The boy on whom nature has bestowed the natural talent and liking for art-work will find clay-modelling a fascinating and pleasing branch to follow.
To become a perfect modeller, and finally a sculptor, requires years of patience and perseverance, but to copy simple objects in clay is not a difficult matter, and with some clay, a few tools, and the skeletons, or supports, the amateur should not meet with any great obstacle if the following descriptions and instructions are accepted and practised.
Very few tools are necessary at the beginning, and Nos. 1, 2, 3, 4, 5, 6, 7, 8, 9, 10, and 11, shown in Fig. 5, are a full complement for any beginner. The first four are wire tools, made of spring-steel or brass wire, about which fine wire is wrapped. The ends of the wires are securely bound to the end of a round wooden handle, and sometimes, for convenience, two ends are made fast to a single handle. These tools are called “double-enders,” and are used in roughing out the clay in the first stages of the work. No. 5 is a boxwood tool with one serrated edge, and is used for finishing. The tools shown in Nos. 6 and 7 are of steel, and are of use on plaster, where others would not be sufficiently durable. Nos. 8, 9, 10, and 11 are boxwood tools, a wire loop being fastened in the end of No. 9. Any of these tools can be purchased at an art-material store for a few cents each, except the steel tools, which are more expensive.
THE TOOLS
Fig. 5.
A stand, or pedestal, will be necessary on which to place the clay model, unless perhaps it should be a medallion, which may be worked over on a table.
Fig. 6 is a stand that can be made by any boy from a few pieces of pine two inches square and a top board one and a half inches in thickness. It is arranged with a central shaft that may be raised or lowered, and to the top of which a platform is securely attached.
The movable shaft should have some holes bored through it from side to side, through which a small iron pin may be adjusted to hold the platform at a desired height. Clay can be purchased at the art stores by the pound, or in the country a very good quality of light, slate-colored clay may sometimes be found along the edges of brooks or in swampy places where running water has washed away the dirt and gravel, leaving a clear deposit of clay of the consistency of putty.
Supports which the clay models are built upon can be made of wood and wire, as the requirements necessitate. That for the head is shown in Fig. 1. Nearly every clay model of any size will need some support, as clay is heavy and settles, and if not properly supported will soon become distorted and the composition spoiled. You will also need some old soft cloths that can be applied wet to the clay, a pair of calipers, and a small trowel or spatula.
The Technique of the Art
Fig. 1. Fig. 6.
To model well the art of drawing is indispensable. The art of wood-carving is also a valuable one to the clay-modeller, but care must be taken when making any casts of wood-carving to use glue moulds; otherwise the carving would become firmly embedded in a plaster mould, due to the undercut in the carved ornament. To begin with, choose some simple object to copy, such as a vase or some small ornament; then, when a satisfactory result has been obtained, select something a trifle more difficult, such as a hand or foot.
When copying a head, obtain a bust support on which to work the clay. A very simple and strong one can be made from a piece of board, two sticks, and a short piece of pipe wired to the top end of the upright stick (Fig. 1).
To carry out the proportions of a bust similar to Fig. 4, the clay should be packed about the support much after the manner shown in Fig. 2. This will support the clay.
With a lump of clay and the fingers form the general outline, as shown in Fig. 2, for the head; then, with the wire tools, begin to work away the clay in places, so as to follow the lines of the model. With the calipers measurements may be taken from the plaster head and used advantageously in the building up of the clay model. Turn the plaster model and clay copy occasionally, so that all sides may be presented and closely followed in line and detail. Fig. 3 shows the next stage, and Fig. 4 the completed head.
Modelling differs from drawing and painting in that every side of the model is visible, while only the face of the painting is presented to the eye, the impression of form and outline being worked out on a flat surface.
Having successfully mastered the head, next attempt a foot from a plaster cast. Afterwards a more elaborate subject, such as a whole figure, can be tried.
With the wire modelling-tools and the fingers begin to work away the clay to obtain the general outline and form; continue this in a rough manner, until a perfect composition is obtained that compares favorably with the original model; the finishing-touches may then be applied, and the detail worked up more carefully.
Fig. 2. Fig. 3. Fig. 4. Fig. 7. Fig. 8.
