Interview with Claar van Leent

“I always start a painting with an underpainting, which can be made of burnt sienna or raw umber. I also use yellow ocher or ultramarine, depending on the ambiance of the portrait.”

Claar Van Leent is an exceptional artist from The Netherlands, she began to draw at a very early age, and has dedicated her life to art since then in multiple ways. She specialized in portraits, and has a very sensitive eye to smoothly paint expressions.

When you look at her art, it is quite clear that she is always seeking to immortalize the essence of the people she paints. Some paintings are made live, others from photographs taken from the internet or other media, in any way, the result is beautiful , and worth sharing.

This image has an empty alt attribute; its file name is GVlwV--LcD6-n3wwEIEDNR6-b_ZM9z2e_qQNheeMHKEJw0HnW1XD3rIt7RjPPGQOHmI8fAyYBio_tbeiackG5hTZ1TzjFNlqLNjRqJabEWii3wq6Xwngqtlnkr4mYjhE4N-13dt3

In this Q&A Dutch artist Claar Van Leent Shares with PoseSpace, her background as an artist, beautiful pieces of her artwork, what artist inspired her, her rituals for painting, and more.

Can you tell us about your background and how you got into art?

I was born  in the Netherlands, a small country. As a child, I drew in my sketchbook at the zoo and landscapes nearby, a sketchbook that my two sisters and brother also got from our father. We received drawing and painting lessons from an early age.

Later, in my twenties, I went to a well known academy in Amsterdam. What first seemed a blissful period turned into a disappointment. The conceptual weft was a priority in the 1980’s, the craft was a neglected part of the skills, so I left the academy disappointed, then I completed another creative education elsewhere and started teaching children.

It wasn’t until 2014 that I started painting again, first at a fine-painting Academy to pick up the craft, later I followed many other courses and masterclasses at the New Masters Academy (Huntington Beach, CA) I also learned a lot from the online tutorials from Joseph Todorovitch, Bill Perkins and Steve Huston, and followed tutorials from Cesar Santos and David Shevlino.

I joined an Artists’ Association and I paint and draw weekly in a portrait and model group. I did not pick up painting again until late, just for that reason I hope to become very old!

My sisters, brother and me (front), drawing in the zoo. 

What  are your favorite mediums and why?

I like to paint in oil paint, I really like the ‘flowing character’ of oil paint and colors dry as applied. Acrylic paint gets darker when dried. That is a major disadvantage if you continue working on your painting. I also find the short drying time of acrylic unpleasant.

Charcoal also is a material I really enjoy working with. It offers endless possibilities, wonderful to swipe, to ‘draw’ with a kneaded eraser and to apply subtle refinements next to thick, firm lines and surfaces.

What do you think of PoseSpace? Do you have a favorite model? 

Pose Space is my favorite website.  Next to working with live models, this offers a wonderful addition.  The models are well lit and professionally photographed over 360 degrees, and the offer is huge.

My favorite model is Anastasia.  She has a classic face and is nicknamed the ‘Venus of Milo’ 🙂

But Ben, Ayame, Pepper, Alyssa, Eliot, and Shandra also are great models. And….. they are ‘very still’ too😀


What  are your goals or aspirations as an artist?

Deepening the portrait, in color, background and composition, I can probably fill a lifetime with that.

Painting plein air is also a wish, for the time being as a hobby on a trip or during a walk. There are two sayings, one by Renoir and one by Van Gogh that hang in my studio….

Renoir “This drawing took me five minutes to make, but sixty years to do so”.

Van Gogh “Doing small things well is a step towards doing big things better”.

How do you start a work — do you have any rituals?

I always start a painting with an underpainting, which can be made of burnt sienna or raw umber. I also use yellow ocher or ultramarine, depending on the ambiance of the portrait, sometimes I work it out in detail, but just roughly in three tones also. 

I usually listen to classical music, get my palette ready, pick my brushes, and then I work in 30 minute sessions. Every 30 minutes I stop briefly, watch from a distance, and then continue working.

And when I start to get tired I stop. In the past I often kept going, and could then ruin my work done during the entire day in fifteen minutes.

Anastasia, oil painting (portrait) with the drawing program Procreate (background) to try and find out what works and what doesn’t.  Later I converted the designs into a painting in oil.

Do you have a favorite living artist, whether famous or completely unknown?

I visit many exhibitions in the Netherlands and I admire many artists from art history.  Van Sorolla, Van Gogh, Bonnard, Singer Sargent, Anders Zorn and Mancini… and many more. I also study material to improve myself.

Some living artists who work I admire are: Ray Turner (US) for his brushstroke and special use of color. The portraits of Mustafa Özel (Turkish) have a firm brushstroke but with a delicate appearance.

Two Dutch painters that I really appreciate are: Jantien de Boer for her smooth touch and warm colours and Svetlana Tartakovska (originated Ukrain) at whom I took masterclasses.

She is a classically trained painter and understands better than anyone how to convey the complicated matter of color, tone value and saturation, driven and endlessly patient.

