Harbutt’s 
 
 PLASTIC METHOD 
 
 AND THE USE OF 
 
 PLASTICINE 
 
 CHAPMAN S- HALL 
 

 
 Digitized by the Internet Archive 
 in 2019 with funding from 
 Getty Research Institute 
 
 https://archive.org/details/harbuttsplasticmOOharb 
 
HARBUTT’S PLASTIC METHOD 
 
 AND THE USE OF 
 
 PLASTICINE 
 
LONDON : 
 
 PRINTED BY GILBERT AND KIVINGTON, LD. 
 
 st. John’s house, clerkknwell road, e. 
 
HARBUTT’S PLASTIC METHOD 
 
 AND 
 
 THE USE OF PLASTICINE IN THE ARTS 
 OF WRITING, DRAWING , dP MODELLING 
 IN EDUCATIONAL WORK 
 
 is U 
 
 ode IPs 3 <*1ortACAiVt 
 
 dll S£fi 
 
 BY 
 
 WM. HARBUTT 
 
 ( Bath) 
 
 WITH 56 ILLUSTRATIONS 
 
 London— CHAPMAN & HALL, Ltd. 
 
 1S97 
 
COPY OF LETTER FROM MISS FRANKS, 
 
 A.F.S., A.C.P. 
 
 {Principal of Camden House Training School for Kindergarten Teachers). 
 
 13, York Place, W. 
 
 July 20th, 1897. 
 
 Dear Mr. IIarbutt, —I and my teachers are delighted with your Plastic Method of 
 modelling, and think it has a great future before it. We have had great difficulties with 
 the ordinary clay—and it seems to me that you have overcome all these, and that your 
 material and method of procedure opens up many possibilities which our old modelling did 
 not allow of. My students’ meeting on Friday was intensely interested in the little you 
 had time to show us, and I propose on the next occasion to spend the whole evening on 
 the Plastic Method. I think you show a thorough knowledge of child-nature—with its 
 limitations and possibilities ; and the gradation you adopt is the best possible preparation 
 for art proper. 
 
 All your tools and appliances give evidence of having been devised and elaborated 
 by one who is intimately acquainted with the difficulties of practical teaching. For 
 kindergarten work your modelling-paste will be invaluable ; it will enable the children to 
 express their ideas as easily by modelling as by drawing or brush-work. 
 
 One of the great advantages in your method is the great, saving of time and trouble— 
 as no preparation of material is required, nor any special arrangement of the room. I 
 look upon your system as a new mode of expression, and feel that modelling has now 
 come within the reach of all. I feel I must thank you in the name of all those teachers 
 and children who will benefit by your many years of patient and sympathetic work ; 
 and I hope you will not count amongst the least grateful 
 
 Yours very truly 
 
 Fanny Franks. 
 
 THE GETTY CENTER 
 LIBRARY 
 
CONTENTS. 
 
 Title Page .... 
 Letter from Miss Fra 
 Contents .... 
 Author’s Preface 
 Introductory Chapter 
 Plasticine .... 
 Nature .... 
 
 Colour .... 
 
 Sculptors’ Work 
 Other Uses for Plasticine 
 Plaster Casting 
 The Tools .... 
 Tablets .... 
 The Hand-desk . 
 
 The Casting Frame . 
 
 Copies. 
 
 The Casts .... 
 Exhibition Cases 
 The Cabinet 
 
 References to Illustrations 
 
 PAGE 
 
 iii 
 
 iv 
 
 v 
 
 vii 
 
 xi 
 
 i 
 
 5 
 
 7 
 
 8 
 
 10 
 
 14 
 
 21 
 
 24 
 
 25 
 
 28 
 
 30 
 
 32 
 
 34 
 
 • 36 
 
 38 to 161 
 
AUTHOR’S PREFACE. 
 
 This little book is published in the interests of “Technical 
 Education,” and as an adjunct to practical training—the 
 chief end in view throughout its pages. It is designed 
 to illustrate a new departure in teaching, entitled 
 the- “ Plastic Method,” by which writing, drawing, and 
 the graphic arts generally, as well as modelling, can be 
 taught in a more expeditious, systematic, and effective 
 manner than hitherto, and in correlation with other studies 
 in the school. 
 
 The photographic reproductions of work done enable 
 the “Plastic Method” to speak practically for itself, 
 while the various suggestions and detailed explanations of 
 the letterpress lend assistance towards the general mastery 
 of the subject. 
 
 The material “ Plasticine ” perfected by the author is a 
 modelling paste possessing all the advantages both of clay 
 and the expensive wax of the artist, without the disadvan- 
 
 a 
 
via 
 
 AUTHORS PTE FACE 
 
 tages of either. Having been made available for all the 
 conditions of school use, its field of usefulness is one which 
 leaves ample room for exploration and development. 
 
