Locating the Life Caster's Model

Locating the Life Caster's Model


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Sitting next to me as I write the next Chapter in The Lifecasters Handbook is an autographed copy of Roll Over Mona Lisa!, subtitled How Anyone Can Model for an Artist, by Theresa M. Dana. I met Theresa through our website, www.artmolds.com a number of years ago while advertising for life casting models in the American Online classifieds. I always received good responses from those small 4-line ads, even before a certain bilious TV huckster began ubiquitously touting the benefits of tiny, classified ads.

The applications were from young women, in their twenties, with no experience. Several of my models later revealed that they were scanning the ads in hopes of starting a modeling career. I mention this by way of introduction to reassure a beginning life caster – as I was then – that there are more “want-to-be models” looking for an opportunity then there are artists or sculptors seeking models.

I'll never forget my first model, Elizabeth, a college student. She came all the way from Boston by train just to be a life casting model. It was the fee and the adventure that attracted her, she said. The rest of my early models were far more cautious and originated locally from both New York City areas near my New Jersey studio. 

I was grateful for their confidence in me as I had nothing to show them then. They gave me my chance to start my portfolio and in turn they were happy for the $75.00 modeling fee and a chance to 'immortalize' themselves.  I always made certain to give each model an autographed copy of Theresa’s book, too. That made it a hit with most of them as they felt I was not only helping them launch a possible career in art modeling, but that I really was going out of my way to have them succeed. My second model actually went on to become a successful professional regional artists’ model - giving me the credit for getting her started. 

Lifecasting Model

 Life casting consists of several skills, but before they can be practiced a life caster must have a model. Over the years I have found that this is the single most discussed topic on our website forum and in emails to me. Experience being the best teacher, I have subsequently discovered that there are many ways to obtain models besides my earlier method of using classified ads.

The purpose of this chapter is to share some my experiences in obtaining life casting models as well as those of other life casters throughout the US and Canada. We will reveal to you how we compensate them and provide our best recommendations to you on maintaining a trouble-free relationship so that they will return for future projects.


There is no need to go into a long philosophical dissertation on the differences between a life casting model and models in other art disciplines without stating the obvious. But a few words on the subject might be helpful. In all other art forms, a live model is observed by the artist from a distance. Whereas, in life casting the making of the art is a very intimate and personal thing. The model is touched and handled by the artist. That is reason enough for professional art models to shy away from the art form. In many cases, your potential model will feel this to be a sexual rather than artistic endeavor. You must realize that this is a concern even if unspoken and then overcome that fear with both words and reassuring deeds.

Of course, monetary compensation plays a role in attracting a model. We shall discuss payment in a later section. However, in life casting vanity is a far greater magnet. Some of the more experienced life casters compensate their models not with cash, but with just a life casting of the model. Joe Canger, the well-known New York life casting artist claims he has not paid for a model in many years. For his models, being immortalized has far more attraction than money. Joe states:

“I have found that most of the models that I have worked with were compelled more by vanity than by the small amount of money I offered.”

That is important to know. Since you can use this fact to your advantage in recruiting. The thought of being "immortalized" has universal appeal, but this is especially so among younger attractive models, both men as well as women. Once you clear the hurdle that this is not a sexual adventure, you can appeal to the vanity of your model and win more offers to model than you have material to cast.

The life casting model comes from all walks of life. Mine have been young ingénues, inexperienced in modeling and eager to break into modeling. Other life casters have used exotic dancers, family, friends, wives, husbands, sons, daughters, a few street walkers are in the mix, and body builders. In the FX trade (special effects) the models have been movie stars. Willa Shalit, built her reputation on casting the heads and bodies of famous people, politicians and athletes. In other words, life casting models are where you find them.

However, you start, and whoever your early models are, your objective is to find "clients" not models. The difference being that clients pay you, whereby with a model you are often paying them. 

Of course it is best to have an experienced life casting model. The best pieces are those that have the model's cooperation and his or her ability to endure long stretches of being immobilized. However, if you begin with small pieces, hands, faces, a front torso, even, the most inexperienced model will do. A high quality, larger piece needs a model that has had experience doing a number of life castings though.