Above: Painting from artist Ray Turner – Below: Painting from artist Mustafa Özel


Instagram: @claarvantleent


Interview with Rebecca Scheuerman

 “I love to create powerful images, and I love seeing female artists conquer areas of the art world that have been dominated by men. It is time to fill the museums with female artists creating male nudes”

Rebecca Scheuerman is an incredible, talented and multifaceted artist, trained in classical realism working with modern themes in traditional media.  She remained self-taught in her early years, under the concept that traditional ways were lost. It wasn’t until her thirties when she moved to Baltimore, Maryland to attend the Schuler School of Fine Art.

It was then,  when she discovered the great passion that had grown inside her  for both, the portrait and figure, and desire to represent the human form through drawing, painting, and sculpture.

“Eggplant”, Oil, model: JohnV

In this Q&A artist Rebecca Scheuerman shares with PoseSpace her background as an artist, her goals and aspirations, what challenges she faced working with the nude figure, some great advice for beginner artists and more.

Can you tell us about your background and how you got into art?

    I became an artist later in life. I have always had a love for the old masters and realism. I thought that their skills were lost, and was not interested in the contemporary art scene. I had always sketched and drawn for myself. It was not until my thirties that I learned about ateliers and the preservation of traditional techniques. I changed my whole life and devoted myself to mastering painting, drawing and sculpture. I have not looked back.

“Infinity”, Sculpture, model: Jesse

How has your style changed over the years?

    As I have grown as an artist, I have learned more and more what interests me. I love texture, deep contrast, swing and movement. Now I look for these concepts when creating composition and choosing subjects. As a representational artist, I have been trained to create in a very realistic way. Over the years I have developed my own style that has become a little looser. The path to creating our own style in realism is a long one, and often takes a lifetime. It is a lifetime well spent.

What are your goals or aspirations as an artist?

    My main goal as an artist is to keep developing my skill over my entire life. I want to be the greatest artist I can be. This means pushing myself in areas of my technique, composition and concept. For this journey to work I also devote time to being a successful working artist. The business side does not come easy to me, and I make sure to set professional goals as well as artistic ones.

“In Wait”, Oil, model: JohnyG

What challenges do you face working with the nude figure?

    One of the biggest challenges to working with the nude figure is setting the model up with a great pose. I want dynamic poses and these are often difficult to hold. When creating my own art, I must push myself to let go. I need to let myself sacrifice perfect technique in order to capture the movement and life of the model.

What life experiences have influenced your work?

    I have been greatly influenced by powerful women in my life: family, mentors, role models, and artists. I love to create powerful images, and I love seeing female artists conquer areas of the art world that have been dominated by men. It is time to fill the museums with female artists creating male nudes.

“Prometheus Bound”, Sculpture, model: Jesse

What’s been your greatest artistic success?

    The important successes to me have been the small breakthroughs. In a way awards are meaningless. I have come to see how subjective judges are. Competitions are important to build a name for yourself, but I don’t measure my value by them. Rather I remember my own development as an artist. The first time I captured a great likeness of a model. When I was able to keep up with my instructor in a paint along. My first sale. Making a successful hour long alla prima training video. These are the things that give me confidence to continue working on my own.

What do you think of PoseSpace? Do you have a favorite model? 

    PoseSpace has been important to me with my training in art. I have used it to supplement times in school when we didn’t have a live model. Before I had built up my own contacts this was the only access I had to great models and poses. With quarantine in 2020 it became a lifesaver. I had my first solo show in March of 2021, and I relied on PoseSpace for inspiration and references. My favorite model is Jesse. His poses are fluid and powerful at the same time.

“Under the Veil”, Oil, model: AnaIv

What advice would you give to young artists?

    Never stop developing your skill and training your eye. So much of making a career as an artist is hard work. If this is what you really want, you absolutely can make a living doing it. Become the absolute best you can be. Get ready for a lot of criticism and rejection. Build a really strong support system mixed with people that will build you up and push you hard.

Sitio web



Interview with Raman Bhardwaj

“I changed my painting style to a more gestural figures in bold forceful brush strokes something which I have been perfecting since 2003 and now the figures are becoming more subtle and the sweeping gestural strokes are becoming the louder expression in my paintings”

Raman Bhardwaj is a South Asian illustrator based in Greensboro, North Carolina. An extraordinary, multifaceted artist with a long career, who is currently freelancing as an illustrator, painter and muralist. 

His artwork ranges from bold, expressionistic paintings, to saturated ethnic art, to pop art to realistic paintings and murals to figurative line drawings.

In this Q&A South Asian illustrator Raman Bhardwaj shares with Pose Space how his style changed over the years, his background as an artist, his favorites materials, and more:

Can you tell us about your background and how you got interested in art?

A: I am a South Asian artist born in India in1976 and now based in NC, USA. I fell in love with drawing when I was about 6 years of age though my parents used to saiy I have been doodling on their books since an infant. In my school days I drew a lot and by 7th standard I decided to join the College of art after completing school and be a professional artist.

What are your goals or aspirations as an artist?

A: I want to have my art exhibitions in reputed galleries in America and Europe. I want to have my work owned by some famous museums in the world. I want to paint some murals in different countries and I want to illustrate some children books for renowned publishers.

