ART MODEL PDF

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About the photos. In order to work on a wide variety of e-book readers, the photos Art Models 7: Life Nude Photos for the Visual Arts (Art Models series). damages resulting from the use of information contained herein. TOEFL and ETS are registered trademarks of Educational. Art Models 2 Life Nude Photos for the Visual Arts by Find new Poses a. In order to work on a wide variety of e-book readers, the photos Art Models.


Art Model Pdf

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PDF Drive is your search engine for PDF files. As of today we Art Models 2 Life Nude Photos for the Visual Arts by Find new Poses and Models, many Ar. Art Models and Figure Drawing. What is figure drawing? Figure drawing refers to drawing the human body. Life drawing specifically refers to drawing the nude. Whether for work on a finished piece, trying a new technique, or getting in some practice time, this figure study enables artists to work when and where they want .

Art Models 1.pdf

For the latest poses. For example. No part of this publication may be reproduced or transmitted in any form or by any means.

Royalty Free The photos in this book and disk may be used for games. If you have any questions. Art Models 1. Flag for inappropriate content. Related titles. Jump to Page. Her preferred subject matter is figurative drawing and portraits. She also enjoys carving and would like to do the human figure in wood.

Having multiple views of the same pose gave me so many possibilities for practice as well as ways to compose a finished piece of work. Also, the huge photos on my computer screen were great to work with. He is married with two kids.

He enjoys figurative, classical and neoclassical art as well as Greek mythology and fantasy art. His strongest medium is paint; oil, acrylic, or watercolor. Or they can stand on their own in a simple figure study. Gianluca Poda Gianluca lives is in Italy and was married during this project.

He currently works for the government and has been studying art for three years. He is not only artistic but also athletic with an interest in soccer and tennis. He also enjoys modeling military aircraft. I really trust in the language of the human body. Their pictures are very beautiful and interesting with lots of variety. He has studied and crafted art, music, sculpture, photography, cinematography and animation in a desire to develop a variety of skills, interests and techniques.

Through Goddess art, Patrick explores traditional techniques to revive an interest in the mythological and spiritual quest in all of us. Patrick seeks to craft visions of long forgotten personas to preserve the heritage and awareness of ancient cultures.

His personal projects in figurative sculpture and painting explore these themes.

Few subjects challenge and fascinate artists more than the nude human figure. Yet very few photographic references exist that study the figure in full color, high resolution, and with careful lighting. Our goal was to create a reference that does just that.

Art Models 1 Life Nudes for Drawing Painting and

We wanted a range of poses from classical to modern photographed in high resolution so the photos on disk could be zoomed in for extreme detail. Do we intend to replace models? Certainly not!

For schools and professors, Art Models provides a supplement to traditional books- we take many classics and bring them up to date with contemporary models. Some professors have told us these full poses may be beyond introductory classes. However, by zooming in on the high resolution photos on disk, Art Models also has a vast array of hands and feet and other details to practice.

Finally, with: For hobbyists, who may have limited access to life models, Art Models has over: The artwork demonstrates what other hobbyists and students have done from the photos and is meant to be an approachable starting point for beginning practice. Professionals will hopefully find a few new pose ideas or inspiration and material that can be used in modeling or illustrating.

Art Models can also be used as a workbook to, for example, plan compositions or help direct models in the studio. Virtually every time we showed an artist the book during development, they came up with new ways it could be useful. Since our goal was to provide a truly useful reference for artists of all kinds, this was very gratifying. One important difference this book has over other references is we encourage the use of our photos as the basis for derivative art. See the copyright page for details.

In fact, contributor David Vanderpool already offers his work for sale on his web site. About the lighting People who draw or paint know that lighting is critical to a composition.

However, we did not intend this book to contain final composed pieces of art. Rather, it is a starting point- with enough uniform light to provide details in the shadows. We certainly did not strive to provide lighting comparable to the Dutch Masters.

We felt that to do so would rob the artist of the chance to provide their own interpretation of the poses. In addition, deep shadows would hide the details needed by ,-D artists such as sculptors. Therefore, we encourage you, the artist, to use your own inner eye to turn the raw material presented here into art- complete with your own vision of lighting.