 For use in schools, Kindergarten, elementary, and 
 middle-classes, there is in course of preparation a carefully 
 graded course suited to their various requirements. This 
 course will include photographic copies, flexible reliefs, and 
 plaster casts, as well as simple apparatus to give effect 
 to the teaching. An adaptation also of the “ Method ” 
 for schools for the blind and for feeble-minded or back¬ 
 ward children is in hand. 
 
 Some of the suggestions and methods herein advocated 
 may appear to be of a somewhat revolutionary tendency, as, 
 for instance, in the proposal to teach writing and drawing 
 in a plastic medium ; but whatever doubts may exist 
 as to the advisability of the exclusive adoption of so 
 great an innovation, none need be entertained as to its 
 
 o 
 
 occasional use in this direction as a means for the develop¬ 
 ment of that freedom of hand and arm so necessary in all 
 arts and handicraft, and of the training of the eye and 
 mind to the appreciation of form. But if it should serve no 
 other purpose than as a training of the muscles in easy 
 free movement before definite form and proportion are in¬ 
 troduced, it will have served a great end. 
 
A U THORS PREFA CE 
 
 IX 
 
 The chief aim, however, has been to develop the 
 idea of modelling by the dexterous use of the fingers 
 and of two or three simple tools. The tools are 
 not intended to supersede the use of the fingers, but rather 
 to supplement them, and to aid the student in carrying the 
 refinements of his work farther than otherwise would be 
 possible. 
 
 This is of importance, as there is probably nothing more 
 to be deprecated than the aimless abandon and license 
 on the one hand, or the laborious scraping and finishing 
 on the other, which sometimes passes for modelling, 
 serving rather to demoralize the young ideas, and to put 
 obstacles in the way of sound work and future success. 
 
 The material, the appliances, and the exercises, novel as 
 they appear to be, lend themselves readily to the most 
 careful and delicate work, at once satisfying the instincts of 
 the more gifted, and amply repaying careful application 
 and industry on the part of all, particularly as the results in 
 every case, where it is so desired, can be made permanent 
 by the facilities of the casting apparatus employed. 
 
 Wm. Harbutt. 
 
 Bath , 1897. 
 
 a 2 
 
INTRODUCTORY CHAPTER. 
 
 All educationalists are agreed in recognizing the supreme 
 value and importance of the art of modelling in the training 
 of the young, and so many able treatises have been written 
 detailing its advantages as an educational agent, that it is 
 unnecessary and superfluous to dwell upon this point. 
 
 At the same time, it will scarcely be denied that no really 
 serious effort has been made to give effect to this consensus 
 of expert opinion, and an efficient systematized course of 
 instruction is still a universally acknowledged need. 
 
 The modelling systems already in use can scarcely be 
 said to fulfil the requirements of school life, or to belong in 
 any really practical manner to general education. As a 
 matter of fact, we must begin with the child at an earlier 
 age, and with very much simpler methods than heretofore. 
 
 “ Harbutt’s Plastic Method ” is an attempt to attain the 
 end so much desired. By the introduction of a new 
 material and apparatus, such a scientifically graded scheme 
 
Xll 
 
 INTRODUCTORY CHARTER 
 
 of instruction upon a rational basis is presented as is 
 hoped will prove of permanent practical use, not only in 
 the art class-room, but throughout the busy time-limited 
 elementary school. 
 
 It has been frequently asserted that drawing should 
 precede writing; one might go further and say that 
 modelling should precede drawing. By the “ Plastic 
 Method ” the treble'advantage is secured that modelling, 
 writing, and drawing may be carried on simultaneously, 
 each being so interwoven with the other that they cannot 
 be separated. It possesses for the child something of the 
 charm which he finds upon the sea-shore, with spreading 
 sand for his sheet of paper and all his tools ready to hand, 
 the finger for his stilus, and the open palm for his spatula. 
 Now he can express ideas ! It is precisely this point, the 
 development of which is sought and may be attained in the 
 “ Plastic Method.” Even at the earliest school-age the 
 child has thoughts and impulses he is desirous of expressing 
 and embodying in some definite, tangible form, and it has 
 been the want of a fitting medium to express these thoughts 
 and impulses that has led to the adoption of many 
 cramping and restraining expedients, causing the loss of 
 valuable school time, and dulling the natural enthusiasm 
 and interest of the pupil. 
 
INTRODUCTORY CHAPTER 
 
 xiii 
 
 It is not necessary to wait until the pupil can draw or 
 write perfectly before encouraging this inventive and 
 imaginative faculty ; scope should be allowed for the 
 measure of his executive ability, and given a suitable 
 medium adapted to his requirements, the child will at once 
 proceed to turn it to good account. 
 
 It has been impossible until very recently to allow the 
 requisite facilities to this end in our elementary schools ; 
 clay is unsuitable for so many reasons, amongst others, 
 the difficulty of keeping it in perfect working condition, the 
 litter and mess which invariably accompany its use, and 
 the ever-present necessity of water, the time and labour in 
 preparing for a lesson and clearing away afterwards; 
 besides the almost insuperable difficulty of preserving the 
 work from one lesson to another. 
 