Every life caster should be required to have experience a life casting of themselves before they practice on a model so that they understand the process and what a model must endure. Without proper training a model will often faint during a session. Not only is this unhealthy, as a fall could harm your model, but it can ruin much of your work.

In the final section of this chapter will address these serious issues. However, for the time being remember, that a life casting model must endure a number of humiliating and  uncomfortable conditions: being chilled by cold, wet goop being applied to the body and to the most intimate of areas (in some cases), being exposed without clothes in unfamiliar surroundings and not altogether certain of your intentions; being locked up in a claustrophobic cast; losing control over his or her mobility; and being uncertain about the procedure in general. Would you subject yourself to that?

In the next section we will discuss how experienced life casters recruit their models. Many of these artists will reveal their methods in their own words. After reading the section you should have no difficulty in locating and retaining a model for your life casting projects.


The obvious and easiest source of models for the beginning life caster is of course family and friends. But, if it was that simple we would not need to write this chapter. After making hand and face casts from family members, the life caster wants to gain experience with torso and even full body casts. The beginning artist also needs to add variety to his or her portfolio that may be available only from outside of the artist’s circle of current modeling options. In this section we will share the recruiting experiences of (5) professional life casting artists which should provide guidance in obtaining life casting models for your studio.

Joe Canger , the well-known New York area life casting artist describes his early experiences in seeking models.. He began by calling a number of professional modeling agencies. But they hung the phone up when he told them what he wanted the models to do. They looked at "slopping goo" on naked flesh as sexual. So wanted nothing to do with it. Not being deterred Joe was able to convince a few exotic dancers to model. He felt easier about asking them because of their carefree attitude toward nudity. As Joe gained experience, though, and developed a portfolio he found it became easier. He told us that he believes that developing a professional portfolio to show your prospective models proves your worth to them and they in return want to be a part of it, no longer for money, but for the sake of the art itself.

The late Guy Luis IV an Ottawa artist who sadly passed away a few years ago, had a different approach. He said that he preferred actors, non-union if possible (they are cheaper in price). “They love the fact that they will be immortalized, and they can pose properly, unlike models who look more like K-Mart mannequins. And yes, I do have them sign a release form, this way I own all rights to the statue and photographs.” His other models were merely people from off the street. “No, I don't hang around shopping malls looking for the right ‘look’, but I do keep an ‘eye-out’ and I ask friends and relatives if they know a ‘look-a-like’. Just recently, I was at a neighbor's get-together Christmas party and one of the guests just fit the part beautifully for a mannequin that was recently commissioned, he loved the idea, and the deal was done!”

Where you live must be considered as it will influence your ability to recruit life casting models. Mark Parmenter, another experienced life caster and foundry owner in Spencer Indiana is proof. He lives near a university town and reports that artist's models are around in quantity in the form of college students. His method, like mine, is to simply place an ad. In his case, it is in his local paper. When he gets a response he conducts a formal job interview, just like any other job application. Mark says that this starts the whole process out on a professional level. Mark recommends that you look for dancers, actors, and athletes, as they are less shy about their own body. And Mark offers another great idea – put an ad up in the local gym. Consider where you live as well. Colleges, universities, art schools, art leagues, dance academies, theater groups all provide rich sources for life casting models. If you are located near any of these institutions or schools, you can mine them for your art. In suburbia, housewives can be another source using a simple classified Craigs List ad like the one below:

 (Wanted Ad Listed under TALENT in Craigs List)

Model Wanted - Part Time
Artist/Sculptor needs model for body casting commission. Need (explain model type). $x/hr.3 hour sitting minimum. Will train. 
Call (123) 555-1212 for interview.


Use the phrase "Artist/Sculptor" to establish credibility, intrigue, and professionalism. Use the word "body casting" to introduce the reader that you will be doing something to his/her body. The term "commission" is used to give the reader additional credibility that you have been hired to create a life casting sculpture. If it is not exactly accurate your objective is to sell the piece to an unknown buyer -- so it is an unknown commission. Next, you need to explain the type of model, e.g. "Athletic Male", "Slender Female 20- 30 y.o.," "Housewife," or "Senior Citizen," and the like.

