BABY ALLIGATORS AND OTHER THINGS OF CLAY
THE first chance you have go to Florida; you will be charmed with all
you see. Go where the sky is bluest, where winter is changed to summer,
where the wild mocking-bird, the Kentucky cardinal, the scarlet tanager,
the blue jay and a host of other birds are on most friendly terms with
girls and boys. Go where the wild squirrels live unmolested in the
beautiful great live-oaks, whose branches are hung with long, soft gray
moss which swings and sways with the slightest breeze. There you will
find the home of many baby alligators, queer little things whose eyes
are provided with three eyelids; one is transparent and slides across
sidewise like a window-glass to keep the water out of the eyes when the
little fellows want to see what is going on beneath the surface. A
number of baby alligators in a dry, sunny spot, will delight in piling
upon each other four and five deep. The young owner of twenty of these
pets declares that on such occasions all the alligators sleep except one
who, wide-awake, acts as sentinel. At the approach of anyone he will
swing his long tail over all his companions to awaken them and warn them
of the danger that may be near. Fig. 329 was modelled from a baby
alligator who conducted himself in a most dignified and exemplary manner
when placed flat down on a shingle lying on a table; but first he had to
be held in position for a moment in order to recover from the excitement
caused by being taken from his out-of-door home and brought into strange
quarters.
[Illustration: Fig. 329.--Alligator modelled from life.]
It is not difficult to model a
Baby Alligator of Clay.
[Illustration: Fig. 330.--Clay for modelling alligator.]
[Illustration: Fig. 331.--Clay rolled between the hands.]
[Illustration: Fig. 332.--Beginning the head.]
[Illustration: Fig. 333.--Extra pieces on for eyes and nose.]
[Illustration: Fig. 334.--Head almost in shape.]
[Illustration: Fig. 335.--Head finished.]
All you need for the work is a lump of soft clay, a hat-pin, your
fingers, and determination to succeed. Take a piece of clay (Fig. 330)
and roll it between your hands until it resembles Fig. 331. Push the two
ends together, causing the roll to hump up slightly near the centre, lay
it down on a board or any hard, flat surface, and with the fingers
carefully pat, squeeze, and push it into the form of Fig. 332. Gently
smooth out all roughness; then nip off little pieces of clay from the
big lump for the nose and two eyes; stick them on as in Fig. 333. Again
smooth the rough edges until the clay looks like Fig. 334. With a little
careful modelling you can make the head exactly like Fig. 335. Mark the
eyes, mouth, and nose with the flat point of the pin. If portions of the
head become too thick, take off some of the clay, and if at any time the
head is worked down too thin fill in the hollow spots with clay. In
modelling one can always pinch off pieces here and there when necessary;
or add little bits, smooth it all down, and the places altered will
never show the marks of the change.
When the head is finished cover it with a wet cloth to keep the clay
moist, and begin to make
The Body.
[Illustration: Fig. 336.--Clay for body of alligator.]
[Illustration: Fig. 337.--Body of alligator.]
Mould another piece of clay like Fig. 336. Run the ball of your thumb
along the sides, making the body the form of Fig. 337, broader and
thicker through the centre than at the two ends. For the tail pull from
the large lump a smaller amount of clay, roll it and model it like Fig.
338, larger at one end than at the other. The last portion (Fig. 339),
like the others, is flat on the bottom, and with the exception of a
small triangle at the heavy end of the tail the two sides meet at the
top, forming a sharp ridge which decreases in height as it tapers down
to a point at the extreme end. As each part is finished keep it moist
with a wet cloth, and when the four sections are made place them in a
row (Fig. 340), then join them together, rounding all the edges
slightly. Fig. 341 shows how to mark the back of the alligator.
[Illustration: Fig. 338.--Section of tail.]
[Illustration: Fig. 339.--Tail of alligator.]
[Illustration: Fig. 340.--Ready to be put together.]
[Illustration: Fig. 341.--Marking the back.]
[Illustration: Fig. 342.--Roll a small piece of clay.]
Live alligators, you know, are encased in a natural
Coat of Armor
formed of small plates or shields, and in the clay one must imitate the
real. Use the hat-pin for marking the lines on the head, and trace
stripes sidewise across the entire length of the body in the manner
shown by Fig. 341 from C to D, continuing the stripes down each side of
the first section of the tail (Fig. 329). Next run a line lengthwise
through the entire centre. D to E (Fig. 341) shows how to begin, only
you must commence the central lengthwise line at C. Mark the plates on
one side starting at C, as indicated from E to F (Fig. 341); then make
them on the other side, which will cause a pointed scallop to stand out
and up on both sides of the space from G to H (Fig. 341). On the last
section the top ridge will be scalloped H to K (Fig. 341). The nostrils
are distinctly marked by two round holes; make these with the point of
the pin. Cover the alligator over with a wet cloth while you model his
Legs.
[Illustration: Fig. 343.--Break off a part.]
[Illustration: Fig. 344.--Turn back the end.]
[Illustration: Fig. 345.--Add another piece.]
[Illustration: Fig. 346.--Press end of leg out flat.]
Roll a small piece of clay (Fig. 342), break off a part (Fig. 343) and
turn back the broken end (Fig. 344). Add another piece to it (Fig. 345),
smooth the edges together, forming a bend like an elbow (Fig. 346), and
press the end of the leg out flat (Fig. 346). Roll five small pieces
(Fig. 347) and fasten them on the flattened portion of the leg in the
positions shown by Fig. 348. The foot suggests a human hand, the toes
taking the places of thumb and fingers. Rub the toes into the foot and
spread out the extended, flattened part of the leg, making it appear
web-like between the toes (Fig. 349). The foot of the real animal has
nails or claws on three of the toes (Fig. 350), but you need not attempt
this detail. If the foot is correct in form and proportion you have made
it well. Fig. 350 is given merely to show how the natural foot looks.
[Illustration: Fig. 347.--Ready to begin the foot.]
[Illustration: Fig. 348.--Modelling the foot.]
[Illustration: Fig. 349.--Fore-foot and leg of alligator.]
[Illustration: Fig. 350.--Fore-foot of alligator.]
Model two front and two hind legs and feet; see that the hind feet and
legs are larger and differently formed from the front ones. The hind
feet have only four toes (Fig. 351). The line A (Fig. 340) designates
the place where the front legs should be joined to the body, and the
line B (Fig. 340) shows where to fasten on the hind legs. That you may
have a thorough understanding of the manner and direction in which the
joints of the legs bend, we will suppose that you rest on the floor on
your knees and elbows. You will then find that your knees bend forward
and your elbows backward, with your arms corresponding to the front legs
and your legs to the hind legs. Now, when you draw or model hereafter,
you will not make any mistake in regard to it. Look again at Fig. 349.
The foot, V, corresponds to or rudely resembles your hand; T, your
wrist; P, your elbow; O, your shoulder. Examine Fig. 329. On the hind
leg are the foot, ankle, knee and hip joint. While the alligator is in a
plastic state make him open his mouth, by cutting a slit in the head
from the front along the waved line up back beyond the eye; carefully
pull apart the jaws (Fig. 352). Have your alligator measure at least
fourteen inches from tip to tip, for it will be more difficult to model
a smaller one. Once having made the little creature, you will find it
easy to model similar animals; select something else in the same line
and try to make it.
[Illustration: Fig. 351.--Alligator's hind-foot.]
[Illustration: Fig. 352.--Cut open the mouth.]
Most fruits are readily reproduced in clay.
The Banana
is very simple to copy. Roll a piece of clay, making the ends bluntly
pointed; bend it slightly as in Fig. 353 and, paying strict attention to
proportion, carefully form the work like the original, adding, taking
from, smoothing and flattening as may be required (Fig. 354).
[Illustration: Fig. 353.--Clay ready for modelling banana.]
[Illustration: Fig. 354.--Banana modelled in clay.]
The "Father of His Country" always commands admiration, and everything
pertaining to him is interesting.
[Illustration: Fig. 355.--Egg-shaped clay for head.]
A Head of Washington
modelled with your own hands would have a double value. You could show
the head to your friends and tell them how you made it, and should they
wish to become amateur sculptors, you might help them with their work.
Make a thick cake of clay for the bust. On the back part of the top lay
a small, round cake to form the neck, and push a stick down the centre
of the neck through the bust to the board beneath, allowing a portion of
the stick to extend up beyond the neck; then roll a piece of clay into
the form of an egg for the head--three times the size of a hen's
egg--and push it down on the stick (Fig. 355). The stick enters the
head near the centre of one side, so do not push the clay egg on through
one end. Continue to push the head down until it meets the neck. The
stick is necessary to give firmness and support to the work. Model the
head, neck, and bust until it looks like Fig. 356. While modelling you
must not neglect any part of the head; the work should go on at the
sides and back as well as the front; every now and then turn the stand
on which your work is placed that you may model other portions of the
head. In sculpture it is essential that objects be made as they are;
therein lies the difference between sculpture and painting; in painting
and drawing objects are not made as they actually exist but as they
appear.
[Illustration: Fig. 356.--Head blocked in.]
[Illustration: Fig. 357.--Modelling features.]
[Illustration: Fig. 358.--George Washington.]
Be sure to have the head of correct proportions before beginning the
features; then take away a little of the clay where the nose joins the
forehead and cut away more clay under the nose straight down to the
chin, according to the dotted lines which appear in Fig. 357. Hollow out
places for the eyes and indicate the mouth with a straight line. Add
more clay for the hair, forming it into a queue at the back.
[Illustration: Fig. 359.--Washington's profile. Finished head.]
[Illustration: Fig. 360.--Back of Washington's head.]
Be careful to study well the character of Washington's face before going
on with the work. Notice that it is strong, the chin firm and square,
the lips tightly closed and the mouth almost a straight line, the nose
not perfectly straight but inclined to be aquiline, the eyes rather
heavy-lidded; and the hair, following the line of the head on the top,
is puffed out on the sides, covering both ears. Fig. 358 gives the front
view, Fig. 359 the profile, and Fig. 360 the back view of the head. Make
the neck full and large. You can keep the clay moist with a wet cloth
and work on the head a little each day. Persevere until you make so good
a likeness of George Washington that it will be recognized at a glance,
and ever afterward you will enjoy and appreciate much more all portraits
of him.