sadly not surprised to learn that he hadn't benefited from a model that prepared...ever. To me it seems like common sense, but that's the actress in me. Cast in a role? Research the role.
With figure modeling, preparedness is a little different. It is preferred that you limit your makeup to what looks natural. Little or no makeup, no jewelry. It is customary to keep hair pulled back so the bone structure and musculature of your face, neck, and shoulders are visible.
The Model Kit
Bill says I look like an old lady. Bill is my roommate, and I shrug off most of what he says, including this comment about my new twelve-gallon wheelie bag. "I feel like an old lady," I retort, and I really do. My back hurts. My hips creak. I live on a steady diet of Advil, Tums, and bad white wine. I may look like an old lady with this bag, but it's the best thing I've done for myself since my last massage.
I live out of this bag, and it's stocked with everything I could possibly need to get myself through a full day of modeling. This isn't some mysterious purse full of lipstick and hair spray; I call it my "model kit".
Bring a sheet to sit on. This is one of the only (and most valuable) tips in preparedness I came across. Whether there is fabric available in the classroom or not, you have no idea whether it’s clean. And in my experience, it usually is not. If the fabric is not clean, it is reasonable to request a standing pose. But you’ll avoid this altogether if you just bring a sheet. Be prepared for it to gather charcoal and pastel dust and get marked up with tape. It will become your security blanket, and sitting on a clean, familiar surface will some days feel better to you than any other comfort.
When I'm not posing on that sheet, I'm wearing a bathrobe. On a dreary winter day in a cold studio, it can be hard to keep warm. A comfortable robe and a fuzzy pair of slippers are an absolute necessity for keeping me happy (and keeping my feet free of charcoal, chemicals, tacks, nails, pencil shavings, etc.). I don't ask for much.
Tip from a working model: While some models feel they should be able to walk around naked if they want, proper etiquette calls for the model to don a robe when not on the box. Just because you're comfortable walking around in the buff doesn't mean the artists/students/professors are.
Then there's everything else.
How do I get started?
A fully-stocked kit isn't much help without a place to model. Start by making a list of the colleges, sketch clubs, and art centers in your area. They will become your new office. Figure drawing is a requirement for more than just Fine Art majors (thinks graphic and fashion designers), and those majors are offered a broad spectrum of colleges.
Sketch Clubs
These groups are an excellent place to begin, because artists are always seeking diversity in face and body. Usually the go-to person is listed on the group's website as the "monitor" for a particular session.
There are two ways of getting work at these larger sketch clubs: calling, and attending a session. Leaving a voicemail with the hopes of reaching more than one monitor is risky, because you never know who's retrieving messages and how good they are at sharing them. (Not to say you won't get work that way, because I have. It just takes longer, and is less reliable.)
Attending a session, especially if you're an artist yourself, is a better way to get your foot in the door with the monitors. When it comes time for them to collect the fee, introduce yourself and explain that you want to model. Chances are the monitor will be happy to put you on a call list, and perhaps even book you on the spot.
Colleges
Colleges are complicated webs of departments and staff, which I found to be even more difficult having not attended traditional college myself. First locate the number for the art department. After that you're relying on two words: model coordinator.
In the past, the model coordinator was a person whose only responsibility was to hire and schedule models. In the current struggling economy many institutions have lumped this responsibility with another position, be it academic affairs or something in administration. Coordinating the schedules of dozens of professors and models is complicated, time-consuming, and a general pain in the ass.
Make life easy for the model coordinator. Sometimes this means picking up a class you don't want, because you're the only one available. It means giving up a class that was double-booked, even if you need the money. It certainly means call when you are late, and show up when you're booked. Think of this person as your agent. He or she can get you work when you have holes in your schedule, or get you out of a class when your schedule gets tight. They give references and can get you referrals: coordinators from other schools help each other out finding models.
Develop this professional relationship like you would any other. Be polite, confident, and clear about your availability, and you'll become known to them as a person easy to work with.
Breakin' In
To get work in the beginning, you're picking up crumbs from unreliable models. Keep your eyes and ears open, and always be ready to fill in on short notice. A perfect example: when I started at the Institute I didn't have my own classes; I was asked to fill in for someone who had cancelled. For the first two months I took every last-minute class that was offered to me. Six months later, I was near the top of the call list.