I find that putting in the rate of pay gets more calls. Especially if it is a fair rate. I typically pay $25 hourly or on average about $75.00 a sitting. I'm in the New York region so this rate is higher than in most of the country. The next section will provide payments made by other life casting artists throughout the country. I put the sitting time in the ad for several reasons. First, it gives the candidate an understanding of how long the sitting will be. Even though the actual molding time may be under an hour.  I used three hours to include preparation, pose experimentation and clean up. It also gives the candidate a better grasp of the amount he/she can earn in a sitting.

The ad also contains the words, "will train." There are very few experienced life casting models. This means you will have to train most of the ones you recruit. However, an applicant does not know this. If you do not put these confidence-building words in many potential model candidates will not answer your ad thinking that they do not qualify. Finally, adding the phone number along with the words, "for an interview" is another technique to give the reader the feeling that this is a professional position and not something to fear.  

Figure 1.0 can provide ideas to the reader on how they might recruit a variety life casting model types based on those discussed by the life casting artists in this Section: 

FIGURE 1.0 Recruiting Life Casting  Models By Type


Model Type

Suggested Recruiting Method


Post flyer at acting school, University, theater


Art Students

Post flyer at art school, University, or art league


Post flyer in gym, YMCA, CYO or YMHA


Body Builders

Post flyer in gym or workout centers

College Students

Post flyer on campus or run ad in school paper


Dancers - Classic

Post flyer at the local dance school or ballet theater

Exotic Dancers

Visit the source - be brave and ask


Experienced Models

Ask for a referral from an ALI Member.


Family Members

You are on your own


Female Models

Girl friends, wives and the other methods shown here

Fitness Models

Post flyer at local fitness center or gym



So ask - they can only say no

General - Inexperienced

Run a classified ad in local paper (See example).
Print a professional business card that you can 
hand out to people you meet.


Male models

Boy friends, husbands, gyms, ads.


Older Citizens

Senior citizens make great hand an face models, try a flyer in a Senior Care Facility or contact the activities director and make it an activity the whole group can watch. Mothers and fathers of friends are often willing participants - ask.


Pregnant Models

Visit a maternity shop and speak to the proprietor about posting a flyer.
Call a Lamaze class and speak to the director


Questionable Models

Experienced life casters recommend against using models such as prostitutes, drug addicts, alcoholics as they are both unreliable and difficult to manage.





The Interview

What do you say if you get calls on your ad? You need to get across to the caller several pieces of information:-         

  • Sincerity        
  • Professionalism        
  • Experience         
  • Confidence           

At the very least, you should convey the following information to the prospective model:·

The work will be done unclothed - this must be introduced into your early conversation, so the applicant understands the extent of the assignment.

Most applicants will not be surprised -- after all, your ad says "model” which most often connotes some state of undress. But state this fact in a matter-of-fact style without emphasis, so that your candidate is given the impression you do this all the time.·        

That you will be applying a molding material directly to the body.  You should briefly describe the procedure you will use to mold a model. No need to go into detail now. But be sure you tell the candidate that you apply a hypoallergenic substance directly to the body that firms up in a few minutes. Also, make certain you mention that you use your gloved hands for the application.·        

The procedure is safe. Tell the model the substance is formulated from the same material spas and dentists use so it is safe for every skin type.

