Studio located Melbourne, "Dandenongs" Upwey area. www.greghowden.com "painter, sculptor and printmaker". -- 45 minutes from Melbourne metro, walking distance from train station.

Reliable and enthusiastic life model required.

This would best suit a model interested in the development of this art form and process outlined below.

There are many images of models on my site that have worked well however "ShelColour" was a favourite simply because she has a better figure and features than other life (drawing) models that I have worked with.
---After Shel came the Anita Oil Painting Series and these works are ongoing at present---
see: nework nework 2 nework3

My overwhelming priority at present is for Oils continuing my painting series with models of similar characteristics. Oil paintings can last hundreds of years and have a certain presence and immortality of their own..

"I am totally fascinated by the human figure.
I always start by photographing the model. I find that many of the shots often make the figure look awkward and a smaller number of shots have the grace and form that I use in my artwork. This is normal and the reason why I take lots of pictures. However as I have become more experienced (and with aid of a turntable for the model) I have found the percentage of successful shots on the increase."

Above ShelColour painting: PNT20 Oil on Canvas 58 x 38 inches.

I've been able to further develop the technique for photographing the model.
The end product is still always a 120 medium format slide converted to a drawing "study". Use of a projector will ultimately determine the final correct proportion and set up my drawing and composition for the oil painting. This is a much more accurate way for drawing the figure on a large scale.

I find it interesting that other artists in the past have also used similar techniques.
Some examples from past centuries are Jan Vermeer, *Canaletto, Guardi, and Paul Sandby. They are said to have used the "Camera obscura" which was usually a large black room with a pin hole that would project the real life image upside down. When the image of the figure was enlarged corrections to the proportion (head, leg or arms) were made by having the model move back or forward so that the enlarged 2D drawing would look correct to the eye. This is exactly what you find with today's commonplace camera as the lens will naturally distort the image.---- If you hold an object in front of you in a photograph then this object will appear out of proportion. For this reason the model's pose has to be selected so you get a natural looking enlargement.

Anyway, if those painters of the past had the modern photographic methods that we have today I am sure they would have been totally "blown away" by its various uses as an aid to drawing.

Now you can add the ability to proof photo and try various poses.

This is where I have found and developed a niche using digital photography adding to film photographs. In the past I just took a large number of carefully composed pictures of the model and chose the images that look proportionally correct when blown up or sized for drawing correction and changes.

Above: Bronze Sculpture by Greg Howden

Now I am able to photograph the model by first using a digital camera to proof photo in real time. This enables me to evaluate proportion and composition of the model better. But not only that I can interact better with the model with instant photo reference. I use a twin monitor set up so the model can also see a preview of exactly how she might pose, how I might set up the pose and take a digital shot real time to best work out a final 120 film/slide for the basic drawing composition for Oil.

For my own part this is an essential and "FUN" part of the process. It's a far superior method to drawing the image directly by eye for large work. I can work a lot faster with the enhanced ability to try numerous poses to find where the model will look best as composition. Real time changes can be made as to where the hand and leg are placed and even small details such as fingers can be modified. This saves heaps of time when compared to direct drawing and is a much more varied and satisfying experience for the model as well. The selected images I use can now be referred to for a full size slide 'frozen image" for the real oil painting. No more holding the same pose for hours at a time, an unnecessary time and expense.

I work only in daylight for photo studies inside the Studio using a plain back ground.
The best light usually occurs between 10am and 4pm. The brighter the day the better. Weekends are OK as well.

If you think that you have the right modeling characteristics and aptitude for this work you can visit the Studio/Gallery first (Which has been open to and recognised by the General Public since 1981--30 Hughes Street Upwey) or arrange for an initial paid sitting depending on your background/description. Past experience or positive attitude is preferred.

Written applications are encouraged, include a photo dressed in something that shows your figure if possible.

Modeling sessions are usually about 5 hours thereafter and around the standard hourly rate for a life model. Travelling costs are also provided. Work availability is as required but may generate a number of sittings. I am quite sure that this will provide a unique and reasonably paid working experience for someone. Models are paid in cash on a self employment basis and I ask for a simple receipt giving me permission to use the model's image in my works of fine art only.

I can be contacted by phone 9754-6527 or EMAIL GREG HOWDEN

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NEW * DIGITAL * THE ARTIST * OIL PAINTINGS * SCULPTURE

“Greg Howden’s large oils present a beautiful lone female form in an abstract patterned field. The elegant treatment and composition of the clothed or nude figure recalls a century old tradition, reminiscent of an age of past enlightenment, Art Deco, 1920’s pictorialism and sculptural form. However, the modern abstract backdrops in these fine paintings serve to emphasize their innocence by current standards. Furthermore the large scale, and modest poses leave us in no doubt that we are revisiting a sensibility of refinement, care and consideration lost in most contemporary art and culture. Though sensuous, there is but only a modest hint of the risqué which often accompanies figure based art. Yet these works pose their own challenge to the viewer. By the contrast of opposites, as we gaze on these exquisite works, we can't help but feel quite acutely what has been lost and gained in a century of liberalized mores, and romantic realignment.”.........Dr. Manfred Krautschneider