Scheduling
Most colleges book a full term at a time. At very least, they schedule a month in advance. Keep a detailed day-planner so you know where you're supposed to be and when. One of the professors for whom I often work had his most reliable model fail to show up two weeks in a row because she double-booked herself at two colleges by accident. As you probably guessed, she's no longer one of his models.
When taking a booking always write down the date, time, instructor’s name, and room number of the class. Last minute changes may put students in another room, and knowing the instructor’s name will allow someone to direct you where you need to go.
Payday
Every college I've worked for pays differently. Some issue checks weekly, some every other week, some once per month. Some offer direct deposit. Some strongly suggest direct deposit. Some colleges withhold taxes, while most hire you as an independent contractor. Find out what forms you'll be asked to fill out, save all your receipts, and find yourself a good accountant.
In the Classroom
Be on time. We covered this, but I can't say it enough. On time for modeling means fifteen minutes before class starts. If you know what the agenda is, you should be robed and ready to begin at the start of class. I often wait until the professor arrives to get the scoop, in the rare case he would prefer I not be nude, but I should beat him in the door. Models who are habitually late develop a reputation very quickly, and have a difficult time finding work.
Communicate
When you arrive, tell the professor you are the model for this class. If you are going to be more than five minutes late to class, call the coordinator immediately. The teacher needs this information to keep on track with that day’s agenda.
Ask the professor for a heater if the room isn’t warm enough. If there are no model stand covers or pillows for a reclining pose, contact the model coordinator.
Be attentive, pleasant, and professional. When not posing, cover up; wear a robe or put your clothes on. Don’t mistake a relaxed environment for an excuse to be overly chatty or familiar with professors or students. Like a dancer or actor on stage, the goal is to bring about such an interesting, focused look that you actually become the pose.
Most professors will ask you to keep time for yourself. Generally you’re required twenty to thirty minutes of posing with five-minute breaks in between. While this is standard, variations occur according to the teacher’s request and/or the model’s ability to stay in the pose.
Epilogue
Modeling is one of the most rewarding things I have done in my life. Through Fine Art modeling I have improved my balance, flexibility, and stamina. I have developed clearer communication skills and a refined eye for proportion and accuracy in art. It has introduced me to a score of interesting people, and opened the door to rich experiences. I am immortalized in art, and I think that's pretty cool.
I am a model. I am not slender or petite. I have crooked teeth. I keep my fingernails short and unpainted. Sometimes I let my highlights go too long between touch-ups. I bruise easily and get ingrown hairs. I have stretch marks on my breasts and hips. I am a Fine Art model.
Fine Art models are not delicate or fussy. Fine Art models are not worried about getting paint on ourselves or our clothes. Fine Art Models are work horses, like athletes, waiters, actors or dancers. Our bodies are our tools to exhibit line, texture and character. Modeling for art requires strength, discipline, and an acute sense of how our position looks to the viewer.
Put plainly, I take my clothes off for money, but I am not a stripper. There is nothing sexual about what I do. Yet nudity without the reward of sex makes people uncomfortable, and those who are not familiar with the art world often express curiosity bordering on dismay as they proclaim of themselves, "I could never do that."
There are, however, plenty of men and women who DO want to be Fine Art models. And with them in mind, I offer the following advice.
So You Want To Be A Model
There is stark contrast in photography and figure modeling. While there is a flash and glamour in the former, there is something bare and simple in the latter. The lights in a classroom are intended to create contrast and shadow, and the position is about creating interesting subject matter, not about hiding flaws. It can be both physically and mentally challenging. You need hold a pose for mere moments when sitting for a photograph, but are expected to maintain utter stillness for as long as thirty minutes when figure modeling. Difficulties aside, it is perhaps the only “performance-type” occupation that does not discriminate based on gender, body type, or attractiveness. As the head of one college art department said to me in our first meeting, "Anyone can be a life model, because all shapes and sizes are reflected in life."
Love Your Body
I am very comfortable with my body. I know what it looks like and how I feel within it. Nevertheless, the first time I modeled nude for a sketch group I'm standing there in my robe when suddenly it dawns on me that I'm supposed to be naked. How will this robe come off? Will I have to actually remove it? Someone intending to sit naked before a group of strangers needs to feel good about his or her body.
Unfortunately, there is no magic pill to cure self-consciousness. You have to work from a base of accepting your body. It’s the only one you have, and it’s completely unique. It’s that fact that makes artists want to work with you to begin with: they have never seen a body just like yours. So find what you like about yourself and embrace it. And if you can’t do that, then perhaps nude modeling is not for you.
*Note: there are modeling jobs that do not require you to pose in the nude. Portrait and costumed sessions are two possible options for the demure. Just keep in mind there are less opportunities available for someone who is only willing to pose while clothed, and priority will often go to the more versatile model.
Know Your Body
Figure modeling is all about creating negative space and arranging your limbs in interesting ways. It’s about taking a snapshot of everyday movement and holding it. As I am often hearing, there is nothing worse than a model whose eyes wander or who can’t maintain a pose. How do you avoid this? Know your body. Since the most important thing about life modeling is being able to stay still, it’s vital that you have a working knowledge of your physical limitations.
In the beginning I was taking on more than I could handle in my poses. I would stubbornly hold myself in painful contortions and wake up the next morning finding it difficult to move. After a few sessions like this, I became more in touch with what my body can and cannot do. I have come to know how long I can balance with my weight on one leg. I know my bent legs fall asleep about fifteen minutes into a seated pose. I know how far I can turn my head for a five-minute versus twenty-minute pose -- and you need to know those things, too.
The best way to learn about your body is to practice. Do some yoga or go through a range of stretches. Pay attention to how your muscles respond to certain extensions and positions. Listen to old injuries, joint stiffness, and anything painful. Once you find a range of poses, time yourself and hold for 5 minutes. Work yourself up to 20 minutes in 5-minute increments. If you find at any point that you can’t comfortably hold at least a dozen different interesting poses for at least 20 minutes each, figure modeling is not for you.
Know Your Mind
Staying awake for twenty minutes in a particularly warm room can be a downright challenge. Many times when my mind is blank I’ll bite the inside of my cheeks to keep my eyes open. It is imperative to pick a point on the wall to keep your eyes from wandering (in case you missed it above, I’ll say it again: artists hate wandering eyes!), and focus on something to keep your mind off the temperature of the room, your leg falling asleep, or your grumbling stomach. For me, the time always seems to pass more quickly when I’m doing long math problems in my head. However, if you’re a person who enjoys meditation, you can probably ditch the long division. Figure modeling can be mentally stimulating or a mental vacation, whichever works best for you.
You have to be realistic when considering figure modeling as an employment option; not everyone is cut out for the job, and that's okay.
Model Qualities
There are not a lot of requirements for being a model. Show up. Be on time. They're the same basic requirements for LIFE, so it's shocking to me how many models fail at them. So many, in fact, that professors assume up front that a model will be late or fail to show, until you prove through repetition that you are not one of them, that you are you: a responsible adult who is capable of the following.
Show Up
It sounds like a no-brainer, but sometimes it is as easy as just showing up. Earlier this year I shot with a photographer traveling from Germany. I was a few minutes early arriving at the studio, and was informed by the owner that both the photographer's models had failed to show the previous day. No phone call, no email, no nothing. And he was paying for the studio space, and paying them to be there.
It's frustrating enough that both models pulled a "no-call, no-show", but this is a man who was only in the country for a limited time, and had no way to book replacements on short notice. He wasted an entire day waiting for two inconsiderate girls who never showed up. DO NOT BE THIS PERSON. It's possibly the most unprofessional thing you can do.
Be On Time
You hear this about every job. About every class. Hell, in college if I was even one minute late for class I was locked out and dropped a letter grade. I failed third semester ballet because of this, and had to repeat it the following semester at the dreadfully early hour of 8am. Yet for some people, being on time just never sinks in. Here's the deal: if you can't be on time, then modeling is not for you. Because it's not just about being on time once, it's about being on time after each and every break...and you get a break about every twenty minutes. Teachers are counting on you to limit yourself to five minutes and get back to work. If you run behind, then class runs behind. Catch my drift?
Tip from a working model: some professors give longer breaks than others. One professor at the Art Institute is forever reminding me to take my full five minutes to stretch and move around. I ignored his advice at a different college, and was in horrible pain from not getting enough circulation. You're given these breaks for a reason; take advantage of them.
Be Prepared
Being prepared can mean any number of things, and it's another one of those qualities many models seem to be lacking. I shot a series of recreations of old black and white nudes last fall, and I called the photographer the night before to discuss the hair style. The photos were from the 1900-1920s, and I wanted to be sure I got the period just right. He was impressed that I did the research, and the three long, painful hours spent pin curling my head resulted in beautiful and authentic pictures. I was sadly not surprised to learn that he hadn't benefited from a model that prepared...ever. To me it seems like common sense, but that's the actress in me. Cast in a role? Research the role.
With figure modeling, preparedness is a little different. It is preferred that you limit your makeup to what looks natural. Little or no makeup, no jewelry. It is customary to keep hair pulled back so the bone structure and musculature of your face, neck, and shoulders are visible.
The Model Kit
Bill says I look like an old lady. Bill is my roommate, and I shrug off most of what he says, including this comment about my new twelve-gallon wheelie bag. "I feel like an old lady," I retort, and I really do. My back hurts. My hips creak. I live on a steady diet of Advil, Tums, and bad white wine. I may look like an old lady with this bag, but it's the best thing I've done for myself since my last massage.
I live out of this bag, and it's stocked with everything I could possibly need to get myself through a full day of modeling. This isn't some mysterious purse full of lipstick and hair spray; I call it my "model kit".
Bring a sheet to sit on. This is one of the only (and most valuable) tips in preparedness I came across. Whether there is fabric available in the classroom or not, you have no idea whether it’s clean. And in my experience, it usually is not. If the fabric is not clean, it is reasonable to request a standing pose. But you’ll avoid this altogether if you just bring a sheet. Be prepared for it to gather charcoal and pastel dust and get marked up with tape. It will become your security blanket, and sitting on a clean, familiar surface will some days feel better to you than any other comfort.
When I'm not posing on that sheet, I'm wearing a bathrobe. On a dreary winter day in a cold studio, it can be hard to keep warm. A comfortable robe and a fuzzy pair of slippers are an absolute necessity for keeping me happy (and keeping my feet free of charcoal, chemicals, tacks, nails, pencil shavings, etc.). I don't ask for much.
Tip from a working model: While some models feel they should be able to walk around naked if they want, proper etiquette calls for the model to don a robe when not on the box. Just because you're comfortable walking around in the buff doesn't mean the artists/students/professors are.
Then there's everything else.
- Kitchen timer - often you'll be asked to keep track of time yourself, particularly when modeling for students. Professors are both impressed and relieved when you come prepared with your own timer. In the spirit of having an app for everything, try this basic kitchen timer (free for Android).
- Saline (or eyedrops) - staring into hot lights for long periods of time shrivels my contacts into dry little disks.
- Band-aids - I'm clutzy. One day on my way out of class I was texting and walking at the same time and clipped the curb, doing a face-plant onto the sidewalk, scattering college IDs and cellphone parts, bloodying both knees in the process. And then there was the day I sat on the tack.
- Advil - headaches. Cramps. Backaches. Muscle pains. My liver is saturated with this stuff.
- Tums
- Lactaid
- Hand lotion
- Body lotion
- Diaper rash cream - Big girls don't have thigh gaps. We chafe. And it's painful.
- Cuticle oil
- Lip balm
- Tampons - it's imperative for a female model to wear an internal product or device while working during her cycle. Even though I use a keeper, I still keep tampons in my bag for backup. The times I haven't, I've gotten my period unexpectedly and gone dashing through the halls in my bathrobe, begging tampons off poor, unsuspecting office ladies.
- Hair bands
- Water bottle - drinking lots of water while modeling keeps the joints lubricated. I like my water bottles like I like my men: big and made of steel.
- Snack - I once saw a model fall victim to low blood sugar and go crashing off the model stand; it's not an uncommon occurrence. Most colleges don't have an area for you to store things (although you'll get lucky with access to the occasional teacher's lounge), so I stick to foods that won't spoil in my bag: whole-grain crackers, apples and bananas, and individually-wrapped cheeses. Peanut butter sandwiches pack a protein punch to pull you through that last stretch of posing.
- Entertainment. In longer classes there's often a lot of lecturing. Bring something to quietly occupy your time.
How do I get started?
A fully-stocked kit isn't much help without a place to model. Start by making a list of the colleges, sketch clubs, and art centers in your area. They will become your new office. Figure drawing is a requirement for more than just Fine Art majors (thinks graphic and fashion designers), and those majors are offered a broad spectrum of colleges.
Sketch Clubs
These groups are an excellent place to begin, because artists are always seeking diversity in face and body. Usually the go-to person is listed on the group's website as the "monitor" for a particular session.
There are two ways of getting work at these larger sketch clubs: calling, and attending a session. Leaving a voicemail with the hopes of reaching more than one monitor is risky, because you never know who's retrieving messages and how good they are at sharing them. (Not to say you won't get work that way, because I have. It just takes longer, and is less reliable.)
Attending a session, especially if you're an artist yourself, is a better way to get your foot in the door with the monitors. When it comes time for them to collect the fee, introduce yourself and explain that you want to model. Chances are the monitor will be happy to put you on a call list, and perhaps even book you on the spot.
Colleges
Colleges are complicated webs of departments and staff, which I found to be even more difficult having not attended traditional college myself. First locate the number for the art department. After that you're relying on two words: model coordinator.
In the past, the model coordinator was a person whose only responsibility was to hire and schedule models. In the current struggling economy many institutions have lumped this responsibility with another position, be it academic affairs or something in administration. Coordinating the schedules of dozens of professors and models is complicated, time-consuming, and a general pain in the ass.
Make life easy for the model coordinator. Sometimes this means picking up a class you don't want, because you're the only one available. It means giving up a class that was double-booked, even if you need the money. It certainly means call when you are late, and show up when you're booked. Think of this person as your agent. He or she can get you work when you have holes in your schedule, or get you out of a class when your schedule gets tight. They give references and can get you referrals: coordinators from other schools help each other out finding models.
Develop this professional relationship like you would any other. Be polite, confident, and clear about your availability, and you'll become known to them as a person easy to work with.
Breakin' In
To get work in the beginning, you're picking up crumbs from unreliable models. Keep your eyes and ears open, and always be ready to fill in on short notice. A perfect example: when I started at the Institute I didn't have my own classes; I was asked to fill in for someone who had cancelled. For the first two months I took every last-minute class that was offered to me. Six months later, I was near the top of the call list.
Scheduling
Most colleges book a full term at a time. At very least, they schedule a month in advance. Keep a detailed day-planner so you know where you're supposed to be and when. One of the professors for whom I often work had his most reliable model fail to show up two weeks in a row because she double-booked herself at two colleges by accident. As you probably guessed, she's no longer one of his models.
When taking a booking always write down the date, time, instructor’s name, and room number of the class. Last minute changes may put students in another room, and knowing the instructor’s name will allow someone to direct you where you need to go.
Payday
Every college I've worked for pays differently. Some issue checks weekly, some every other week, some once per month. Some offer direct deposit. Some strongly suggest direct deposit. Some colleges withhold taxes, while most hire you as an independent contractor. Find out what forms you'll be asked to fill out, save all your receipts, and find yourself a good accountant.
In the Classroom
Be on time. We covered this, but I can't say it enough. On time for modeling means fifteen minutes before class starts. If you know what the agenda is, you should be robed and ready to begin at the start of class. I often wait until the professor arrives to get the scoop, in the rare case he would prefer I not be nude, but I should beat him in the door. Models who are habitually late develop a reputation very quickly, and have a difficult time finding work.
Communicate
When you arrive, tell the professor you are the model for this class. If you are going to be more than five minutes late to class, call the coordinator immediately. The teacher needs this information to keep on track with that day’s agenda.
Ask the professor for a heater if the room isn’t warm enough. If there are no model stand covers or pillows for a reclining pose, contact the model coordinator.
Be attentive, pleasant, and professional. When not posing, cover up; wear a robe or put your clothes on. Don’t mistake a relaxed environment for an excuse to be overly chatty or familiar with professors or students. Like a dancer or actor on stage, the goal is to bring about such an interesting, focused look that you actually become the pose.
Most professors will ask you to keep time for yourself. Generally you’re required twenty to thirty minutes of posing with five-minute breaks in between. While this is standard, variations occur according to the teacher’s request and/or the model’s ability to stay in the pose.
Epilogue
Modeling is one of the most rewarding things I have done in my life. Through Fine Art modeling I have improved my balance, flexibility, and stamina. I have developed clearer communication skills and a refined eye for proportion and accuracy in art. It has introduced me to a score of interesting people, and opened the door to rich experiences. I am immortalized in art, and I think that's pretty cool.
Comments
Post a Comment