How has your style changed over the years?

A: In fine arts, I started as a realistic figurative artist though I also delved in stylized figurative line drawings and about 6 years I changed my painting style to a more gestural figures in bold forceful brush strokes something which I have been perfecting since 2003 and now the figures are becoming more subtle and the sweeping gestural strokes are becoming the louder expression in my paintings. 

What do you think of PoseSpace? Do you have a favorite model?

A: PoseSpace is a great resource of anyone interested in figure drawing from models.

I do not have a favorite model but I have taken reference for some of my drawings from PoseSpace.

What advice would you give to beginner artists?

A: Sketch a lot. If your drawing is perfected you can do anything be it painting, sculpture or design.

Do you prefer a series of materials (certain colors, utensils …) when creating, or are you changing?

 I prefer painting mostly with Acrylics, rarely oils.  I use beige, black, orange, red, ultramarine blue in most of my works.

Rebirth of Venus Mural at Brewers’ Kettle, Kernersville, NC. 2018. 15 x 8 ft.

Do you have a favorite living artist, whether famous or completely unknown?

A: I like the hyper realistic works of Spanish artist Eloy Morales.

Instagram: @artistraman


Interview with Sylvie Bourély

“I realized that dressing bodies meant hiding their beauty, their truth”

French sculptor Sylvie Bourély started her professional career in the Fashion industry. Ever since she was a little girl, she enjoyed drawing models and creating fashionable outfits to wear. One day, after seeing Auguste Rodin’s sculptures everything changed: she realized that the female body had so much beauty and power on its own.

Sylvie is a self-taught sculptor who learned to create amazing figures with clay. She is very careful with proportions and uses math, patience, and observation as her main tools. When her hands touch the clay, she connects to it and creates with its feminine essence. Once she finishes a sculpture, it comes alive. Sylvie’s sculptures convey beauty and a very powerful energy.

“GOLDEN LADY 2” by Sylvie Bourély using Thea032  as a reference

In this Q&A, French sculptor Sylvie Bourély shares with PoseSpace how she got interested in sculpting, what is her favorite source of material, tells us about the process of making her work and more:

Can you tell us about your background and how you got interested in art?

I have always been interested in art because I was a fashion teacher before I became a sculptor. I drew fashion figures since I was a little girl, and as a teenager I made my own clothes from patterns and fabrics because dressing fashionable was too expensive. I admired the collections of Yves Saint Laurent, Christian Lacroix, Chantal Thomass, Jean Paul Gaultier…

What life experiences have influenced your work?

One day, I realized that dressing bodies meant hiding their beauty, their truth, and the day I saw Rodin’s sculptures for the first time I was fascinated by the power that they gave off: the torso of Adele—which I recreated 3 times—, The crouching woman, the danaïde, the Toilette of Venus…

I then started to shape women’s bodies, about fifteen years ago as a self-taught artist and without a model, leaving my imagination free before realizing the need to respect muscle proportions and volumes.

“KATARINA2” by Sylvie Bourély using Katarinak020 as a reference

Do you have a favorite source of material to create your sculptures?

I mainly work the clay, white fine chamotte clay. I have just entrusted one of my sculptures to a founder to make my first bronze by the end of April 2021. 

What do you think of Do you have a favorite model?

It’s a wonderful tool that allows beginners and seasoned artists alike to create works in 2D, but especially in 3D when you do not have live models. While it is not a substitute for them, books on anatomy should be used to avoid distortions, maintain proportions, and know the skeleton and the location of the muscles…

I love all the models I have selected, but I adore Adhira and Théa, I recreated several of her poses. 

Why did you choose figurative art?

The human body, and in particular that of women, conceals such a vast field of possibilities… figurative art will never be supplanted by abstract art (that I also love but doesn’t move me as much).

“Perpetuelle” by Sylvie Bourély using Irinav030 as a reference

Which artist inspired you?

The reference sculptors are Rodin, Camille Claudel, Carpeaux, Cordier, Aristide Maillol, and more recently contemporary artists such as Paige Bradley, Yves Pires, Philippe Faraut, Luo Li Rong, Marie-Paule Deville-Chabrolle, Lorenzo Queen, Jago…

Can you tell us about the process of making your sculptures?

I start by extracting the front, back, left and right side views and put them to the same scale, then I determine a coefficient to define what will be the final height of my sculpture, and finally I measure all the dimensions on the body and on all views in order to respect the proportions.

I pin the views and also use the computer to view the volumes. Since I work without frames, I use props that I make to support the cantilevered parts and I wait until the clay has the right consistency to work it more finely. (See Galleries 4, 5, 6… stages of realization)

What advice would you give to beginner artists interested in sculpture?

To begin, it would be interesting to choose a model of which we only realize one part of the body, for example, only the torso of a reclining person because making the whole of a model with the head, hands, and feet, represents a sum of difficulties which can discourage.

What has been your greatest artistic success?

I am improving from model to model, so I will say that the greatest achievement is always the last piece of work!!