 Your Questions

You need to determine the following information from your candidate:

  • The experience of the candidate - ask about their modeling experience. Most will have none. But this places the candidate a bit on the defensive and enhances your stature in the interview.
  • Artistic background - this information is helpful as the more artistic the candidate, usually the better the model -- an artistic candidate will be more dedicated to the "art."
  • Motives for applying - try to establish the real motives for applying by asking this question directly. You will get more honest answers than dishonest ones. Statements such as "I always wanted to do something like this," "I want to learn," "I love artistic things," are far better than "I need the money," "I am doing it on a dare from my boyfriend." If you hear that beware as you will not get great cooperation in the studio.
  • Stability of the applicant - this of course is a subjective judgment. But you need to determine if your candidate will show up and if they do show that they will cooperate with you. The model release form provided by her has a section addresses cooperation. You can discuss this with the candidate on the phone so that he or she understands that there is a monetary penalty for not cooperating. As an example, Mike Hogee, a life caster from Dallas, cautions that he has had little luck with adult entertainers when they show up. He may get one sitting with a promise to come back for more but never do. Only rarely has he found an entertainer to be reliable, which really makes it hard to plan a series using the same model.

You might wish to make an interview sheet like the one below and write down your candidate's answers for future evaluation. The sheet also reminds you what questions you should ask. Add your own favorite questions, too.


Figure 2.0 Interview Sheet

Lifecasting Model Telephone Interview Sheet


Date:                                               Male/Female

First Name

Last Name





Phone Number 


Age:                          If Under 18 Guardians Name:

Referred By:    1)Ad-Specify:              2)Flyer           3) Friend              4) Other



Artistic Background:


Why Are Your Applying:


Other Information:


Explained that this assignment is nude modeling?    yes/no

Explained how material is applied with hand to body?   yes/no

Explained that material is hypoallergenic?   yes/no

Explained candidate will be required to sign a model release?   yes/no

Explained that there is a monetary penalty for not cooperating?   yes/no

Explained payment procedure?   yes/no

Explained that model should bring only one chaperone? yes/no

Call Back?


Schedule In Person Interview?

  Date:                             Time:                            Location:


Stephen Ord, another Canadian life caster has been practicing his craft with his wife for over ten years. His wife was his first model. "She was the best model ever as she had infinite patience as I tried to develop a technique that worked. She endured plaster that overheated and even fainted a couple of times.


The Importance of Developing Your Portfolio

“I haven't paid for a model in over 7 years. With a portfolio under arm, I now barter.”

According to Joe Canger, “I still haven't worked with any "A" list models, but I have worked with- Michelle Diamond, from "Playboy Magazine & Videos" Brennan Furrow, from "Coyote Ugly", "ER", & "King of Queens" & Andrea "Nina" Biro, "The Most Photographed Covergirl/Centerfold of '99" . Joe explains further,  Since developing a portfolio, I believe a "vanity thing" sets in with most models, and they feel they'd like to be "immortalized in stone". I always just barter for time now and it usually always works. I also allow the models to add my name and work to their resume. (Centerfolds seem to like having a "Fine Art" edge added to their resume, almost as if it legitimizes the rest of their nude modeling. Go figure.)

Life casting artist and sculptor, Steven Ord relates that he has found that once you have one sample to show people, then it is easy for a person starting in the business to get other models by offering the model a one for one. It is the least expensive and often they will volunteer for more than you originally asked them for.



What follows are the opinions of experienced life casting artists on compensating life casting models.

Joe Canger

“I can't remember a day when a nude model, even in art class, posed for only $10-15 an hour.

Plus, "slopping goo" on someone is far more personal than anything in any art school. I first offered my models $50 an hour and with no success. I finally jumped to $100 an hour for my first two models, just to get the ball rolling. Pretty insane, but I felt it was worth the investment to finally develop a portfolio of life casts that I could show.

I guess NY is a tough town.  Years ago, art schools paid $10-15 for clothed models and about $25-40 for a nude. A decent stripper will make $40-100 an hour today in NY. I didn't think $50 was too unreasonable for a stripper/model to ask (considering the direct contact). I doubled it to $100, just to guarantee her arrival, and as I said, "to get a portfolio started". I believe the portfolio is the key to everything after that for all artists. After finally "breaking the ice" and allowing models to see what life casting is all about, all that has changed. While showing my portfolio to prospective models, they started asking me HOW MUCH I'D CHARGE THEM for a sculpture. From that point on I decided to work on a barter system. I have a model pose for three sculptures and in return I give her a simple sculpture for herself. I don't know how the rest of the life casters out there work, but this has become the simplest and most economical route for me to travel.”