 Practical teachers say that unless a special room and 
 apparatus are set apart for the work and considerable time 
 devoted to it under skilled teachers, modelling in clay 
 cannot be taught satisfactorily in our crowded day-schools. 
 
 It is believed that by the use of Plasticine in connection 
 with this new method, all these difficulties will be overcome, 
 that modelling will no longer be regarded as an isolated 
 and useless fad, the despair and perplexity of the teacher; 
 but by being conceived in a large and more comprehensive 
 
XIV 
 
 INTRODUCTORY CHAPTER 
 
 spirit, and placed upon a sound practical footing and in 
 co-relation with other studies, it must be accorded that 
 position to which its educational value so fully entitles it. 
 To do this the instincts and methods of the children them¬ 
 selves must be studied, and to a certain extent followed. 
 Freedom and spontaneity of movement are the key-note 
 of their modes of expression ; these qualities should not 
 be suppressed, but directed and cultivated under a firm but 
 attractive drill. The wetted linger on the window pane, 
 the stick upon the wet sand, even the scooping of the 
 family soap, are, from this point of view, interesting and 
 worthy of attention. (Plates 6—10.) 
 
 It is not improbable that the primitive method of 
 teaching writing in dry sand scattered on the floor, and 
 the use of the brush and reed in drawing, has contributed 
 to the greater excellence and manipulative skill displayed 
 in the arts and crafts of many of the Oriental nations. On 
 the other hand, it is more than probable that the excessive 
 use of the hard steel pen and the discouragement of the 
 modelling tool has hindered and diverted our own artistic 
 develonment as a nation. 
 
 If such a charge is in any sense true, it behoves us to 
 take immediate steps to remedy the error, and in the 
 interests of technical education, to at once place the art 
 
INTRODUCTORY CHAPTER 
 
 xv 
 
 of modelling on at least an equal footing with drawing in 
 the whole of our elementary schools. It may safely be 
 asserted that nothing can do more to awaken and stimulate 
 the perceptive and creative faculties of the young than 
 modelling, and it is really a mistake wrought with great 
 mischief to ignore it. 
 
 No undervaluation of the art of drawing is here for a 
 moment intended ; but can it be questioned that this art 
 has too long been restricted to the mere mechanical 
 imitation of fine engraved lines and neatness of by-sym- 
 metrical arrangements, or that the fatal “india-rubber” 
 has dominated it to its injury, causing loss of feeling, 
 freedom, and interest, as well as a prodigious waste of time? 
 
 Who that has struggled with a class of beginners in 
 drawing through all the difficulties of hard pencils, rubber, 
 pins, and paper, for the regulation requirements, has not 
 felt that there was a more excellent w r ay, and that the hand 
 and eye should be trained first in a freer “ medium ” before 
 paper and pencils are used? (Plates 7—11.) 
 
 Delicacy and purity of line, the appreciation of subtleties 
 of form and proportion, belong to a later development 
 and to the more educated eye, and when insisted upon at 
 too early a stage they only discourage the pupil and defeat 
 their own object. 
 
XVI 
 
 INTRODUCTORY CHAPTER 
 
 Drawing is not an end in itself, but the means to an end, 
 which is the expression of original ideas. It is hoped that 
 the “ Plastic Method ” will do something to make the 
 attainment of this great end simpler ; for while subserving 
 all requirements as a perfect modelling material, 
 “ Plasticine ” is capable of equal use and facility in drawing, 
 and by means of the flexible stilus which in itself is a finger 
 in miniature, the greatest freedom and variety of line can 
 be produced. Errors may be perfectly and instantly 
 obliterated by a mere touch with the reverse end of the 
 stilus ; in this respect the apparatus resembling the waxen 
 tablets of the ancients. (Plates 12, 15, 18.) 
 
 First writing-exercises should be confined to the large 
 and free sweep of letters drawn from the shoulder upon the 
 sensitive surface of the Plasticine, if for no other reason 
 than that the errors can be so easily erased, and a fresh 
 attempt made without any second touches, or the con¬ 
 sequent lowering effect which a troubled and blurred 
 surface has upon the mind. A new beginning brightens 
 the child’s mind, while tinkering upon a drawing dulls it 
 and wastes time. 
 
 The material is supremely sensitive to the touch, and 
 nothing could be more conducive to developing the art- 
 instincts of children than that they should be early 
 
INTRODUCTORY CHAPTER 
 
 XVII 
 
 familiarized with such a responsive and expressive vehicle, 
 learning its capabilities, possibilities, and charms. Every 
 encouragement should therefore be given to the spontaneous 
 handling of the Plasticine and its manipulation into any 
 natural form or device which pleases the fancy. (Plates 
 35. 06.) 
 
 Such an introduction into Art will have a beneficial and 
 elevating influence as opposed to the cramping effect of much 
 of the present systems which stamps a mechanical impres¬ 
 sion into the minds of children at the outset of their career. 
 