Sylvie Bourély’s work:

Original answers (French): 

“J’ai réalisé qu’habiller les corps signifiait cacher leur beauté, leur vérité”

Sylvie Bourély, sculptrice Française, a débuté sa carrière professionnelle dans l’industrie de la mode. Depuis qu’elle est petite, elle aime dessiner des modèles et confectionner des tenues à la mode à porter. Un jour, après avoir vu les sculptures d’Auguste Rodin, tout a changé : elle s’est rendue compte que le corps féminin avait tant de beauté et de puissance à lui seul.

Sylvie est une sculptrice autodidacte, qui s’est mise à modeler des corps avec de l’argile dans des postures quelque fois étonnantes. Elle s’attache à respecter les proportions en mesurant chaque détails du corps humain avec beaucoup de patience, de rigueur et d’observation. Lorsque ses mains touchent l’argile, elle s’y connecte et crée avec son essence féminine. Une fois qu’elle a terminé une sculpture, elle s’anime. Les sculptures de Sylvie transmettent la beauté et une énergie très puissante.

Pouvez-vous nous parler de vos débuts et comment vous vous êtes intéressée à l’art?

J’ai toujours été intéressée par l’art parce que j’étais professeur de mode avant de devenir sculpteur. J’ai dessiné des figurines de mode depuis que je suis une petite fille, et en tant qu’adolescente, j’ai fait mes propres vêtements à partir de patrons (paterns) et de tissus parce que s’habiller à la mode était trop cher. J’ai admiré les collections d’Yves Saint Laurent, Christian Lacroix, Chantal Thomass, Jean Paul Gaultier…

Quelles expériences de vie ont influencé votre travail?

Un jour, j’ai réalisé qu’habiller les corps signifiait cacher leur beauté, leur vérité, et le jour où j’ai vu pour la première fois les sculptures de Rodin, j’ai été fascinée par le pouvoir qu’ils ont donné : le torse d’Adèle —que j’ai recréé trois fois—, La femme accroupie, la danaïde, la Toilette de Vénus…

je me suis mise alors, à modeler des corps de femmes il y a une quinzaine d’années en autodidacte et sans modèle en laissant libre mon imagination avant de réaliser la nécessité de respecter les proportions et les volumes musculaires.

Avez-vous un matériau préféré pour réaliser vos sculptures?

Je travaille essentiellement l’argile, grès blanc avec chamotte extra fine. Je viens de confier une des mes sculptures à un fondeur pour réaliser un premier bronze d’ici fin avril 2021.

Que pensez-vous de Avez-vous un modèle préféré?

C’est un outil formidable qui permet, aux débutants comme aux confirmés de réaliser des œuvres en 2D mais surtout en 3D quand on ne dispose pas de modèles vivants. Bien que cela ne les remplace pas, il faut s’aider de livres sur l’anatomie pour éviter les distorsions, respecter les proportions et connaître le squelette et l’emplacement des muscles…

J’aimes tous les modèles que j’ai sélectionnés mais j’ai adoré Adhira et Théa dont j’ai réalisé plusieurs poses.

Pourquoi avez-vous choisi l’art figuratif?

Le corps humain, et notamment celui de la femme recèle un champs de possibilités tellement vaste que l’art figuratif ne sera jamais supplanter par l’art abstrait que j’aime également mais qui me touche moins. 

Quel artiste vous a inspiré?

Les sculpteurs de référence sont RODIN, Camille CLAUDEL, CARPEAUX, CORDIER, Aristide MAILLOL, et plus récemment les artistes contemporains tels que Paige BRADLEY, Yves PIRES, Philippe FARAUT, Luo Li RONG, Marie-Paule DEVILLE-CHABROLLE, Lorenzo QUEEN, JAGO…

Pouvez-vous nous parler du processus de fabrication de vos sculptures?

Je commence par extraire les vues de face, dos, côté gauche et droit et les mettre à la même échelle, ensuite je détermine un coefficient pour définir quelle sera la hauteur définitive de ma sculpture et enfin je mesure toutes les dimensions sur le corps et sur toutes les vues afin de respecter les proportions.

J’épingle les vues face à ma selle de travail et j’utilise l’ordi en parallèle pour visualiser les volumes.

Comme je travaille sans armatures, j’utilise des étais que je confectionne pour soutenir les parties en porte-à-faux et j’attends que la terre ait la bonne consistance pour la travailler plus finement. ( voir sur le site http// galerie 4, 5, 6 … étapes de réalisation ) 

Quels conseils donneriez-vous aux artistes novices intéressés par la sculpture?

Pour commencer, il serait intéressant de choisir un modèle dont on ne réalise qu’une partie de corps par exemple, uniquement le torse d’une personne allongée car réaliser la totalité d’un modèle avec la tête, les mains et les pieds, représente une somme de difficultés qui peut décourager…

Quelle a été votre plus grande réussite artistique?

Je m’améliore de modèle en modèle donc je dirai que la plus grande réussite est toujours la dernière œuvre réalisée !!!

Interview with Chas Mason

“Art is definitely a hobby for me and it gives me a huge amount of satisfaction.”

