FIG. 4.
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. Add to the paraphernalia some old soft cloths that can be applied wet to the clay, a pair of calipers, and a small trowel or spatula.
To model well, the art of drawing is constantly used, the idea of form is continually brought into play, so the knowledge of drawing is essential to the good modeller. 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.
Plaster heads, hands, feet, and all parts of the human body, as well as animals and flower pieces, can be purchased at the art stores, but if they are not available something that may be at hand in which artistic merit is evident may be chosen as a model.
When copying a head obtain a bust support on which to work the clay, and 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 can be packed about the support much after the manner shown in Fig. 2. This will be the support for 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 can be taken from the plaster head and used advantageously in carrying out the accuracy 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.
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, where the impression of form and outline is worked out on a flat surface.
The contour of proportion is the most difficult part of modelling, and for this reason it is to the student and amateur one of the most beneficial branches of the fine arts. Having successfully mastered the head, next attempt a foot from a plaster cast. Select a simple foot, and afterwards a more elaborate subject, such as a whole figure, can be tried.