By Evangeline Stirling, National Gold Medallist for Modelling, Nääs Certificate for Sloyd.
No better definition of modelling can be given than this: “As carving is the art of cutting down, so modelling is the art of building up”.
Modelling develops the power of observation, for to imitate we must observe closely, and only by close observation can we learn to appreciate the beautiful which is enshrined in those grand specimens of ancient Greek sculpture which have come down to us, and to which the untrained eye is blind. The sense of touch is quickened to a remarkable degree, for the subtle modelling of a surface necessitates not only its close observation by the eye, but its perception by the hand. Also the hand becomes cunning in dealing with the material, and the power of construction is brought out. It is a sure foundation for drawing and technical education, and instances are not wanting of its utility in the higher branches of learning. Any plastic material may be the medium, but clay is mostly used.
Tools.The first and chief tools are the hands and fingers, but one or two others, the shapes of which will be suggested by the necessities of the work, may be added later on. A modelling board or slate, a straight-edged piece of wood and a sponge are required.
Teaching (class and individual).Beginning in the kindergarten, modelling should continue without a break through the ordinary term of school life. In the elementary stage class teaching is of the greatest value, but no such class should contain more than eighteen pupils. The advanced stage will require most individual teaching.
Elementary.Studies should be chosen from a carefully graduated course, the elementary stage beginning (after the kindergarten) with natural objects such as simple fruits, some of which the pupils may have already made, but which must now be modelled on a larger scale and with more intelligence and accuracy. They should then pass on to more difficult fruits, vegetables, leaves (taken singly and then on the branch), then objects such as a worn slipper, etc., etc.
Lesson to class.Each child should be provided with a duplicate of the object, sufficient plastic material, a suitably shaped board and a sponge. Equipped in like manner let the teacher build up a model in view of the class, giving the reason for each step as she proceeds. The first ten or fifteen minutes of a lesson following the completion of a work, should be devoted to the modelling of a small memory sketch of the last object executed.
Advanced stage.In the advanced stage the objects of study should be chiefly casts and natural foliage, flowers, simple drapery, casts of simple ornament of bold design, but not too geometric: animals’ heads, or the enlarged human features as Michael Angelo’s “David,” masks of antique heads, hands, feet and whole heads.
Note.Casts must always be of the best and those most approved for art training. Natural objects must be such as lend themselves to artistic representation. As a rule, the models should be executed in the round, and only at the end of the course should bas-relief modelling (where foreshortening must be resorted to) be allowed, for this is the most difficult of all plastic work.
Should there be any marked artistic talent it will have shown itself before the end of the course, when the pupil may be allowed to specialise.