Chas Mason is a talented artist based in Cheshire, United Kingdom. He uses his Instagram accounts to showcase his brilliant work. During the pandemic, Chas created a profile to show drawings of portraits he creates through Zoom live sessions or photo references. His life drawing account has over 3,000 followers who stay tuned with his life drawing studies. 

Chas likes to use toned paper for his pencil drawings and enjoys highlighting features with a white pencil. He is very careful with proportions and takes his time to achieve the results he wants. Chas’ hobby allowed him to gain many fans and receive encouraging comments from users and artists from all over the world.

In this Q&A, artist Chas Mason shares with PoseSpace what he listens to while he draws, what is his biggest challenge while working with the nude figure, what he thinks of PoseSpace and more:

Can you tell us about your background and how you got into art?

 I became interested in art as a result of my parents taking me to galleries in London when I was a child. In particular, we saw an exhibition of paintings by Magritte that deeply impressed me. 

Is art a hobby for you or do you make a living from it?

Art is definitely a hobby for me and it gives me a huge amount of satisfaction. 

Do you listen to music while you work? What is your perfect environment to draw?

When I’m drawing at home I often listen to music on headphones. At the moment I’m revisiting my favourite albums from the 70s and 80s. I also like to listen to programmes on BBC Radio 4 (talk radio) and also to audio books in French to help me learn the language. 

When I’m drawing from life in groups I much prefer silence. 

What do you think of PoseSpace? Do you have a favorite model? 

PoseSpace is a superb resource and I have gained so much understanding of the human form by using it. The idea of having photos of the same pose in rotation is superb because it gives an appreciation of how the body is placed in three dimensions during a pose. 

This appreciation of three dimensionality is really important to me when drawing from life. However, when drawing in a group it isn’t usually possible to walk around the model to get a view of the whole pose because that would be distracting to others. 

It’s hard for me to choose a favourite model, however I prefer poses that are photographed with softer lighting because the resulting tonal range suits my style of drawing. 

What challenges do you face working with the nude figure?

Getting the proportions correct is possibly the biggest challenge I face. I overcome this by repeated checking of the drawing until I’m satisfied with the proportions. Like a lot of people I find drawing hands difficult and time consuming, but it gets easier with practise. 

How has your style changed over the years?

My style of drawing changed most when I changed from using white to toned paper. With toned paper I find using white pencil to develop the highlights really satisfying. 

Chas’ Instagram accounts:

Interview with Steven Friedman

“My goal has always been to create artwork that has every bit the look and feel of ones done by traditional mediums”

Steven Friedman is a talented artist who started his professional career as a traditional photographer. He begins experimenting with digital imagery in 1990 and has been studying different software and developing beautiful techniques which he later called Digital Natural Media.

Friedman recently started to paint with oils and watercolors which has allowed him to deepen and polish his digital work. He enjoys teaching and shares videos on his Youtube channel and tutorials on his website. From realistic watercolor effects to details of the use of programs and photography, any artist interested in this craft can find valuable content on his platforms.

In this Q&A, artist Steven Friedman shares with PoseSpace how developed his artistic techniques, which software he uses to create his work, what he recommends to artists interested in digital art and more:

You started your artistic career as a traditional photographer. What made you want to experiment with digital fine art?

I have always been a wanna-be artist. Photography gave me a chance to be creative, but I longed for the subtle nuances of painting. While I had made several attempts at painting,  I was just too ADHD to master it. When computers came along I started playing around with some early graphics software and the light went on in my head.

What are your favorite software and why?

I’ve often compared Digital Artistry to composing music. In that respect I like to use an entire orchestra. So to your question what are my favorite software programs, it is like asking a composer what are their favorite instruments. I find each program lends their own special capabilities. For the most part, I tend to start with the actual photograph rather than try to recreate the scenes on a blank “canvas”.  But here are a few programs that I particularly like:

  • Fotosketcher
  • Redfield Plugins for Windows
  • Topaz Studio
  • Rebelle 4 Digital Paint program

Do you have a favorite digital artist, whether famous or completely unknown?

It’s a pretty small community. Many of those that I really like are only known by their FB or social media names. The ones who I most admire are the ones that really try to push the envelope with their creations but still stay within the boundaries of traditional art. My goal has always been to create artwork that has every bit the look and feel of ones done by traditional mediums.

What do you think of PoseSpace? Do you have a favorite model? 

Posespace has been a fantastic find for me! For years I have longed to do artwork from Nude models. Being somewhat “North” of 50 (well 60 for that matter) I can’t exactly call up my old girl friends (not to mention their granddaughters) and ask them to pose for me. Life drawing classes are expensive and not easily accessible – not to mention photography is verboten. Hiring a model and trying to pose and light them is well beyond my financial abilities. Pose space has solved this problem offering a huge selection of beautiful nudes, well posed and lit, and taken at high resolutions. The cost per pose is less than 1/30th of what I might pay to hire a private model. It is also a lot less risky. Best of all the stuff on Posespace is not cheesecake or porno stuff.

What life experiences have influenced your work?

Being in the company of other traditional artists like portrait painters and the like. Not so much photographers. Artists have to develop a way of seeing that transcends the original scene. That has been the challenge for me.

What’s been your greatest artistic success?