 The matter of scale is here of importance. What may 
 be easy to the adult may be too difficult for accomplish¬ 
 ment by children’s fingers, simply on account of size ; 
 exercises should therefore always be in due relation to the 
 size and physical ability of the children. 
 
 The finger manipulation should be begun by pressing, 
 squeezing, and nipping the material, rather than by drag¬ 
 ging and modelling. Irregular or imperfect forms should be 
 avoided, such as lumps of coal, stones, old shoes, etc. ; 
 these are not good objects for basing instruction upon. 
 Beautiful shapes placed constantly before the eye, and 
 attention called to them by the teacher, with a simple 
 analysis of parts, educate the eye and mind to a sense of 
 beauty, and have a powerful and lasting influence. 
 
XV111 
 
 INTRODUCTORY CHAPTER 
 
 So also, perfect familiarity with the square, the equilateral 
 triangle, and the circle, forms an unconscious standard in 
 the mind, and serves to detect errors ; for, although 
 mathematical exactness should not always be expected or 
 insisted upon, the very highest standard of right should 
 never be lost sight of. 
 
 Language and music reach us only through the medium 
 of the ear; the appeal is directly to that organ. So the 
 plastic and graphic arts should address themselves 
 directly to the eye, ear instruction being regarded as 
 altogether secondary. 
 
 The endeavour in the “ Plastic Method ” has been to 
 have as little recourse as possible to precise and intricate 
 printed directions, necessitating the constant supervision of 
 the teacher, but to let each lesson appeal to the eye as 
 complete in itself, being made self-explanatory by a series 
 of progressive stages of advancement up to the finished 
 work. (Plates 38—43, 52, &c.) 
 
 The “ Plastic Method ” in the elementary school course 
 is adapted to the standards as far as possible, and aims at 
 the encouragement of such exercises as will give control to 
 the fingers, hand, and arm, power and delicacy to the sense 
 of touch, the eye meanwhile being gradually educated to 
 accuracy of proportion by the arrangement of definite 
 
INTRODUCTORY CHAPTER 
 
 xix 
 
 touches upon a geometrical basis formed by the pupils them¬ 
 selves. (Plates 11 —14,24,25.) Ruled lines and chequered 
 work are unnecessary ; they not only strain and confuse the 
 eye, but reduce art work from the first conception in the child’s 
 mind to a dead drudgery akin to Berlin wool work. All 
 that is requisite is secured in the “ Plastic Method ” by the 
 employment of a few common tools, used first with simple 
 pressure, but affording latitude from the very initial stage for 
 original treatment, and the addition of hand-modelling upon 
 the bases of form created by the pupils themselves. The 
 use of modelling tools proper is reserved for a later period. 
 
 The forms which at first are simply “ pressed” and 
 touched may be gradually elaborated to greater complexity 
 by adding more material, or fingering. In this way the art 
 of modelling comes into all the exercises, elementary or 
 advanced, and forms the essential element of it. (Plates 
 26—40.) 
 
 To effect this in a practical manner for school use, a 
 simple and inexpensive apparatus has been invented, 
 saving both time and trouble on the part of teacher and 
 class. Nor is the expense of school management materially 
 increased, as the apparatus and material do not wear out, 
 but can be used again and again, while the employment of 
 outside experts, though desirable, is not absolutely essential. 
 
XX 
 
 INTRODUCTORY CHAPTER 
 
 Thus a universally expressed want, for a suitable manual 
 employment adapted to all the classes in the elementary 
 school, is met. 
 
 In the examples put before the pupil one of the points 
 relied upon is that they shall appear exactly as they left the 
 hand of the artist, retaining their true Plastic characteristics, 
 without any of that mechanical finishing and perfecting of 
 surface and form attained by instruments beyond the 
 power and possession of the student, or by the devotion 
 of an impossible amount of time. The machine-finish 
 of casts and models not only hinders many pupils in the 
 study of modelling, but deters others from essaying it at 
 all. (Plates 34 a, b, c, 49—52.) 
 
 Another object is that the forms, being simple and 
 rudimentary, should serve generally as suggestions rather 
 than as exact studies, to be reproduced by the clever 
 pupils ; for it must not be forgotten that the art of original 
 designing in the material itself should be encouraged in all 
 the exercises, even for the youngest child in the class. A 
 little difference in the proportion or relief chosen, a more 
 or less varying pressure, the addition of a little more 
 or less detail or elaboration here and there, and a new 
 design is the result; and when any degree of steadi¬ 
 ness, neatness, and accuracy are attained, they should 
 
INTRODUCTORY CHAPTER 
 
 xxi 
 
 be regarded as suggestions and motifs only. (Plates 
 24 — 45 *) 
 
 As much as possible the left hand should have a share in 
 the execution of the work, for experience has shown that it 
 may be trained as well as the right to the very greatest 
 dexterity. 
 