Guy Louis

“In answer to the price for models, it varies. The average is $100. flat rate for casting head and hands.  For a full body cast, I can go as far as $300 flat rate, (we are also talking in Canadian currency).”

 Mark Parmenter

“Well, ‘free’ of course, because someone just wanted to do it. Around here, it's $15.00 an hour. I have also paid by session, $35 if I remember correctly. What the market will bear is my best answer.”

Roy Brady

“I have been professional life casting for over 12 years and involved in art and fine art sculpture for approximately 30 years. I feel that I am not only an artist, but also a businessperson and know that every transaction has to be a mutual win-win situation, or it sours quickly. Because of my experience, new models, or models that I have never worked with before are generally paid $20 an hour for life casting sessions. There have been several models that I have worked with repeatedly that I pay more. These models are usually paid for by the session, because they are already familiar with the process, are good models, prompt for the session, and the like. Some of these sessions, I have paid the model $200. Some of you may think this is high, but I try to acquire and retain models with good attitude and bodies.”

“My experience has been that model fees are generally more in southern California than they are in Nashville, Tennessee. This scenario will probably hold true comparing any cosmopolitan area with a smaller populated area. Anyone living in a college or artist-oriented area will have better luck acquiring models and reasonable fees. But you can probably always find someone that will model for free if that is the route you want to take. I've had models in Nashville ask me how much they had to pay ME to just have the personal satisfaction of seeing their life cast. It doesn't happen often, but this question still surprises me occasionally.”

Dan Spector

“The most reasonable professional models are art school models, and they are used to getting paid $10-15 per hour. Slopping gook on them must be worth more than looking at them. Photo models are accustomed to a whole lot more and frankly they probably won't work for you, thinking why risk my appearance? You'll find amateurs who are actresses, ballet dancers, gym girls, and free spirits. I'm offering around $20. Some of us are giving statues for modeling, but if a session costs $50, and a statue sells for 5-10 times that, well, it's voodoo economics! But if that's the only way you can cast the babe of your dreams.”

Mike Hogee

“When I do pay a model the rate in our area is $15.00 per hour and I pay a minimum of 3-hours.”

Model Compensation Comparison Table

Lifecast Artist


Rate of Pay


Mike Hogee

Dallas TX

$15.00 per hour

3 Hour minimum

Dan Spector

Memphis TN

$20.00 per session


Roy Butler

California and Nashville TN

$20.00 hr
Up to $200 per session

For new models
Experienced models

Mark Parmenter

Spencer IN

$15 per hour or
$35 per session


Guy Luis XIV

Ottowa CN

$100-$300 per session

Canadian dollars

Joe Canger

New Brunswick NJ

$100 per hour

Early in his career



Barters for services

Last 7 years


Ed McCormick

Millington NJ

$75.00 - $125.00 per session

$25.00 per hour



Every life casting artist needs to protect themselves with a written agreement between their model and themselves. The release is a business contract made in writing, which details the entire understanding between the model and the life caster. Misunderstandings about compensation can quickly sour a relationship. More important than that, a vague agreement can create a situation in which you are pulled into a litigation. Here are two examples from the Association of Lifecasters Internal, an artist guild of life casting artist members:

Dan Spector relates the following story:

As compensation for her modeling services. . . "We made a deal that after she posed for six pieces, she could design her own pose and I'd make it for her. After the first two-hour (2-molds) session, she asked to borrow one of the pieces to show at a party. A month later, I asked her to return it, and was met with a spitting viper, calling me everything, saying it was hers after the way I'd behaved. I got affidavits from 3 other models who knew her and filed suit. A friendly lawyer helped me do it right and alluded to her "coke whore" persona. She got a high-profile lawyer, I wonder how. I paid her for her modeling time, which was not the deal. I got the piece back and promptly sold it.

The moral: GET IT IN WRITING & SIGN IT! You do not know that much about most of your models."

Another ALI member, Roy Butler, tells of his policy regarding model releases:

"All models that I utilize, are required to sign a model / advertising release that was originated by an attorney for the state of residence of the artist. Trust me, this signed piece of paper did come in handy about 8 years ago".