It may surprise you but the greatest success of this has been to gain an appreciation for art – especially painting. Before I started doing this art was just something to “look at and appreciate”. Now I look at paintings with a microscopic lens to try to see how did they do that? What colors? What techniques? How can I re-create that digitally?

Do you have any shows or activities on the horizon that you’d like to tell our readers about?

I’m happily retired now and no longer have the energy or stamina nor funds to do the summer art shows. I lead a Digital Art group and teach class here in the community I live in. I love to teach, and I will often do video tutorials on “How Did I do that” that are posted on YouTube. I have WEB site that I confess I’ve neglected for some time, and am a regular poster to The Photo2Paint facebook page and Fotosketcher FB page.

What advice do you have for artists who are interested in Digital Natural Media?

Digital Artists today really have a wealth of tools, tutorials and associations to help them compared to 20 years ago when I started doing this. I’d say look on YouTube and Facebook.

Anything else you would like to mention?

I’d like to give a special appreciation to software developers who provide an incredible array of  programs at very little cost or even free. It is because of them that I am able to stay inspired and creative.

Steve Friedman’s Website:

YouTube Channel: 

Interview with Fred Whitson

“The human figure is at the core of expression, and the energy and variations that the human form is capable of have always intrigued me”

Fred Whitson is a talented self-taught artist located in Mornington Peninsula, in Australia. Ever since he was a little boy he enjoyed painting and drawing, but later pursuit a professional career in Music. In 2013 Whitson decided to draw and paint again, and has been creating beautiful paintings ever since.

Whitson has been inspired by contemporary artists like David Jon Kassan, Christopher Pugliese, and Steve Hanks. He focuses on the human form, applying different styles and techniques, but when it comes to painting he prefers oils. Fred has over 30 years of teaching experience and decided to teach beginner and intermediate artists to encourage them to pursue their artistic goals.

In this Q&A, artist Fred Whitson shares with PoseSpace how he decided to become a painter, how he uses PoseSpace during his trips, how he constantly encourages his students and more:

Can you tell us about your background and how you got into art? 

I haven’t had any formal training as such, just lots of practice and asking questions of experienced, extremely capable artists. In my upbringing, my parents always exposed to the Arts, in music, theatre and visual arts, so I was attracted to drawing at an early age. I had a long hiatus from art for about 20-25 years with life as a parent myself and some changes of career. I was lucky enough to go to a workshop in 2013 and that transformed things for me, and I’ve been in the creative world since, and loving it!

What are your favorite mediums and why?

I love oils – so much fun! I’ve also made peace with watercolors, and had a lot of fun exploring those. When I draw, I usually use Generals charcoal pencils and PanPastels.

How do you start a work — do you have any rituals? 

Squinting helps identify major players of shape and tone. For more advanced and complex works, I’ll work out the work surface dimensions and run the composition through a composition armature, to check placement of key focal points and rhythmic aspects.

You work while you travel. Do you use PoseSpace’s photos? Can you tell us about this experience?

When I travel, I always take a sketch book with me, as I love to draw some of the scenic architecture, and visit museums and galleries to sketch from paintings, drawings and sculpture. Europe is perfect for this. I’ve taken my trusty tablet which is full of my PoseSpace collection, and long train trips are ideal opportunities to get the tablet out, call up a PoseSpace image, and spend time sketching studies of hands, expressions etc from the hi-res images. I did some great studies of hands from a PoseSpace model image library on my way to Nice from Avignon! PoseSpace provides incredibly valuable references for artists at any stage of their artistic journey.

Why figurative art? 

The human figure is at the core of expression, and the energy and variations that the human form is capable of have always intrigued me. Raw emotions shown this way are simply beautiful and awe inspiring. The same pose from different angles or different lighting can convey a whole new meaning. How much fun is that?!

What advice do you constantly give to your art students? 

I always encourage them to aim for precision and control – you’re never going to improve your skills unless you demand more from them. Classical discipline has stood the test of time for that reason, why it’s produced so many Masters. Being a musician, I know what’s needed to improve with a piece of music, and it’s the same with art. Having said that, there needs to be within you a desire to become better, and that challenge makes the entire process fun, despite little temporary frustrations and setbacks. Take your time, focus on basics, and enjoy the process! Reward yourself for your successes, and realize that not every piece you produce will be a masterpiece, but should be able to learn something from it.

Tell us one thing you thought you knew, that it later turned out you were wrong about.

Ooo, good question! I think I can answer that best when I look through my old sketch books, when my sense of proportion, angles, shapes etc wasn’t as keenly developed (and it still has some way to go). I thought my skills and knowledge back then were good, but with years more of practice, combined with hindsight, I can look back and recognize that I was wrong. That realization helps keep me grounded now, knowing that I will always have room to improve! Anyone who thinks they are already at the top of their game and has no room for improvement, might as well pack their brushes away.

Do you have any shows or activities on the horizon that you’d like to tell our readers about?

COVID has thrown a lot of plans in the air, so I’ll have to keep an eye out for opportunities as they pop up. In the meantime, I have an artist tool that I’ve developed that I’m marketing, and helping locked-down artists keep their sanity that way. I post regularly on social media too.

