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.