"Don't be silly. The first time I modeled here, there wasn't a changing room, and I had to use the restroom. Once. It was unpleasant, so I started changing in the studio in front of everyone, and it didn't bother me at all. Now that the storage room is available for changing, I use it." Allison laughed at my suggestion. "Amanda told me you're married; she saw it on the paperwork you filed when you started here. Your wife doesn't mind this?" We walked into the changing room.
"Not at all. We met at college in California indirectly because of my modeling. It's the ploy I used to start our relationship, and we have a great relationship. She's always saying she doesn't care where I get hungry, as long as I come home for lunch. What about you?"
"I've been married, but it didn't take. Guess I like to eat out too much. I do what I like and don't want anyone else interfering. I do have a daughter at grad school in Houston and spend time there if that counts." Allison started to unbutton her blouse.
I took that as my cue and turned around to provide privacy. I removed my clothes and pulled my robe out of my gym bag. When I put my clothes in the bag, I realized Allison didn't have anything, not even a purse. I saw the cell phone outline in her back pocket, but nothing else. I wondered if she kept her robe here in the supply room and turned to see she didn't use a robe. She had already opened the door and walked into the studio, nude. All her hair colors matched.
I followed her out and felt dumb for wearing a robe but would feel dumber taking it off. She walked to the model stand near the middle of the studio and sat on the front edge, waiting for the students to arrive. The confidence she displayed with her nudity was disarming.
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I sat next to her. "I have to ask; do you always work without a robe?"
"Absolutely. I'd be nude 24 hours a day if I could. If they don't like it, they don't have to call me. But they do call me, you see, so everything's good." She answered matter-of-factly. "Don't you find that thing ridiculous?"
"Well, yeah. I'm sure you've noticed different requirements for males. Until I've worked a year or two at most venues, they're strict about a couple of things, robes being one of them." I deliberately didn't mention the other strict rule for guys. I was afraid verbalizing the taboo would make it happen, especially around Allison.
"Yep, it's all bullshit. Guys do get hard. It happens, so get over it." She put her hand on my thigh and squeezed to emphasize her point. It took all my willpower and the recitation of baseball statistics to keep me from springing a full-on boner right then.
Fortunately, Bethany entered and addressed the class, "Okay, everyone. We're privileged to have two wonderful models this evening, Allison and Eric. We've worked with Eric already this semester but not Allison. She's busy in Seattle and Houston and hasn't been available, but we're lucky to have her for our special sessions tonight and Thursday.
"As I promised all semester, we'll explore the drawing challenges of a couple. It's a complex enterprise from many perspectives. Allison and Eric have two widely variant physiques, not only in musculature, proportion, and shape but also in size and sex. You are all well-practiced working with an individual model's negative spaces and contrapposto. Still, those change radically with the introduction of a second model. It's more than doubly challenging to observe and accurately draw the physical reality of those differences with two people on the stand. Those are the least challenging aspects of drawing a couple.
"The most difficult problem is capturing the narrative relationship between our two models; what story do they tell together? As technically excellent as some may be, many models present themselves as statues, not living human beings. It's fine to learn from a statue, but great art interprets the story behind the form. Many of you spoke highly of Eric's sessions with us, and I can assure you Allison rises to the same standard. Tonight, we need to pay close attention to what their poses tell us about Allison and Eric's relationship. Our task as artists is to capture and communicate that in your work."
I listened to Bethany extoll our virtues as models and had the hazy thought she'd nominate us for some sort of artistic peace prize. Still, I understood what she meant.
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Bethany turned to us. "We'll start with 40 minutes of five-minute gesture poses; I'll keep time. Please do try to tell the story of your relationship through your poses. I'm certain you'll find what we're looking for, and since you haven't worked together before, please feel free to whisper during the pose. First pose, please."
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I took my robe off, tossed it under the model stand, and we stepped up to the middle of the stage. We both held out our hands in what must be the standard first pose a couple does together. We face each other, toes almost touching, hold hands and lean back, finding a balance point where we're in equilibrium. Exciting shapes, all open to the artist's view, not too much touching, and a chance to get to understand the other person in a posing situation. It works best with people of roughly similar height, but we found a good balance point by each of us having our left legs extended back and bent at the knee to provide more support.