 The claim is deserving of consideration that by the use 
 of Plasticine, and the modelling apparatus employed there¬ 
 with, the eyesight of the pupil is not tried in anything like 
 the same degree as with other materials, and this on many 
 grounds. The grey colour of the material is itself agree¬ 
 able and soothing to the eye compared with the excessive 
 strain caused by the constant use of white paper. The 
 close netline work of kindergarten drawing can be 
 dispensed with, the actual lines when drawn or written are 
 broader and freer, the standing osture or upright sitting, 
 with ability to hold the u hand-desk” in the left hand, 
 enables the learner to adapt the distance to the focus of 
 his own eyesight without any stooping or contracting of the 
 chest. The work may be kept constantly at right angles 
 to the vision instead of obliquely, and it also permits the 
 worker to adapt himself to whatever conditions of light the 
 room may afford by simply turning his body in the right 
 direction. As light and shade are the very essentials of 
 
XXII 
 
 INTRODUCTORY CHAPTER 
 
 modelling, it is obvious that without the proper light to 
 bring out the form, giving projection and the impression of 
 solidity, the work is flat, weak, and unsatisfactory. 
 
 These are points not unworthy of attention in the face 
 of recent statements in regard to the growing defective 
 eyesight of children in elementary schools, not only in 
 England but on the Continent, United States, and the 
 Colonies, and if only the use of so much white paper work 
 could be deferred for a couple of years, the gain would be 
 distinctly appreciable in the relief to the eyesight of the 
 young pupils. 
 
 It has only been possible in an introduction like the 
 present to enumerate a few of the advantages possessed 
 by Plasticine over all other materials at present used in 
 modelling. 
 
 As the student advances in his study of this absorbing art 
 he will constantly be discovering new pleasures and delights 
 in its application, and his verdict must be, as the ever- 
 increasing prospect opens out before his eyes, that <l the 
 half was not told him.” 
 
(Hai-butt's Plastic Method.) 
 
 Mo. 56. 
 
 “ PLASTICINE.” 
 
 Plasticine is a specially prepared composition which 
 possesses the permanent ductility and firmness of wax, 
 and forms a perfect substitute for wet clay and the greasy 
 Plastillinas. It has only been perfected after many ex¬ 
 periments. The following are some of its advantages :— 
 
 1. Its ductility is permanent, being unaffected by 
 heat, dryness, damp, cold, or time ; the longer it is 
 used the greater its utility becomes. These qualities 
 specially recommend it for use in hot climates. 
 
 2. Its plasticity is greatly superior to that of the 
 best modelling clay, or wax ; while it is tenacious in 
 form, it is responsive to the touch. 
 
 B 
 
“ THE PLASTIC METHOD 
 
 3. It requires no damping or covering with wet 
 cloths, which destroys the finer modelled parts and 
 causes much loss of time. 
 
 4. In sculptors’ work it effects economy and saves 
 its cost in the expense of moulding and casting before 
 chiselling in marble, as the firmness of the Plasticine 
 permits of pointing. Attendant and fires in the winter 
 time, to prevent the destruction of work by frosts, 
 are unnecessary. In drapery studies it is invaluable 
 both for modelling the figure first and for draping 
 it afterwards ; also for trying experiments and testing 
 effect and suitability of work on a small scale. 
 
 5. In colour it approaches ordinary clay, being of a 
 greenish grey. It is clean and pleasant to the touch ; 
 does not clog upon the fingers or tools, nor grease the 
 clothes ; causes neither dust when dry, nor muddy 
 marks when wet. 
 
 6. It permits of casting either by means of plaster 
 or gelatine, and thus secures extreme delicacy and 
 beauty even in the finer undercut portions of a work. 
 
 7. Its ductility and elasticity permit of its being 
 spread very thinly over prepared paper, incised or 
 with slight relief designs, and preserved in a roll 
 for any length of time. 
 
“ PLASTICINE ” 
 
 3 
 
 These qualities, together with the small cost at which 
 it is now possible to produce Plasticine, have made prac¬ 
 ticable several new developments in art-teaching in technical 
 and other schools, all of which are embodied in “ Harbutt’s 
 Plastic Method.” 
 
 An objection to wet clay is that unless it receives great 
 attention and is kept scrupulously clean, both as to the 
 case it is kept in and the wet cloths covering it, it is liable 
 to emit disagreeable odours, and it is possible also that 
 being handled indiscriminately by many hands, infectious 
 diseases may be conveyed and spread in a school. 
 
 In Plasticine these dangers are entirely absent, as in the 
 use of it in elementary schools, each pupil might be put 
 in possession of a certain quantity of the material—say a 
 quarter to half a pound—for their own use exclusively, 
 and these portions might be kept on the school premises 
 in numbered boxes with the tools. In middle-class schools 
 the pupils purchase and retain their own Plasticine as 
 they would other school material. 
 
 The following precautions should be observed in using 
 Plasticine: it must not be used upon absorbent surfaces 
 such as wood, card, slate, stone, &c., unless prepared first 
 by several applications of a solution of shellac or French 
 polish. 
 