For reference: Layout and Organization We took over: Obviously, we could not fit: Instead, we chose to print four views in the book and put the remaining 14 photos on a companion disk.

This still resulted in the selection of over ,cc photographs. It is in the nature of photographing from mul- tiple angles that there be some wasted space from cer- tain directions. When designing the book, we tried to arrange the photos so that they were as large as pos- sible while also providing a consistent organization.

For example, we occasionally combined two standing poses on one page. This reduces the number of pages and therefore the cost of the book while allowing the inclusion of as many poses as possible.

The poses have been given names to make them easy to remember lookout, our dry sense of humor occasionally sneaks into the naming and they also have a name for reference to the files on the compan- ion disk. We have found that people tend to have favorite models and so we organized the chapters by model with each one marked by a color-coded tab visible with the book closed. By popular request, we also included a chapter of non-nudes containing varied expressions and a few costumed poses.

To keep page count and price down, we often printed just one angle for the expression poses. The remaining views are on the companion disk. We like to hear comments and suggestions and we follow as many as we can. Please write to us.

While the models are attractive, we certainly did not intend this book to be in any way prurient. To achieve a more conservative appearance we considered adding a bit of modesty screening. Tis was impossible for the male models without large obtrusive censoring.

For the female models, we did add a little blurring in the printed book but left the companion disk untouched. We hope this achieves the proper balance of sensitivity to those who might be uncomfortable with full nudity, for example in a classroom environment, while also allowing individual artists to decide what is appropriate through the use of the companion disk. Acknowledgements We would especially like to thank the models and artists who contributed with their time and creativity to this project.

Female Models: I want to enroll in their journalism program and hopefully have a successful career as a writer. I would be so happy if I could also find more time to fit in my passion which is traveling. I got involved with Live Model Book because it was such a unique but much needed idea. It feels good to be a part of a creative project like this. I was especially proud when I got to see some artwork on the web site that came from a pose I did with Jessica. How exciting! For example, if a classical standing pose is needed, several can be found in the Standing category in the Classical sub- type.

The art therapist is specially trained to do art therapy, and he or she is the only individual who should lead art therapy groups, but the other therapists may utilize the ideas presented for their own work, and lead their groups in their own style.

Sharing of ideas between the professions tears down barriers and allows for improved communication, enhancement of learning, and better therapy for all patients. Introduction The clinician needs to assess which projects are suitable for the people he is working with, individually or in a group.

Some of the tasks are more suitable to depressed clients and some may be geared toward seniors, schizophrenic and bipolar individuals. Each therapist must use his discretion when presenting an exercise. A few techniques might need to be broken up into two or three sessions if clients are slow and unfocused, or if there are too many steps involved.

Schizophrenic individuals may benefit from more realistic based exercises while depressed clients may benefit from projects that require more focusing and abstract thinking. The therapist may modify the projects to fit the specific need of the clientele. Art therapy interventions provide a great many goals and benefits. I will use the terms clients, group members and patients interchangeably, although some clinicians prefer the term client. Topics are organized according to technique or media.

Many techniques allow for the utilization of a variety of materials. The therapist must determine which materials are suitable for the population he is working with. This keeps the clients as well as myself motivated, energetic, and involved. Experimentation allows for growth and new insights.

The warm-ups are relatively simple and provide an almost guaranteed successful outcome, which increases self-esteem and makes it more likely that the client will continue to create. The warm-ups may relate to the theme of the main exercise, but recently I have come to believe that this is not a necessity.

Another advantage of the technique is that clients are given time to settle down, relax, catch their breath, socialize and greet each other.

Latecomers will not be too much of a disruption because, although significant, the warm-up does not carry the same importance as the main exercise. Warm-ups do not have to be introduced into every therapy session, but they provide an easy and helpful transition into the next stage of the art therapy group. It is a time to experiment with shape, design, and color, and to ask questions relating to artwork, materials, technique and style.

The Finish Line Materials: Drawing paper, crayons, markers, pastels. Procedure: Instruct clients to draw a finish line as in a race and to draw a figure in relation to it. Goals include self-assessment and examination of objectives.

