Emphasize her ethereal grace and beauty

You look at the position that Yasmin is standing in. And while her body is undeniably sexy, you put effort into seeing beyond that. You imagine what she might be reaching up for, and are struck by sudden inspiration.

You draw Yasmin from the side, as Schmitt talks about anatomy and all the aspects of her body.

"As you can see," Schmitt says, "Yasmin's body has a variety of unique traits," she glances over at her volunteer. "If you don't mind?"

Yasmin shakes her head. "I don't mind."

Schmitt goes back to speaking with the class. "Yasmin has a pear-shaped body, in the sense that her lower body is considerably wider than her upper body. This is more of her skeletal structure than anything, you can see that Yasmin maintains her body well. As you draw her, pay attention to how the width of her lower body is due to her natural physique, and width of hip bones rather than fat. This affects the exact shape and texture you will be portraying as you draw a person, a body widened by bones or muscle should look very different from a body widened by fat."

Yasmin is still reaching toward something, and you are struck by how unselfconscious she is as Schmitt talks about her body. How she doesn't even respond. You figure that she already volunteered. But even so, that willingness to not only be naked, but to be held up as an example of the human form and have your various bodily traits discussed, without even flinching...you won't deny it, her confidence makes her even more beautiful. You try to infuse that into your sketch.

Yasmin stands there for a long time, you worry if her arm gets tired. At one point she does take a break and stretch, apologizing. But then she goes right back to it. Your sketch is starting to take on form. In it, Yasmin is reaching for a small full moon, and her finger is just about to touch it. She looks at the moon with visible wonder in her eyes, and it represents all the hopes and dreams she's had. You imagine her in a forest, having escaped her home in the middle of the night and taken all her clothes off if only to be free from all constraints. Yasmin's nudity is present in your sketch, but it doesn't have overt attention drawn to it. It's just an aspect of her existence.

Finally, it is time to be done. You feel like there were a few kinks you could have worked out, mostly if you were a better artist. But Schmitt picks up the robe that Yasmin dropped and offers it to her. She takes it, but keeps it folded over her arm. Schmitt, with a small tinge of annoyance, takes the rope, opens it back up, and puts it over her shoulders.

"You're done modeling, Yasmin. You can be clothed, now," she says.

Yasmin lackadaisically wraps the robe around herself and ties it off, as if she just doesn't care. Then she does something else surprising. She starts walking around the circle of students, examining what they have drawn of her. Schmitt does not seem to ask for this, but she doesn't forbid it either. She goes from person to person, and stops briefly at Brandon, examines it with consternation.

"You will develop your talent as time goes on," she finally says to him, showing all the hallmarks of forcing a supportive attitude. "I'm sure of it."

Brandon bites his lip and says nothing else.

Then, of course, Yasmin steps on to you and starts to examine your sketch briefly, but instead freezes entirely. Looking at what you have drawn with a light in her eyes. Finally, she says, "the intent here is beautiful.{if Know Yasmin = 0} Your name is Ryan?{endif}"

{if Know Yasmin = 0}You nod. "Nice to meet you, I guess."{endif}

She smiles at you. It fills you with a kind of warmth.

But before you can say anything else, she moves on. You almost worry that you're catching feels for her that aren't returned. But then you notice. Every once in a while, as she is going around the circle, she glances back at you. This lasts until the bell rings, and you pack up. You manage to see her smile one last time before you leave, moving on to your next class.