 B 2 
 
4 
 
 “ THE ETA STIC METHOD ” 
 
 Glass and glazed tiles are not suitable to work upon 
 where very thin grounds are required for writing, drawing, 
 and incised designs, but for some phases of modelling they 
 are found suitable. 
 
 When stored away Plasticine should be kept in glazed 
 earthenware or tin boxes, and protected from dust and 
 heat; under such circumstances it will keep for years and 
 suffer no deterioration, but rather improve in its special 
 working qualities. 
 
 Every pupil should be provided with a linen napkin or 
 duster with which to rub the hands, or polish the surface to 
 be worked on in certain conditions, washing not being 
 
 necessarv. 
 
NATURE. 
 
 It is highly desirable that modelling in full relief from 
 natural forms should be encouraged at every stage of the 
 pupil’s progress, and go on simultaneously with the render¬ 
 ing of more abstract forms, as of letters, geometrical or 
 conventional ornament, and drawings of animals, reptiles, 
 and other living creatures. 
 
 The pupils should be specially directed as to what 
 natural object they are expected to bring with them for the 
 next lesson, so that a certain uniformity of method may be 
 obtained in each successive demonstration. 
 
 The younger children may be allowed to impress leaves 
 and other objects on the plasticine itself, trace around the 
 contour, cut them out, or even to build up relief upon it, 
 so that by frequent attempts at representation, and con¬ 
 stant handling of the material, they may become thoroughly 
 familiarized with it, and early learn to know that there are 
 limitations even in the direction of imitation. This is a most 
 
6 
 
 “ THE EE A STIC METHOD ” 
 
 important piece of knowledge, and prepares the way for a 
 correct idea of the interpretation of nature, and of what is 
 called “ conventional treatment.’' 
 
 The attention should also be directed to articles of 
 domestic use, such as the house candle-stick, lamp, 
 flower-pot, bottles, vases, &c., and endeavours made to 
 model them in full relief from memory, or the pupils might 
 be encouraged to make pencil sketches of the same at 
 home, to model from at school, thus teaching them the 
 practical application of drawing. 
 
 Visits to museums of natural history with a supply of 
 Plasticine for the purpose of study would afford valuable 
 stimulus to observation. 
 
COLOUR. 
 
 At an early stage, for the Kindergarten, colour may be 
 introduced. The plasticine will take powder colours very 
 readily, as well as some of the bronzes. These will serve 
 to still more interest the young students, and give a 
 realistic aspect to their work. 
 
 The colours can be dusted over, or brushed on with a 
 large camel-hair brush, and do not impair the further use of 
 the material, beyond altering the colour somewhat when 
 worked up again—the mess and trouble of oil and water 
 colours is thus got rid of. 
 
8 
 
 SCULPTORS’ WORK. 
 
 This really lies beyond the scope of the present volume, 
 but may be briefly alluded to in passing. Once its full 
 capabilities are known, Plasticine will go far to supersede 
 the use of clay altogether; so many advantages attend its 
 use, even in the most colossal works. The following 
 considerations show that the cost of the material may 
 soon be saved : (a.) The cost of taking a plaster cast from 
 the clay model is unnecessary, the plasticine possessing 
 sufficient firmness to admit of pointing. It is even fit for 
 exhibition purposes immediately after it leaves the artist’s 
 hand ; ( 6 .) the attendant required to constantly watch 
 
 and damp the clay can be dispensed with ; (y.) as also 
 his presence to keep the fires going in the winter, 
 in order to prevent the frost from ruining the work; 
 (</.) a much lighter building up of framework suffices ; 
 (<?.) there is no shrinkage or distortion from drying or other 
 cause, as in clay ; (/.) there is no covering with damp 
 
SCULPTORS WORK 
 
 9 
 
 cloths to rub the crisp and finer edges away, or spoil the 
 finished surfaces. Gelatine moulds can be taken direct 
 from the plasticine, thus preserving the most delicate 
 undercutting. The model, moreover, is always in a fit 
 and inviting condition for immediate work in all weathers, 
 and will not fall to pieces or disappoint the operator in 
 the way clay does so frequently. Undoubtedly these ad¬ 
 vantages alone will secure for plasticine the recognition 
 it is so fully entitled to. 
 
 For painters who desire slightly and quickly modelled 
 figures in any pose for the purpose of a cast of drapery, or 
 of displaying the folds to paint from, with light and shade 
 and foreshortening in action, &c., plasticine is a perfect 
 vehicle for carrying out their ideas. It is available always 
 at a moment’s notice without any of the dirt, discomforts, 
 and delay attending the use of wet clay ; and having no 
 affinity with water, starch-wetted drapery can be employed 
 upon the figures, to get peculiar effects in folds, &c., which, 
 when dry, are not easily disarranged. 
 
IO 
 
 OTHER USES FOR PLASTICINE. 
 