 The Association of Lifecasters has created several model release forms in one document. It allows the life caster to list both monetary compensations, if that is what was agreed upon, or as in the case of other life casters, to use a straight barter "goods for services" approach.

Your method of work may dictate a slightly different approach than those outlined in the attached release. You can use the release as a guide. I encouraged you to have your attorney review it for your situation and artistic approach. You should join ALI. It is free of charge at: www.lifecasting.org. The ALI Logo printed on the top of each page will give your model a bit more comfort and reassurance that this is a "standard" industry contract that other models sign regularly and is not to be modified. 

Life Casting Modeling Agreement

I. Definitions

"MODEL":  The person whose body parts are used as the positive form to create a mold.

"ARTIST" refers to the employer who will mold and or cast the MODEL,

“life cast” the act of applying various molding material to MODEL’s person to create a mold and then to cast that mold with various materials to create a likeness of the MODEL

"mold" describes a negative 3-dimensional image of the model's body made by placing in contact with the model's body a material or materials that harden to match the form of the model's body.

"cast" describes plaster, cement, or similar material that has been placed while fluid into a mold and allowed to harden to form a copy of the model's body.

"casting" is the process of making a mold using the model as a form, and then producing a cast from that mold.


II. Parties to the Agreement


(Herein known as “ARTIST”) agrees to retain the services of:


ADDRESS OF MODEL ENTERED ON THE LINE ABOVE                              TELEPHONE NUMBER              

(Herein known as “MODEL”) to lifecast all or part of the model as follows:




III. Compensation

The ARTIST AGREES to compensate the MODEL as follows:

$_______ per (hour/session) for the modeling session for the purpose of making a life cast of all or part of the MODEL on this date: _________. 


MODEL agrees to accept payment from the ARTIST in lieu of cash compensation by trading services whereby the ARTIST will provide a life casting of the MODEL described as follows for the following services: _____________________________________________________________________


IV. Recording Rights and Model Cooperation

Photographs. MODEL agrees to allow ARTIST to take photographs of MODEL before, during, and after the molding process, and to make mold(s) from the MODEL’s body as described above.

Absolute Right to Use Photographs. MODEL grants to ARTIST the absolute and irrevocable right and permission to use the photographs taken of MODEL, and castings made from MODEL.  This permission includes, without limitation, permission for ARTIST to:

  1. Make copies of the form and likeness copied from MODEL, both photographically and 3-dimensional.
  2. Modify copies of the form and likeness copied from MODEL, both photographically and 3-dimensional.
  3. Use, in whole, or in part, original or modified copies of MODEL’s form and likeness in works of art. These works may include combination with images or casts of other people, or other media such as paint or textiles.
  4. Use, publish, make, re-use, re-publish, or re-make works for sale including the copies as described in paragraph (c).
  5. Copyright and retain all relevant rights to any works created as described in any or all of paragraphs (a), (b), (c) or (d) above.

Ownership Rights. MODEL understands that ARTIST will retain all molds, partial molds, castings, partial castings, unsatisfactory molds, unsatisfactory castings, photographic negatives, and all other materials that are not part of the compensation.

Cooperation of MODEL. MODEL fully understands that MODEL’s cooperation in creating the mold is essential to the process, and correct attention to instructions is necessary to achieve a good quality result.  If ARTIST determines at its sole discretion, that this cooperation has not been achieved, ARTIST retains the right to reduce compensation for failed molds by 25-percent. Each mold described above is to be treated separately for purposes of this clause.

V. Health & Safety

    Application of Materials to MODEL’s Body. MODEL understands that the process of making molds involves covering the part(s) of MODEL’s body (as listed above in section II) with the materials required to make the mold. MODEL further understands that the application of the mold materials will require physical contact by the ARTIST and/or ARTIST’s staff with the MODEL’s body and that contact may also be required to apply mold release agents to protect MODEL’s body hair and other body parts from mold materials.
    Discomfort. MODEL understands that making the mold may cause some minimal discomfort or irritation during the process of casting, during the removal of the casting material, or after removal of the casting material. ARTIST expects this discomfort may include, without limitation:

    • Minor pulling of hair during mold removal. ARTIST will give reasonable care and attention to this consideration.
    • Irritation or allergic reaction due to mold materials or agents that aid in mold removal.
    • Possible feelings of confinement or claustrophobia, depending on the body parts to be cast.