Never complete one part and leave the remaining ones until later; always work up the model uniformly, adding a little here and there, or taking away, as may be necessary, and so developing the whole composition gradually.
Moisten the clay occasionally with water sprayed on with a small watering-pot or a greenhouse sprinkler, to keep it soft and ductile. When not being worked upon it should be covered with wet cloths, to keep it moist.
As the work progresses the clay may be allowed to harden and consolidate, but not to dry; if allowed to dry entirely the model may be considered ruined, as the shrinkage of the clay around the support results in fissures and fractures that cannot be repaired.
By the time the amateur has acquired the knowledge to attempt a full-size figure he will be able to invent the devices to support it.
The support, or skeleton, must of course be adapted to line with the pose of the figure, and should be of pipe and heavy wire or rods securely anchored to the base-plate.
The composition of flowers, fruit, foliage, animal life, and landscape is an inexhaustible one, and some beautiful effects can be had in flat-work. Good examples of this character of work may be found on all sides, and to the genius the field of modelling is a broad one—without limit.
Glue and Gelatine Moulds
When casting from hands, feet, or ornaments where undercut predominates, the most successful mode is in the use of gelatine or glue.
To cast a head similar to the one shown in Fig. 4 it will be necessary to make a box frame large enough to hold the head.
The cast is to be well oiled, and down the front and back, running around under and back over the base block, strong linen threads are to be stuck on with oil. Warm glue or gelatine is then poured in the box and left to chill and solidify.
When sufficiently cold the frame may be removed, leaving the solid block of glue like hard jelly; then the ends of the threads are to be grasped and torn through the gelatine, thus separating it in two or three parts. The plaster head may then be removed, and the mould put together again and surrounded by the frame to hold it in place.
To make a plaster head this plaster of Paris may be poured into the mould and left for a while, when, on removing the frame and taking the glue mould away, a perfect reproduction of the original head will be found.
Hollow Casting
When very large objects that would require a great deal of plaster are cast, they are generally made hollow in the following manner:
Obtain the glue mould by the process described, and into it pour a quantity of thin plaster, having first oiled the surfaces that come in contact with it. Turn the mould about and upside down, so that the plaster will enter every part and adhere to the glue form. Allow it to “set,” and again pour some plaster into the mould. This will adhere to the first coating, and after it has set repeat the operation several times, until a deposit, or coating, an inch or more in thickness has been made.
The glue mould on being removed will reveal a perfect plaster-casting that, instead of being solid, is hollow, and in consequence is much lighter.
Modelling a Foot
To model a foot from a plaster cast, as shown at Fig. 7, it will be necessary to lay or putty up the form in the rough, as suggested for the bust in Fig. 2. Now rough out the form with the modelling-tools, so that it will appear as shown in Fig. 8. A frame, or support, should be made from a block and a stout piece of wire, as shown at Fig. 9, so that the mass of clay, particularly that at the back of the foot, will not settle.
Fig. 9. Fig. 10.
For full-length figures it is always necessary to construct a frame after a rough front and profile drawing has been made. With this drawing in sight, it will then be a comparatively simple matter to construct a wire or iron pipe frame such as that pictured in Fig. 10.
Bas-relief Modelling
Bas-relief work is another interesting department of clay-modelling. This is one-sided in its effect, and the full, rounded appearance of the statue or bust is reduced to a more flattened form with lower relief. A familiar example of bas-relief is the head on a silver dollar, or the raised ornament on silverware and pottery. Let us now begin with the group of pears and leaves illustrated in Fig. 11.
A small block or piece of wood is treated to a coat of shellac or paint; then the clay is puttied on to roughly form the parts in the group. With the modelling-tools the outline and form is gradually worked out; then the surfaces are smoothed down, and the few little artistic touches given here and there to lend life and character.
Bas-reliefs can, of course, be cast any size, and from the original plaster mould many duplicates in composition or papier-maché may be made.
Garlands, festoons, sunbursts, panel ornaments, and cartouches can be modelled in clay, and afterwards cast for architectural features in interior decoration. A good example of the garland is shown in Fig. 12. This is made up of flowers and ribbons, and with careful and patient work the boy sculptor should be able to obtain results quite as pleasing in detail as that illustrated.