 In the teaching of solid geometry and interpenetration of 
 solids, model, and mechanical drawing, &c.—it will be found 
 of great assistance to the teacher, if each pupil has a small 
 quantity of plasticine for the purpose of making miniature 
 models, the better to realize the required position of solids, 
 their traces and planes, and also for trying sections. 
 
 In botany, models of plants, fruit, and seed vessels, 
 with various sections, might be required as an exercise 
 for impressing facts upon the mind and increasing the 
 interest. The ability to treat maps in relief would invest 
 the study of geography with a new interest, and stimulate 
 the older scholars to render the topographical features of 
 the neighbourhood in which they live. In this way the 
 local hills, valleys, &c., &c., could be modelled more or 
 less accurately, according to the advancement made in 
 scale drawing and geometry, and water poured on to repre¬ 
 sent rivers, lakes, and oceans. A cast in plaster by means 
 
OTHER USES FOR PLASTICINE 
 
 ii 
 
 of the casting frame could afterwards be easily taken of 
 the relief, and this again coloured. When carefully done, 
 such casts have a high educational value, and are worthy of 
 preservation in the school. 
 
 Wood and stone carvers should always have a supply 
 at hand to try the effect of light and shade of any new 
 design ; they would derive suggestions and new ideas, by 
 subordinating their technique to the plastic conditions of 
 the material, and following in the strongest lines of its 
 possibilities. 
 
 In fact, if all relief carvers would design in this material, 
 rather than on paper, they would find quite a different 
 and improved spirit animate their work. 
 
 For decorators and carvers, whose work is intended to be 
 seen at a height or at a distance, and in just relationship 
 with other elements in a scheme of decoration, what 
 expedient could be more valuable than to be able to model 
 detail to its proper proportion, and to then try its effect 
 in actual position ? This the plasticine would enable 
 the sculptor or architect to do with the greatest ease 
 and celerity, so that any weakness of light or shade, 
 any errors in scale or effect or composition of line, could be 
 corrected. 
 
 Plasticine is already used instead of clay with the 
 
12 
 
 “ THE PL A STIC METHOD" 
 
 greatest success and effect in several of the practical arts 
 and manufactures, and may be seen applied to that of 
 scientific boot-making, in the Guild classes, where it 
 is used for the purposes of producing moulds and casts of 
 feet for the correct construction of lasts. 
 
 After the actual plaster mould has been taken, the 
 plasticine may be pressed in, and the various sections taken 
 to demonstrate to the workmen the exact shape required. 
 
 In plasterers’ work, again, its use is seen in the rapid 
 designing and executing of modelled panels, borders, 
 friezes, &c., either taking gelatine moulds from them and 
 casting from them, or where lower relief is required, work¬ 
 ing in intaglio or sunk patterns, on the plasticine, and 
 taking casts direct from it. These casts show up in relief; 
 a specimen of such work is shown in number 55. 
 
 A great variety of effect is capable of expression by this 
 means. 
 
 To the civil engineer, prospector, or pioneer, the hand- 
 desk and frame would prove invaluable, as they could model 
 on the spot with the same ease that an outline sketch could 
 be made—conveying such data at a glance as would other¬ 
 wise involve much descriptive writing. The work could 
 be rendered in plaster afterwards, and replicas made. 
 
 Hill-climbers would also find a fresh interest in modelling 
 
OTHER USES EOR PLASTICINE 
 
 J 3 
 
 mountain routes and views, with glaciers, precipices, passes, 
 and summits, after the dangers of actual explorations were 
 over. Such tangible records, executed by the hand of the 
 traveller himself, would possess a high scientific and 
 topographical value, beside affording the very greatest 
 reminiscent pleasure to the modeller himself. 
 
 For black-board demonstration Plasticine possesses many 
 possibilities, as also for the purpose of teaching military 
 fortification, surveying, and engineering, instead of using 
 wet sand. 
 
 The specialized knowledge and skill of the .expert will 
 readily develop the use of the material in these and many 
 other directions. 
 

 PLASTER CASTING. 
 
 The following concise directions, it is hoped, will enable 
 the student of ordinary intelligence to master the art of 
 plaster casting, using the few appliances invented to 
 simplify the process in the Plastic Method. 
 
 Take out the movable panel from the casting-frame, 
 place upon it the tablet with the modelled work, 
 replace it upon the frame and re-tighten the buttons. 
 Next make a little lather with common soft soap and water 
 in a cup, then, with a soft mop brush, wash gently over 
 the plasticine modelling, rinsing off with clean water, and 
 carefully mopping up all excess of moisture. Place the four 
 zincs in position, vide illustration page 29, and secure them 
 with the wire clips. 
 
 The frame is now ready for the plaster to be poured in. 
 
