FIG. 5.
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.
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 total composition gradually.
Always turn both model and copy frequently, that comparison may be frequently made, and thus training the eye to detect any little miscalculation in proportions and lines, and by the addition or removal of small masses the clay will finally take the form and accurate outline and detail of the original.
Moisten the clay occasionally with water sprayed on with a small watering-pot or a green-house sprinkler, to keep it soft and ductile, and when not being worked upon it should be covered with wet cloths to keep it moist.
FIG. 6.
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 invent the devices to support it.