It’s the regular Wednesday night live-drawing session at PLU, where artists can hone their anatomy skills by drawing from live bodies, unencumbered by clothes. But tonight is different: The seven people on the central platform are there not just to model, but to learn how to do it well and to do it for money. And professional model Anne Reilly is there to teach them.

“Nice hand gesture, Jackie,” says Reilly, circling the group. “Now that’s too symmetrical – only do that for beginners.”

After an initial prep talk with Reilly, which includes tips on how to change from street clothes to a robe, props to bring, finding gigs and how to give artists the best poses, the group launches into the first session: 20-second-long poses. This kind of pose is dramatic and often physically demanding – a huge variety of bodily twists, extensions and bends that no one could sustain for long without either moving or suffering.

Heather Lundquist, 28, is arching back on tiptoe, clinging to a rope that hangs above the platform. Another model, a 56-year-old man with white hair, leans over, everything dangling. Both have actually modeled for several years, but they’ve come tonight to help teach the novices and learn a little more themselves.

As the pose-lengths move to one minute each, Lundquist and the white-haired model assume a fighting stance, pushing determinedly at each other. Others hold a cushion or mirror aloft, or twist backwards.

“You want to make the gestures strong and really interesting,” the male model, a professional gardener, says.

Most drawing sessions begin with these short poses. Artists draw furiously, trying to capture each complex gesture before it changes. Then the pose lengths move to one minute, and five minutes, getting a little more stable each time. Finally, there come the 10- and 20-minute poses, where models have to think quickly to figure out a pose that won’t injure them with long immobility. Twists aren’t good, nor is complete bending of limbs; both constrict blood flow. The head must be supported and no particular muscle too overworked.

The business of standing still, it seems, is a tough one.

How, exactly, does one stay completely motionless? “You stare at a spot on the wall and Zen out,” says Reilly. “Or go over your shopping list, or solve the world’s problems.” In her 50s, with long gray-brown hair, a generous body and a mischievous grin, the Australian potter has been modeling since around 1990 for artists, art classes and commercial graphics studios. As she disrobes to demonstrate some harder poses – “It’s like a dance, flowing from one pose to another” – it’s obvious she has no qualms about getting naked for art.

“Usually, if the art is good, being nude makes you look more beautiful than you really are,” she says. “Nude pictures bring out the beauty of what you’ve got. It’s not like a mirror.”

Which is all very well for experienced models. But what’s it like modeling nude for the very first time?

For Jennifer, 29, a slim blonde, getting more comfortable with her body was part of the attraction of modeling. “I’m a really shy person, so I’m using this as a vehicle (for gaining confidence),” the mother and student says. “When Anne said ‘Disrobe,’ I was the last one.”

Susan, 48, is a curvy social services worker who seems completely comfortable. “It’s fun,” she says. “I’ve never been quite so aware of my body. But I’m not embarrassed. Maybe it’s my age! I’ve been in enough dressing rooms to know that there’s a wide variety of bodies.”

There’s certainly a wide variety on the platform tonight. There’s tall, short, slim, curvy. There are tattoos, baby-bellies and baby-nursed nipples. There’s hair or shavings. What’s interesting are the faces – despite some dramatic poses, most are completely calm.

“It’s like meditation,” says Kara, 23, a tall blond personal trainer.

After a snack break, class continues. Artists shift seats to get a different angle. Reilly continues the commentary on the longer poses: “Is your right shoulder bothering you, Susan? Feel your body. Are there muscles under strain? The more natural the pose, the better. Look after yourself, or you’ll be at the chiropractor’s the next day.”

If you do have to move, advises Reilly, ask the artists first, or try flexing internal muscles. Mark your floor position mentally, so that you can reassume the same pose after a break. And above all, protect yourself in every way.

“If someone’s just looking at you constantly, and never at their drawing, then tell the instructor,” she cautions. “If you’re not comfortable, say so. Don’t allow photos – you could end up anywhere.”

So why model? Why take off your clothes, work your body and expose yourself to strangers?

For the art.

“I heard there’s a real shortage of live models, and I don’t mind nudity,” says a grey-bearded 45-year-old engineer, “so I thought I should use that gift so that others could utilize my form.”

“I’ve always supported creativity, and I thought it would be nice to do something that might help make someone’s career,” says Marcie Melton, 24, a first-time model whose day job is in customer service.

But with modeling paying between $17-$25 an hour, the money’s a definite factor.

“I used to be an artist, but I like this side of it better,” says Lundquist, a stay-at-home mom. “It’s easier to find the time. And it pays better!”

Rosemary Ponnekanti: 253-597-8568

Editor’s note: Some of the participants in this story have their names omitted to protect privacy. In Room 126 at Pacific Lutheran University’s Art Department, seven people are standing on a table. Their bodies are frozen into a tableau of poses. They’re being scrutinized intensely by the other people in the room. And the people on the table are also completely naked.

Nude Modeling 101

Interested in how to model for artists? Here are the basic tips from experienced model and trainer Anne Reilly.

Before the session

 • Find out if the session is clothed, partially clothed or nude.

 • Robe discreetly, in bathroom or closet. Don’t forget deodorant, water, snacks, slippers. And don’t lock the closet, or you may be going home naked.

 • Warm up with yoga stretches.

During the session

 • Keep your robe on before, between and after poses.

 • Stay still – even your lips (bring lip balm).

 • Don’t look at the artists or their work. Similarly, if one of them is looking too long at you (and not drawing), let the instructor know.

 • Short durations mean dynamic, complex poses – look at art books for inspiration. Longer durations mean lots of support, no twisting, staying comfortable.

 • Don’t bend completely over if there’s someone behind you.

What: Training session for live modeling, led by Anne Reilly

Where: Drawing studio (Room 126), Ingram Hall, Pacific Lutheran University, corner of 121st Street and Eighth Avenue South, Parkland

When: 5:30-8:30 p.m. Wednesday

Fee: $25 for new students

Reservations: Anne Reilly at ecstasydivine@comcast.net">ecstasydivine@comcast.net

Drawing sessions: For more PLU drawing session times, contact Michael Stasinos: stasinmr@plu.edu">stasinmr@plu.edu, 253-535-7499.