Fig. 11. Fig. 12.
A Medallion Head
After some experience in casting ornaments in bas-relief has been obtained, it would be well to try a head or bust.
A simple method of doing this is to take an ordinary school slate and make the outline of a head on it. Within this outline you build up roughly with your finger and thumb a cake of clay about half an inch in thickness; then with your modelling instruments work it up as accurately as your artistic skill will permit (see Fig. 13).
When in the progress of your work you find it necessary to leave it for a short time, be careful to cover it over with a wet cloth, and if for a long time, put two wet cloths over it, and cover them in turn with a sheet of newspaper. This is necessary to keep the clay from getting hard and unfit for working. If at any time you find the clay getting too stiff, sprinkle it with water shaken from a whisk-broom. To make the moulds of your clay model you will require a little plaster of Paris, some lard oil, and some soap, and then your outfit is complete.
When your clay medallion is finished, build a wall of clay around it of about an inch and a quarter in height, as shown in Fig. 13; then get a teacupful of lard or olive oil, and add to it a good teaspoonful of any kind of soap scraped fine. Put this on the stove and stir until it is thoroughly mixed; then with a soft camel’s-hair brush lay a slight coat over your entire work.
You must now mix your plaster. If the surface of your medallion is, say, one foot by six inches, you will require about two pounds of plaster to about a quart of water. Sprinkle the plaster into the water, and then watch it until bubbles have ceased to come to the surface. When no more bubbles appear, stir it up well with a stick. The mixture should be about the consistency of thick cream. The exact proportions you must find out by experiment. This plaster cream you pour quickly over your medallion, blowing gently with your mouth on the fluid as it spreads itself over the face of your work; this is to prevent the formation of bubbles. In a short time the plaster will become hard; you then remove your clay wall, and lift the plaster mould, or matrix, from the clay. This you do by passing a penknife all round between the plaster and the slate, after which it lifts easily. You have now a perfect plaster mould. If you find any small particles of clay adhering to it, wash them off with a soft camel’s-hair brush and water.
You now want to get a plaster cast from your matrix. To do this you lay a coat of the soap and oil mixture with a camel’s-hair brush all over the face of the mould, and then pour in the plaster just as you did before, taking the same precautions to blow upon the plaster and to build a wall of clay around the mould.
You let this stand for half an hour until it is perfectly set, when you can remove your casting by passing a thin-bladed knife all round between the matrix and the casting. If it does not then lift easily, plunge the whole thing in water for an instant, after which you will have no difficulty in separating the two parts.
You now have a plaster cast of your original work, which you can touch up and finish off with sand-paper, or with the blade of a penknife if necessary.
You can, of course, make as many casts as you please from your mould, and thus have very pretty little souvenirs to present to your friends.
MEDALLION AND PLAIN CASTING
Fig. 13. Fig. 14. Fig. 15. Fig. 16. Fig. 17.
Coin and Metal Casts
This same procedure may be employed when making moulds and casts from coins, medals, and medallions. A narrow frame is made of wood, and at the middle of this a medal is placed on the flat oiled surface of a board, a slate, or a piece of marble, as shown at Fig. 14. The face of the object is now prepared with the oil, and the plaster is poured as previously described. If any number of reproductions are to be cast from the mould, it would be well to give it one or two coats of thin shellac; then oil it before each impression is made.
Plaster-casting in General
It is not a difficult matter to reproduce in plaster almost any object that has no undercut or parts that will not easily detach from a mould. When making them, the first thing to do is to get a piece of board about a foot square; that is to work on, so as not to soil the table. Then you want a lump of clay about as big as a football, five or six pounds of plaster of Paris—it only costs three cents a pound—and a half-dozen wooden pegs. You also want a cup of warm melted lard, or Castile soap dissolved in hot water, to rub over what you are going to copy, so as to prevent the plaster sticking to it.
Now, suppose it is an egg you want to copy. You rub it all over with your melted lard, and lay it down on the piece of board. Pack clay around it as high up as the middle of the egg, and as far out as half an inch from the widest part. You must be particular about not putting clay higher than the middle, because, if you get the clay too high, you can’t get the egg out without breaking the mould.