Moods Warm-Up Materials: Magazines, scissors, glue, construction paper, white drawing paper. Procedure: Suggest that clients browse through magazines and find one photo that best represents their present mood. Ask them to cut the photo out and suggest they find a piece of construction paper that also symbolizes their mood. Direct them to glue the photo onto the paper. Procedure: Ask clients to draw a positive shape and a negative shape. Then ask them to connect the shapes.

Suggest they decide what the newly formed design represents to them. Stop Sign Materials: Drawing paper, pastels, crayons, markers. Procedure: Ask clients to draw a stop sign and place something in front of it.

Procedure: Ask clients to fold their paper in half. Instruct them to draw half a heart on one side of the paper. Suggest they draw the person they would like to give their heart their love to on the other side of the paper.

Draw Conflict Materials: Drawing paper, pastels, crayons, markers. Procedure: Suggest that clients spontaneously draw conflict using line, shape, color and design.

Discussion focuses on the size, shape and design of the conflict. Goals include expression of problems and greater awareness of the impact the conflict has on thought, mood, feeling and action. Procedure: Discuss the meaning of zest and then ask group members to draw their zest using color, shapes, line and design. Goals include exploration of methods to increase vigor.

Procedure: Discuss the meaning of fatigue weary, tired, etc. They can begin to gain control over it by exploring how it affects them emotionally, physically and socially, and exploring what it looks like, how it feels, how long it has been a part of their lives, etc.

Goals include development of coping skills and increased self-awareness. Welcome Mat Materials: Drawing paper, pastels, crayons, markers.

Art Models 5

They may write a message in addition to creating a design. For instance, is the mat welcoming, does it represent a calm house, a chaotic house, or a depressed household? Clients are encouraged to share thoughts about their home life and how it affects their emotions, attitudes, mental health and satisfaction with life. He was angry because his wife died a few years ago; his children lived far away and he did not have many friends or acquaintances. He disliked television and read very little; he had no hobbies and few interests.

Raymond would not join groups or clubs in his community; he would not go to the senior center or go on trips or outings.

They thought he was joking. Their smiles encouraged him to smile a bit himself.

During the course of the session he slowly acknowledged his negative attitude and unhealthy lifestyle. The artwork served as a vehicle for communication, self-awareness and self-expression. The Thought Materials: Drawing paper, pastels, crayons, markers. Procedure: Instruct clients to draw a box and place one thought they want to free themselves of in it. Encourage group members to observe the size of the box versus the size of the unpleasant thought.

Goals include working toward positive change and self-awareness. Have them name it. Goals include expression of mood and feeling, stretching the imagination, and problem solving.

Procedure: Instruct clients to decorate the first initial of their first name and then write an adjective that describes them using the initial.

Goals include self-awareness and increased self-esteem. Smile Materials: Drawing paper, pastels, crayons, markers. Encourage clients to express their feelings as they observe their artwork. Goals include learning to appreciate the beauty and goodness in nature and people, and using this appreciation as a coping mechanism.

Procedure: Ask clients to draw a series of arrows representing their motivation to change. Tell them that the arrows might be pointing toward change the right hand side of the page , away from it the left hand side , in circles if they are confused, etc. Goals include problems solving and self-awareness. The Web Materials: Drawing paper, markers, crayons, pastels. Procedure: Instruct clients to draw a web like a spider web and place someone or something in it. Goals include identification of problems, self-defeating attitudes, and exploration of coping mechanisms.

Egg Drawing Materials: Drawing paper, markers, crayons, pastels. Procedure: Ask clients to draw an egg hatching and include what is coming out of it. Tell them to draw something other than a baby chick. This exercise can be considered a metaphor for growth and renewal. Goals include self-awareness and creative thinking.

Some of the items hatched have included: Flowers, babies, puppies and kittens, a dinosaur, a rabbit, snake, and a beautiful bride.

Procedure: Have clients pick up a different colored marker in each hand and draw something—a flower, face, animal, etc. Instruct them to move both hands at the same time. Move the markers alongside each other, going the same direction around the form.

Move one marker along one side of the form and the other along the other side. Move each marker in a completely different direction simultaneously.