    Application of Mold Release to MODEL. MODEL understands that in order to enable removal of the mold(s) and to minimize pulling of hair, a mold release agent may be applied to the body parts and body hair. Further, MODEL understands that not all mold material or mold release agents will necessarily be removed from MODEL’s body when the mold is removed; MODEL may need to wash up afterwards.

    ARTIST Representations. ARTIST believes that the materials used are non-allergenic, non-irritating, and otherwise safe products in all parts of the process. This belief is based upon statements made by the vendors of the products, and on experience with making molds.

    Release of Liability

      Release from Claims by MODEL. MODEL hereby releases and discharges ARTIST, his heirs, executors, assigns and any designee (including any agency, client, broadcaster, periodical, art dealer or gallery or other distributor of media of any kind) from any and all claims and demands arising out of or in connection with the use of casts, photographs, or works derived from casts or photographs, including but not limited to any claims for defamation or invasion of privacy. 

      VII. Attribution

      ARTIST agrees to maintain an association between all photographs, casts, or works derived from these as follows:
      (Circle one, and cross out the remaining statements)

      1. MODEL wants full name and contact information to be associated with all works created from MODEL’s form or likeness.
      2. MODEL wants MODEL’s full name to be associated with all works created from MODEL’s form or likeness.
      3. MODEL wants MODEL’s first name only to be associated with all works created from MODEL’s form or likeness.
      4. MODEL wants MODEL’s name to be associated, or not, at the discretion of ARTIST, with works created from MODEL’s form or likeness.
      5. MODEL wants MODEL’s name never to be associated with any work created from MODEL’s form or likeness.

      MODEL understands that he or she may alter this selection at any time.  This selection will be made in writing, and will be signed and dated, either by MODEL, or by a guardian in the event that MODEL is a minor. This notification will be delivered in person, or by mail to ARTIST, at its then-current business address.

      MODEL understands that if MODEL’s name is associated with any work derived from MODEL’s likeness (as described in section V), that MODEL’s name might not necessarily appear upon the work itself, but instead be present in accompanying documentation.


      VIII.  Signatures

      A. MODEL

      MODEL affirms that he or she is of legal age or that the signatory is the parent/legal guardian of the MODEL in the case that the MODEL is a minor and has read the foregoing and fully understands the contents thereof.




      Print Name




      B. ARTIST



      Print Name





      The chapter from "The Lifecasters Handbook" provides an insightful narrative about the experiences of finding and working with life casting models. The author begins by recounting personal experiences with early models, such as Elizabeth, who traveled from Boston for the opportunity, highlighting the allure of both compensation and adventure for the models. The author emphasizes the generosity shown to these models, including providing them with an autographed copy of Theresa M. Dana’s book "Roll Over Mona Lisa!" This gesture not only helped the models feel valued but also supported their aspirations in art modeling. Through these narratives, the author illustrates the initially challenging but ultimately rewarding process of building a life casting portfolio, which is crucial for attracting more experienced and willing models over time.

      In conclusion, the chapter underscores the essential role of models in the life casting process and the strategies employed to recruit them effectively. The author shares various methods used by life casters across the U.S. and Canada, from placing classified ads to approaching potential models directly in more informal settings. The narrative highlights the importance of establishing a professional and reassuring approach when interacting with potential models to mitigate their concerns, particularly about the intimate nature of life casting. Additionally, the text elaborates on the compensation models, which range from monetary payments to bartering with art pieces, reflecting the diverse strategies that can be tailored to different contexts and preferences. The detailed experiences shared in the chapter serve as a valuable guide for both novice and experienced life casters in building successful collaborations with models.

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