When you have the clay around the lower half of the model, smooth and level it, and push two pegs in opposite corners, as shown in Fig. 15. Now around the whole thing make a box or case of clay, with sides rising half an inch higher than the model (Fig. 16). Mix plaster of Paris and water together till you have it like molasses on a warm day; pour that into the clay box, so that the model is covered, and the mixture even with the top of the box.
The plaster will set, or become hard, in a little while, and you then tear the box away, and take out the model and plaster together, leaving the first clay mould. Next put the plaster mould and model in a clay box just as you did before, and pour plaster over it, first greasing the model and upper surface of the mould. Before pouring on the plaster, roll a small piece of clay in your fingers, and put it on the model (Fig. 17), so that when you pour plaster over it, a hole will be left in it through which you may pour plaster for the final cast.
For the second time tear away the clay box, and gently separate the two parts of plaster of Paris; take the model out, and you will have two blocks of plaster, which, when brought together, will contain an exact mould of the model (Fig. 18), and one block will have an opening in it through which you can pour plaster. Before pouring in the plaster, however, be sure to grease the insides of the mould. Then put the parts together, using the pegs and holes as guides to a proper fitting, and tie firmly with a piece of twine. Now pour the plaster in, and then shake the mould gently in order to make the mixture settle in all the smaller crevices.
PLASTER-CASTING IN GENERAL
Fig. 18. Fig. 19. Fig. 20.
Of course when you separate the parts of the mould now you will have a perfect cast of your model. It will have a thin ridge running around it where the mould was joined, but that is easily rubbed off with sand-paper.
In a mould made from a hand you proceed in about the same way. The great thing is to find the dividing line in the model; that is, the place where the parts of the mould ought to join. In the egg it is easy enough, for you can divide it into two equal parts; but you take a hand, and you have to make the line around each finger just where it is broadest (Fig. 19), and build the clay up to that line. The wrist-hole in a hand-mould makes a good hole to pour the plaster in (Fig. 20), and, after all, a hand is easy to make.
These simple directions should make it easy for the amateur modeller to acquire the first principles of the art. There are several good compositions in which the young craftsman can work besides plaster of Paris, such as “Kiln Cement,” “Carton-pierre,” “Papier-maché,” “Plaster Compounds,” “Artificial Marble,” and “Concrete.”
How to Find and Mount Signets
There is nothing prettier or more attractive, hanging on the walls of one’s parlor or chamber, than a group of signet impressions in sealing-wax of various colors, artistically arranged and handsomely mounted; while the pleasure to be derived in seeking them is quite as keen as that which the coin or stamp hunter enjoys, without the expense attached to them, for our seals cost comparatively nothing. The outfit is simple, consisting of a dozen sticks of sealing-wax in different colors—black, brown, red, gold, white, and green, making a charming combination with any other shades that take the fancy of the collector. A light wooden or strong pasteboard box to carry the articles, a box of matches, a white taper (cut in half for convenience’ sake), and, later on, a piece of stiff white card-board (16 × 22, 22 × 28 being good sizes) to mount them on.
Keep in the bottom of the box containing the wax a dozen or more pieces of thick, white, unruled writing-paper cut into ovals, circular, oblong, and square shapes, varying in size from one-half inch in width to two inches in length. This is all that is required. Now for our hunt. As you meet friends and acquaintances, notice their rings and watch-charms. When any are discovered with a figure, crest, handsome monogram, or initial on it, borrow it, and make your impression. This is accomplished by laying a piece of your writing-paper, at least half an inch larger than the seal to be used, on some smooth surface like a table. Then take a stick of wax between the thumb and forefinger of the right hand; with the left hand a match or taper, and bring them together just on the paper where the wax melts sufficiently to drop freely. Rub the end of the sealing-wax quickly over the middle of the paper. Then moistening the seal with the tongue to prevent the stone adhering to the burning wax, press it firmly into the hot bed prepared for it, a second or so, being careful to lift it straight up when taken off, thus securing a clean edge. If this is properly done a fine impression of your subject is secured. Repeat this operation several times, taking different-colored wax for duplicates, which will enable you to make exchange with other collectors, who are unable to get these same figures, but have others not in your collection.