Fred Whiston’s website:



Interview with Jamie Lindholm

“I paint mostly figurative subjects because, for me, the work is all about humanity”

American artist Jamie Lindholm was born in Akron, Ohio, in 1961. Ever since she was a little girl she enjoyed painting, but it wasn’t until after she started working that she decided to take her art more seriously. Now, Jamie works as a full-time artist and creates beautiful oil paintings. 

Her work has been exhibited in museums and galleries across the United States and internationally in Sweden, Italy, Great Britain, and Canada. She is currently showing her most recent work, “Evolution to Interconnectedness”, in a virtual gallery that delicately displays her paintings and provides all visitors a fantastic 3D experience. 

In this Q&A, artist Jamie Lindholm shares with PoseSpace how she got into art, what are her favorite mediums, about her work process, and more:

Can you tell us about your background and how you got into art?

Like many artists I know, I’ve been coloring and drawing since I was a child. Growing up, I was one of those kids that also loved Math, Science and English, so when it was time to go to University, I did not originally study art. The moment I graduated, however, that changed. I have been painting and selling regularly since the late 1980’s while working full time. In 2004, I left the corporate world and focused solely on my art. I’ve never looked back and some of my corporate contacts have been my best customers and friends.

Really. Oil 12’ x 12’ study. By Jamie Lindholm

Which artist or painter has influenced you?

My Earliest Influences…The Dutch Masters for sure, but also Anders Zorn, Norman Rockwell and Andrew Wyeth! It was Nelson Shanks’ Danilova’s Slipper that blew me away though, and I thought I’d love to be able to paint like that. That was more than thirty years ago.

What are your favorite mediums and why?

I really only work in Oil for paintings or Charcoal for drawings. I’ve tried everything, but find I enjoy these the best.

What do you think of PoseSpace? Do you have a favorite model? 

I love PoseSpace for many reasons — the variety of models and poses is great. The high resolution images make it possible for me to pull them up on my big screen and view them as if they were posing live for me in my studio. I have mostly worked from life for my work, but during this time of Covid, I am more than grateful to have this option. I have live-model-Zoomed for sure, but I’m not sure any model wants to pose for as long as I typically paint. Also, I often work well into the night and the PoseSpace models never complain about my hours. 😉

There are so many models that love, but Zaza and her poses have fit so well for the work I wanted to complete. She’s beautiful as well and has a very regal air that is projected.

The Interconnectedness of Hope and Fire, 48″ x 24″, Oil on ACM Panel. By Jamie Lindholm

Why figurative art?

I paint mostly figurative subjects because, for me, the work is all about humanity. Most recently I’ve found a more global voice that is focused on our interconnectedness, and how recognizing this could change our actions. We just need to change our perspective to that of a space-eyed viewer.

My painting of Zaza (zaza016) — The Interconnectedness of Geography and Viewpoint — is the first in this endeavor. I’d like to share this upcoming new work, and its hopeful concept, with the world as it’s not unique to one culture, geography, gender or ethnicity.

The Interconnectness of Geography and Viewpoint, 18″ x 18″, Oil on Panel. By Jamie Lindholm

Jamie Lindholm’s website:




Interview with Ricardo Pontes

“I realized PoseSpace had so many poses that I could literally never see myself wanting to do classes again”

Ricardo Pontes is a talented artist based in Washington DC, in the United States. He has always been interested in art, but it wasn’t until failing at painting that he discovered his true passion: sculpting. His beautiful sculptures highlight the beauty of the human body and its fascinating anatomy. 

You can appreciate this sculptor’s passion by visiting his Youtube channel Sculpt Some. Pontes features a fun video where he sculpts Batman in pasticine and has uploaded other interesting educational content where he teaches how to sculpt a hand or hollow out a terracotta sculpture for firing in kiln.

In this Q&A, sculptor Ricardo Pontes shares with PoseSpace how he got into sculpting, details about the process of making his work, what he thinks of our website, and more:

Can you tell us about your background and how you got into sculpting?

I picked up sculpting after I failed badly at painting. Sculpting came more naturally to me. I took classes at the Pennsylvania Academy of the Fine Arts and started sculpting then, it’s been a while now and im improving bit by bit.

Can you tell us about the process of making your work?

Recently I have been using I was using it before the pandemic hit, but afterward I realized PoseSpace had so many poses that I could literally never see myself wanting to do classes again. I tend to be slower than most, so I prefer the ability PoseSpace gives me to go at my own pace.

Where do you get your imagery from?

Before PoseSpace, I had to hunt images on Google,  and often the research involved days to get enough reference. 

What challenges do you face working with the nude figure?

One of the challenges is learning about anatomy, it’s a bit more difficult online. 

What do you think of PoseSpace? Do you have a favorite model? 

PoseSpace has been great to find great photos with high detail and to take my time working. When you work a 9 to 5 it’s not always easy or affordable to hire models. I did use another artist reference website and prefer pose space because it lets me buy a pose instead of a monthly fee. I like that you are always adding new poses, but i feel i could never run out with the ones you have now. 