Explore how it feels to work in such an unusual manner. Relate the exercise to trying new experiences and taking healthy risks. The Tea Kettle Materials: Drawing paper, markers, crayons, pastels.

Procedure: Encourage clients to describe how they feel when they sit down and have a soothing cup of tea. Next instruct them to draw a tea kettle, but instead of tea pouring out of it have them choose something else. Goals include exploration of things that soothe, creative expression and abstract thinking. Some examples of things clients drew pouring out of the kettle included: health, chocolate syrup, gold coins, happiness, love, hearts, and warm chocolate chip cookies. The idea for this project arose when a client mentioned that she thinks of steam coming out of a tea kettle to relax.

Procedure: Ask clients to draw a large question mark and a symbol representing a problem underneath it. Encourage group members to share the significance of the question mark; for instance, if it is large and bold could it mean they are very unsure how to handle the problem; if it is small are they thinking of solutions?

Examine the problem represented and its significance. Goals include identification of issues and concerns. Draw a Halo Materials: Drawing paper, markers, pastels, crayons. Procedure: Ask clients to draw a halo and place someone under it. Have them describe their illustration. Discuss the traits that someone would possess in order to be given such an honor. Encourage group members to explore and then list their own positive characteristics.

Objectives include self-awareness and exploration of values that help connect clients to others. Movement Materials: Drawing paper, markers, pastels, crayons. Procedure: Ask clients to draw a series of shapes moving in one direction.

Ask group members if the shapes are moving toward a goal or aimlessly. Have clients relate the movement to their work in therapy and their goals. Goals include self-awareness and exploration of leisure skills and hobbies. Group Mood Materials: Drawing paper, markers, pastels, crayons. Procedure: Direct clients to draw what they perceive to be the mood of the group e.

Examine how the atmosphere of the group affects the structure and effectiveness of the session. Discuss how examining the group mood can be used to enhance understanding and exploration of group dynamics.

Notes 1. Model Magic is a type of clay that is very pliable and pleasant to work with. Modified from a project presented by presented by Nita Leland at www. It provides peace and calm, and a way to rid the individual of invading thoughts, anxiety and stress, even for a short while. Group members are encouraged to focus their full attention on what they are experiencing and to let their incoming thoughts gently flow away.

Clients are supported to acknowledge their uniqueness and use their senses to derive as much as possible out of each creative experience.

Mindfulness Exercise Materials: Drawing paper, pastels, crayons, markers. Procedure: Ask patients to close their eyes and relax, and listen to the sounds around them birds chirping, sounds from the heater or air conditioner, wind blowing, etc.

Ask them to just focus on the sounds and let all other thoughts float away. After a few minutes suggest that they draw what they experienced. They may use color and shape, or objects and figures to represent their thoughts and feelings.

The importance of taking time to stop and smell the roses, not dwelling on the past or worrying about the future may be explored. Goals include stress reduction and relaxation. The Wave Materials: Drawing paper, pastels, crayons, markers. Procedure: Ask patients to visualize themselves riding a wave at the beach.

Suggest they visualize the size of the wave, the speed and color of the wave, the strength of the wave and how they are feeling emotionally and physically. Ask them to visualize the way in which they are riding the wave for instance, are they on a surfboard, are they actually in the wave, under the wave, etc.

Ask them about the water is it cold, warm, hard, soft, comforting or threatening. Then ask them to draw this visual experience. The Five Senses Materials: Drawing paper, pastels, crayons, markers, variety of objects listed below , basket or box.

Procedure: Fill a basket or box with a variety of objects, each of which should clearly represent all of the senses. An example would be a ridged potato chip. It has a pale yellow color. If you break it in half you can hear a snap.

Another example would be a dough ball. It is pale beige, it feels soft and squishy, it also sounds squishy when you squeeze it, it tastes doughy, and it has a distinctive smell.

Ask each client to choose one of the objects and examine it for a few minutes. Then direct each individual to explore his or her object one sense at a time.

After this is completed suggest that group members draw the object they chose using color and shape. Suggest that they keep in mind the feelings they experienced during the exercise. They may be asked to share which sense they focused upon most and the reasons for their choice. Feelings and thoughts about centering on one object may be examined. Goals include learning how to be in the moment, how to let extraneous thoughts pass by, and how to focus on one thing at a time in order to decrease stress and lessen troublesome thoughts.

Body Scan Materials: Drawing paper, pastels, crayons, markers. Procedure: Lead group members in a full body scan. Have them close their eyes if they are comfortable doing so and suggest they relax their eyebrows, eyes, nose, mouth, jaw, neck, shoulders, arms, hands, chest, stomach, thighs, legs, feet and toes.

Go through each body part slowly and in a soft, low voice. Soothing music may be playing as you do this. After the exercise ask group members to fold their paper in half. Suggest they draw how their body felt before the exercise, on one side of the paper, and how their body felt after the exercise, on the other side of the paper.

Goals include learning how to self-soothe and de-stress in order to attain a peaceful state of being and to help ward off anxiety and panic attacks. Procedure: Play soothing background music. Ask clients to relax and pay attention to their breath. Ask them to spend a few minutes breathing in and out slowly. If they feel comfortable have them close their eyes.

Suggest that clients visualize what they are breathing out. Ask them to think about size, shape, color and texture. They may use any type of design to depict their thoughts. Clients have the opportunity to gain a better understanding of their feelings by analyzing and observing the size, color and shape of their design.

Goals include release of negative feelings and stress. Flower Study Materials: Paper, pastels, crayons, markers, a flower. Procedure: Have clients take turns examining a rose or other flower. Encourage them to study it carefully, focusing on how it feels in their hands. Support them to explore its curves, texture, lines, design, shape, weight and scent. Direct group members to focus on the parts of the flower that are smooth and soft and the parts that are irregular or rough.

Then suggest that clients draw the essence of the flower, the beauty of it, using line, shape and color. Suggest that the sketch does not need to be realistic. The picture might capture the mood, feel and splendor of the flower. Goals include awareness, learning to value being in the moment, and understanding the connection between being in the moment and feeling calm and relaxed.

Play very soft, soothing music and suggest clients walk slowly around the room, so slowly that each step is very deliberate and thought out. After every few steps have them stop and draw their feeling at that moment on the paper in front of them somewhat like musical chairs. This may be done once or a number of times. Clients may share how they felt about moving so slowly and the images the experience evoked.

Goals include increased self-awareness and the power of being in the moment. Textures Materials: Bag full of items see below , glue, drawing paper. Procedure: Present a bag or box full of items that have distinct textures such as sand paper, Brillo soap pads, corduroy material, ridged potato chips or bristles on a small brush.

Ask clients to choose a variety of items and take some time experiencing them touching them, focusing on how they look, feel, smell, etc. Suggest that clients glue the textured objects on a sheet of paper or cardboard in order to form a design. Clients may share how touch can affect mood and stress levels for example, petting a cat or dog often relieves anxiety and lowers blood pressure.

Peer Drawing I Materials: Drawing paper, pastels, crayons, markers. It emphasizes the importance of viewing individuals on many levels in order to develop empathy, and healthier and more satisfying relationships. Goals include socialization and self-awareness.

Loving Breath Materials: Drawing paper, pastels, crayons, markers. Procedure: Suggest that clients slowly breathe in and out, and imagine their breath is embracing them. After this exercise ask clients to draw themselves being embraced by something or someone they love.

Encourage them to share how it feels to be embraced, and explore who or what embraced them in their picture. Goals include exploration of ways to achieve inner peace and feelings of comfort. Procedure: Suggest that clients experience the paint by brushing it on the paper without thought to design or quality of the artwork. Support the clients to focus on the feeling of the brush and paint on the paper.

Support them to become one with the brush. Have participants observe the paint strokes, colors and shapes created.Support clients to relate their artwork to their experiences and feelings. To download, simply click on the image and a.

Procedure: Direct clients to fold their paper in half, and have them draw two of the best periods in their life, one on each side of the paper. Procedure: Instruct clients to draw the ideal family. Jan 4, This publication is available free of charge in print or PDF format at.

Textures Materials: Bag full of items see below , glue, drawing paper.