Introduction

In order that the two arts may help each other, the objects which a child has already modelled may be given as the first exercises in Drawing, and he should be taught to shade them in a simple way.

(1) Observation.

(2) Accuracy, especially in the perception of form.

(3) Dexterity of hand.

(4) Sense of form and proportion.

(5) Greater power in drawing.

(6) Love and appreciation of the beautiful in form.

(7) Enjoyment of the creative power in oneself.

(8) Perseverance and patience.

(9) Concentration of the attention.

All objects given as models should be such that in reproducing them they must of necessity be moulded by the fingers. Those which can be turned out by a lathe, or a potter's wheel, or by any machine, better and more accurately than by a skilful hand are, for that reason, not suitable. Geometrical forms should be avoided: they are uninteresting, and give only a mechanical training, besides lacking beauty and the element of art. The difficulty of making two sides of an object exactly alike is great, and does not occur in copying natural objects, of which the sides never quite match each other, however symmetrical they may appear. The exercise of balancing the masses rightly in copying the natural object is far more valuable. Geometrical forms possess no variety of lines to enforce observation, no beautiful curves to be enjoyed. They have only straight lines, sharp angles, or symmetrical curves, which can be turned out much better by machinery than by hand.

There still remains the choice between a course of Natural Objects and of Conventional Models, both being suitable for reproduction in clay. But here the tastes of the students themselves, especially of children, pronounce very strongly in favour of Natural Objects. Far more interest is aroused in a child by an object of which he already has some knowledge, and which has a connection with his everyday life, than by a comparative abstraction, which is strange to him. The child will try with greater zest to copy an object which he knows, than something which does not convey a clear idea to his mind. This interest will add much to the enjoyment of the work, and should be fostered by giving at first familiar objects as models, and then proceeding to the less known; although it will be found that there are few models in the following Course with which children are unacquainted.

To begin with conventionalised forms is to try and teach a child by means which are altogether beyond his ken—to use the abstract instead of the concrete; though it is only of the latter that he has any knowledge. The conventionalised form is merely an opinion, artistic or otherwise, about the natural form, which is a fact. Therefore, to properly understand the former we must first study the latter. A child is unable to comprehend why the one should differ from the other, and if he succeeds in recognising in the conventional form something which he knows, he will probably mistake that for the object as it is in Nature. That is, he mistakes an opinion, about which ideas may legitimately differ, for a fact. It is a matter of education to appreciate conventionalised form, and that education should begin by studying Nature herself. Later, of course, in an artistic training, the two must necessarily be studied together.

It has been urged in favour of conventional types that they can always be done 'in relief'—that is, projecting from a background—and that they are, therefore, better adapted for Clay-Modelling than objects which have to be modelled 'in the round,' because these latter are generally held in the hand while being worked, a method which, although it may seem to some easier for children, is against all the principles of the art. Objects modelled 'in the round,' unlike those modelled 'in relief,' are unattached to any background, and open on all sides except at the point which rests on the slab. The need, however, for holding the clay model in the hand is easily set aside by using the little armature described in Section 19, which, being buried in the model, supports it, and makes it perfectly easy to work.

A child who has any natural aptitude for Clay-Modelling may succeed better by doing the work in his own way, and not exactly according to the directions given. Originality of treatment, whether it follows the lines laid down in the directions or not, should be carefully encouraged and fostered, and by no means repressed.

For Children, the lesson may occupy about an hour, and the model should be finished in that time.

Those models which do not require to be made with a slab are those only which might be actually used for the purpose for which they are obviously intended, such as a plant-pot, a pin tray, or a dish. Those which are merely representations of natural or other objects, such as an apple, or a boot, or a loaf, should always be worked on a slab. (See figure F.)

It may be objected that to make a slab for every model occupies too much time. It is, however, a very simple operation, and as facility in work is gained it can be done very quickly, and should not occupy more than five minutes.

It is only in the case of the simpler rounded forms, like an orange, when the general shape can be rounded in the hands, that the model should be made at the commencement apart from the armature. In other cases it should be built up directly on the slab round the armature; but where the model does not need support, as in flat objects, like leaves, it should be simply worked on the slab without the armature.

The armature must be fixed towards one end of the board (figure D), to allow room for working those models which do not require it.

It is better to put in the details of the upper part of the model first, and then those of the lower part. If the latter are done first, the work may be lost and have to be done again, as the clay may be pressed down on to the slab in working the top.

If the clay is too soft, it must be kneaded in the hands until the right consistency is obtained; and if it is too hard the same method should be followed, using water until it is quite smooth and free from lumps.

A small wooden scoop (figure E) will be found useful for getting the clay out of the box.

Clay has been known to develop a disagreeable odour, which has generally arisen from its having been put into a box which was not clean. No box which has contained any perishable material, such as butter, should ever be used. Clay is not an expensive material, and on its developing objectionable qualities should be at once thrown away; but if due care is taken this will not occur.