I think one of my favorites is Anastasia, she might be many artists’ favorite as well. She has an old time feel to her, great figure for sculpting.

What advice would you give to young artists interested in sculpture?

The best advice i could give is to do it often and daily if you can. Practice as much as you can, and always do drawings. Drawings help sculptors more than they think. 

Ricardo Pontes’ Instagram:

Youtube channel:


Interview with Tim Hodge

“At Disney we had in-studio drawing sessions at lunch to keep up our skills. You have to be able to capture action and emotion quickly”

Tim Hodge is a talented artist, animator, voice actor, director, and writer located in Tennessee, in the United States. Ever since he was a little boy, he knew he would pursue an artistic career. Since 1985, Hodges has been specializing in animation and has worked for popular studios like Walt Disney Feature Animation, Big Idea Productions, Dreamworks Television, and Warner Brothers Television. His ideas have been part of popular feature films like The Lion King, Pocahontas, Mulan, and The VeggieTales.

Tim has to continually adapt to the styles of the studios, but he also focuses on developing his own vision. He also teaches artists and shares his knowledge through online courses like Drawing Cartoon Animals and Drawing Cartoon People. On his website, you will also find wonderful books he has published such as 31 Uses for a Zombie and Pith & Vinegar.

“Untitled” by Tim Hodge. The artist used pose zaza016 as a reference

In this Q&A, artist Tim Hodge shares with PoseSpace details about his experience in feature films at the most prestigious Studios in the US, great advice for artists who have an interest in animation and cartoons, and more:

When did you first know you wanted to become an artist?

Like most of us, I’ve been drawing since I was very young. I just kept it up. But as far as drawing as a career, it was when I was around 12 and discovered my dad’s movie camera (an 8mm film camera, this was pre-home video). He showed me how it could take one frame at a time to make animated films. When I realized I could one day get a job drawing, my future was set.

Which artist has influenced you? 

This could be a long, long list. I’ll try and keep it short: Bill Peet, Jack Davis, Norman Rockwell, Beatrix Potter, Wallace Tripp, Honoré Daumier, and Winslow Homer just to start. But it seems every day, I am finding new up and coming artists that blow me away.

You have worked for Disney Feature Animation, Big Idea Productions, Dreamworks Television, Warner Brothers Television, and more! What has been your most memorable studio experience? 

Again, so many to mention. I think one that stands out is watching The Lion King (my first feature film) at the wrap party with my family and all my co-workers. We finally go to show what all the long hours were for. And of course, we all sat glued through the credits, cheering each other. There was an incredible amount of camaraderie. We all stay in touch to this day. Many of my former animator friends now have painting careers.

View this post on Instagram

Gift for a friend. #HakunaMatata

A post shared by Tim Hodge (@baldmelon) on

What is the importance of gesture drawing for you? 

It’s the basis of everything. Of course all the Masters have relied on it, but it’s also at the essence of animation. At Disney we had in-studio drawing sessions at lunch to keep up our skills. You have to be able to capture action and emotion quickly. Eugene Delacroix said (I paraphrase) “If you are drawing someone falling from a building, you should finish the sketch before he hits the ground.” It’s a gruesome take to be sure, but he vividly nails down the importance of sketching quickly.

What do you think of PoseSpace? Do you have a favorite model?

I love PoseSpace. As a freelance artist, my schedule is rather erratic, and I often don’t sit down to paint for myself until 9 or 10 at night. Or I may grab an hour or two on the weekend. Hiring a model or running out to a group session is very difficult. But PoseSpace is always there. And if I have to put a painting away for a week, my PoseSpace model is always ready when I get back. Lately, I’ve been going through Luana’s poses and doing some oil and watercolor sketching. Her poses have great rhythm.

“Luana” by Tim Hodge using PoseSpace model Luana as a reference

Have you been working on a special project during quarantine? 

Actually, animation is a business that hasn’t had the impact that other businesses have. Everyone in animation I know has been working from home, and production schedules haven’t really been impacted. But I always try and paint and draw for myself no matter what I’m working on. As an artist, I need a personal creative outlet, too, something that won’t get critiqued by an Art Director. We all have to create our own vision, especially after drawing someone else’s all day.

Illustration by Tim Hodge

Do you have a favorite source of materials? 

While it’s easy to order stuff from the big online retailers, or even pop into one of the many craft stores around, I like to seek out an Art Supply store, even if it’s several miles farther away. (Plaza Artist Materials, and Jerry’s Artarama in Nashville, if I can drop names). I find that the workers are more knowledgeable of the products because they use them all too. (I also worked at an art supply store in Tulsa when I was in my early 20s).

What advice do you have for artists who have an interest in cartoons? 

When I was around 14, I got to meet Marvel Comic artist, Johnny Romita, Sr. I showed him my sketchbook full of cartoon animals, he flipped through it and he stopped on a drawing of an elephant. And I’m going to tell you what he told me. “Don’t only practice cartoons. Draw from life. Build a basis in solid drawing. Then cartooning is easier, and your drawings look better.” Years later when I was applying to Disney, they said the same thing. And I’ve always found it to be true.

Tim Hodge’s website: