HOW TO MODEL IN CLAY AND WAX.
AN eminent artist once remarked within the writer’s hearing that,
should he bring into his studio the first dozen boys he happened to
meet on the street, taking them as they came, he would probably be able
to teach at least half of them to model within six months, whereas
there might not be one of them who could be taught to paint at all.
Possibly none of these boys would ever become great sculptors, but they
could learn to model moderately well. If that is the case with boys,
who are apt to be so awkward and clumsy, how quickly could a girl’s
deft fingers learn to mould and form the plastic clay or wax into
life-like forms. In some of the institutions for the blind, deaf and
dumb, modelling is taught with great success. Quickly the sensitive
fingers of the young inmates run over the object to be copied, and
skilfully they reproduce in their clay the form conveyed to them by
touch alone. It is pleasant to think that these silent little workers
have this new pleasure added to their somewhat limited stock; but at
the same time the fact puts to shame some of us who, having all our
faculties, the use of all our senses, and not infrequently artistic
ability in addition, do so little with the talents intrusted to our
care.
Let us to work then, girls, and see if we cannot accomplish at least as
much as our unfortunate sisters, who have neither sight nor hearing to
guide them.
[Illustration: Modelling in Clay.]
The great difficulty we encounter in learning to draw—which is
representing things as they appear, not as they really are—will not
trouble us in this other department of art, for in modelling it must be
our aim to do precisely the reverse, and reproduce an object exactly
_as it is_, not as it appears.
Modelling, besides its own worth, is of value as an aid to drawing,
for it teaches form, and the shadows on an object can be drawn more
intelligently and correctly when it is known just what formations
produce them.
A great deal can be done in modelling without the aid of a teacher.
So, not waiting to look up a professor, suppose we commence by
ourselves and see what we can do. It is very fascinating work, and if
a few failures are the result of our first attempt, we need not be
discouraged, for what others can do, we also can accomplish.
The writer has lately been initiated into the mysteries of this art,
and since, as they say, the person just graduated from a primary
department is best fitted to teach in that department, perhaps the
hints given here may be better suited to the understanding of beginners
than if they were written by a great sculptor, who might forget that
everyone does not know, as well as he does himself, the preliminary
steps necessary even in accomplishing the grandest results.
Instead of entering into the later and more artistically finished
processes we will confine ourselves to the prelude or introduction to
modelling; and then, girls, with the object before you, your only guide
and instructor, you must work out the rest for yourselves.
The first thing to do is to provide your
=Materials,=
and here is a list of all you will need:
1. Clay, such as is used by potters, perfectly free from grit.
2. Modelling-tools. These can be bought at any artists’ material store,
and the simplest ones might be made at home of hard wood. Only a few
tools are necessary for a beginner; Fig. 162 shows those most useful.
The fingers and thumbs are the best of all tools, and a great deal can
be done with them, though for fine, delicate modelling tools must be
used.
[Illustration: Modelling Tools]
3. Modelling-stand. A regular modelling-stand with rotary platform will
cost from eight to twelve dollars and the expense may be an objection;
but the writer has found that an ordinary high office-stool with
revolving seat makes a good substitute. If the stool is not high enough
it can be raised by placing on the seat a drawing- or pastry-board, and
on top of that a square wooden box about one foot high and broad enough
to allow sufficient room for a good-sized head and bust.
4. Basin of water and towel for washing and drying the hands.
=How to Manage Clay.=
Clay costs, near New York, from one to three cents per pound, and about
fifty pounds will be required. If possible buy it moist, but if dry,
put it into an earthenware jar, or anything that will hold water, and
cover with clear water. Let it remain until thoroughly moistened; then
with a stick stir the clay around as, when a small girl, you did the
mud while making mud-pies, until it is free from lumps and is perfectly
smooth; clear away from the sides of the jar and pile it up in the
centre.
When it is dry enough not to be muddy and is still pliable, it is
in a fit condition to work with. It is necessary to keep your hands
perfectly clean and conveniences for washing them should be handy.
Do not use muddy water or a dusty towel.
Use any tools that will produce the result desired with the greatest
ease; a little experience will soon determine what they are, but as a
rule the largest are best.
When leaving unfinished work cover it with a damp cloth to keep it
moist. If you are working on a head, and the features have been
commenced, stick a small wooden tool in the head just above the
forehead to hold the cloth away from the face, for it is liable to
soften the nose and push it out of shape if it rests upon it.
[Illustration]
A frame made of laths (Fig. 163) covered with oil-cloth or rubber (an
old gossamer water-proof will be just the thing), placed over the
modelling, will keep it better than the cloth, as it excludes the air
and prevents its drying (Fig. 164). When using the frame, sprinkle your
work by dipping a clean whisk-broom into water and shaking it over the
clay. Remember, the clay must always be kept moist and pliable and
never allowed to dry. If it does become dry and hard there is nothing
to do but to put it back into the jar, and go through the process of
damping it again.
[Illustration]
Keep your tools clean, and do not allow the metal ones to become rusty,
as they will if carelessly left on the modelling-stand when not in use.
To avoid trouble of this kind it is best to put your tools in a box
where they will be perfectly dry. Unless you wish to go through one of
the writer’s first experiences, when she was obliged to let her tools
lie in a pan of kerosene oil for two days, and then clean them with
knife-brick.
=How to Preserve Modelled Clay.=
If terra-cotta clay is used, it can be baked in a kiln, which will,
while hardening, turn it a fine buff terra-cotta color, and make the
object, if well modelled, ornamental enough for almost any use.
From the other clay, plaster casts can be taken, and the article
reproduced in plaster as many times as desired.
=Hints for Modelling a Head.=
Always work from a model, and it is best to try copying plaster casts
before attempting to model from life.
[Illustration: How to Model a Head.]
Place on the centre of your stand a wooden or tin box (a cigar-box will
do) to form the base; cover this with clay in the form of Fig. 165, and
stick a support in the middle, as shown in diagram. The support may be
a piece of kindling-wood eight inches long and about one inch thick.
Build up the clay around this stick, as in Fig. 166, and with your
hands mould the clay, piecing it out here, and cutting off there, until
it bears some resemblance to a head, as in Fig. 167.
Still using your hands, get the general proportions of the head, and
then commence the features. Begin with the profile, using tools when
necessary, and try for character without detail; then turn the head
a little and work from that point of view; always look at your model
from the same point of view as you do your work. Turn the head in the
opposite direction and model the other side, keeping the face evenly
balanced. Continue turning your work little by little, until each
outline it presents is as near as you can get like the corresponding
outline of your model, and then work up the detail.
In modelling any object the same process, of viewing the model from all
points, must be gone through with.
Do not strive to obtain a likeness at first, but be careful to have all
of your outlines correct, and the likeness will come of itself.
=How to Model in Wax.=
Modelling-wax prepared at home is much better than any that can be
purchased. The following recipe is a very good one:
=Modelling-wax.=
1 pound pure yellow beeswax.
½ pound corn-starch.
4 ounces Venice turpentine.
1½ ounce Venetian red powder.
½ ounce sweet-oil.
Put the wax on the stove in a saucepan and let it melt; _take off_ and
pour in the turpentine. Never attempt to add this while the wax is near
the fire, as it is extremely dangerous. It is a good idea, when buying
the ingredients, to have the oil and turpentine put in the same bottle
(which should have a wide neck), then they can be poured into the wax
at the same time. Warm the bottle of oil and turpentine in hot water to
soften before mixing with the wax. Keep stirring all the time. Pour in
the corn-starch and Venetian red. When the corn-starch is dissolved the
wax is ready for use.
[Illustration: Bas-relief Figure in Wax.]
Modelling-wax is much more expensive than clay; it is used principally
for small objects and those that require fine workmanship. It is quite
useful for sketchy work, as it may be carried about almost like a
sketchbook, and being so much cleaner than clay, it can be used even in
the parlor without damage to table or carpet. With the wax on a small
board one can sit at a table and work very comfortably. The tools for
clay modelling may also be used for wax; probably the smallest will be
most useful.
[Illustration: Bas-relief Head in Wax.]
As cold weather advances, we like to pass the evenings in some
agreeable occupation, that may be carried on without disturbing the
family group around the fireside. For such occasions, modelling in
wax will make a pleasant pastime. Sitting quietly, taking part in the
general conversation, or listening while someone reads aloud, one may
model the wax into many pretty forms to be preserved afterward in
plaster, or, obtaining a profile view, a likeness of one of the group
may be done in bas-relief. If a slate is used to work on, it will make
a good foundation, and the head can first be drawn on it in outline
and the wax built over it, using the drawing as a guide. The slate is
smooth and firm, and it is a good idea to use it as a foundation for
all wax bas-relief, especially when plaster casts are to be taken from
the modelling, for in that case the panel forming the background must
be perfectly even.
[Illustration]
[Illustration: Making Plaster Casts.]