 Take a breakfast-cup three parts full of clean water, 
 gently drop into it some fine Italian plaster until it just 
 shows at the surface, then stir or gently agitate the water 
 
PLASTER CASTING 
 
 15 
 
 with a spoon, mixing thoroughly but quickly until of an equal 
 consistency, and pour it steadily over all the modelled work 
 until it is all well covered; shake it about, and pour it back into 
 the cup. Now work what is left into all the hollows and 
 depressions of the work, with a camel-hair brush. Some¬ 
 times by merely blowing with the breath you will be able 
 to force the plaster into the deeper recesses where it does 
 not readily flow. 
 
 While doing this the rest of the plaster in the cup may 
 have become a little stiffer, but be expeditious, and pour it 
 quickly upon the model to a depth of at least half an inch, 
 shake it a little to level it, then place it upon a perfectly 
 horizontal surface, and do not touch it again for half an 
 hour, by which time the cast will have become “ hard set.” 
 
 The zinc walls are now pulled out, the panel removed, as 
 also the cardboard with the modelled work. If there is 
 no undercutting the plaster mould will be easily separated 
 from the plasticine, leaving the original work almost 
 uninjured. 
 
 The mould is then examined carefully so as to remove 
 any undesired projections (which means undercutting in 
 the original work) ; unless this is done, the cast will not 
 separate from the mould without being broken in pieces. 
 
 The mould should next be well washed with the soft 
 
1 6 
 
 “ THE ELASTIC METHOD ” 
 
 soap lather and afterwards with clean water, care being 
 taken that no scum or sediment is left in any of the 
 recesses of the work. Soft sponge or brushes maybe used 
 for this purpose. 
 
 The panel and mould are now replaced in the frame, as 
 also are the zinc w r alls with their springs, and the work is 
 ready for casting. 
 
 Gaps or large separations left between the mould and 
 the zincs for the liquid plaster to escape into should be 
 filled up by a little plasticine—the mixing of the plaster 
 proceeded with as before, see that there are no undis¬ 
 solved lumps in it, pour twice into mould, shake, and blow 
 or brush into the deeper recesses and crevices, place upon 
 a level surface for half an hour before touching, and the 
 cast is ready for removal. 
 
 The panel is then taken out, and if there has been no 
 undercutting, the cast and mould will easily separate by 
 inserting the long edge of a dinner knife into the line of 
 division and tapping it smartly with a light hammer; 
 this should be done gradually on each of the four sides. 
 
 The cast possesses a fine surface or skin which, if 
 possible, should not be interfered with by scratching, sand¬ 
 papering, or any subsequent work; but frequently both 
 mould and cast are largely worked upon, and a high surface 
 
PLASTER CASTING 
 
 17 
 
 finish and detail added, by means of fine steel, wood or 
 bone instruments, for the purpose of taking other moulds 
 in plaster or gelatine from them. 
 
 A pleasing quality is given to the surface of the fresh 
 plaster cast by dusting a little French chalk over it, or by 
 warming it at a fire and applying a preparation of white 
 wax and turpentine by means of a hog-hair brush. Both 
 methods preserve the surface from dust and give to it a 
 smooth, marble-like finish. 
 
 If a mould has been allowed to become quite dry, it 
 should be soaked in water for a few hours before attempt¬ 
 ing to take a cast from it, and then the processes of 
 soft-soaping, etc., gone through. Instead of soft soap, 
 sweet oil, in which about a third of its bulk of tallow has 
 been dissolved, is preferred by many to stop the absorp¬ 
 tion of the mould. This should be applied very thinly 
 by means of a large hog-hair brush, every time a fresh cast 
 is taken. 
 
 Galvanized or copper wire or soft hemp string for 
 suspending the cast may be inserted in the soft plaster of 
 the cast before setting. 
 
 Mention has already been made of “ undercutting.” 
 This consists of the overhanging modelled portions of the 
 work, which prevent the plasticine coming readily out of the 
 
 c 
 
i8 
 
 “ THE TEA STIC METHOD ” 
 
 mould, and renders impossible the liberation of the cast 
 except by breaking the mould into small pieces with 
 chisel and hammer. 
 
 If the undercutting has been carefully avoided, or filled 
 up in the work, or removed in the mould, the result is a 
 “ safe mould,” from which any number of casts may be 
 made. 
 
 If the necessities of the work require that hollows and 
 undercutting be allowed to remain for the production of 
 bolder relief, and more vigorous light and shade, only one 
 cast can be made from the plaster mould, which is then 
 called a “ waste mould,” because it is entirely destroyed in 
 the process of getting the cast free. Gelatine may, how¬ 
 ever, be used in place of plaster as a mould, which allows of 
 almost any amount of undercutting to come away uninjured. 
 This power of making gelatine moulds upon Plasticine is a 
 great advantage, and cannot be done on clay. 
 
 The manner of using it is to take French gelatine at 
 about ii - . per lb., dip the sheets into water for a minute, 
 drain, place in a vessel surrounded by hot water, and allow 
 to boil; when the gelatine is all melted, stir vigorously 
 with a stick to an equal consistency, pour upon the 
 modelled work to a depth of about an inch and a quarter, 
 and allow some hours for cooling. 
 
PLASTER CASTING 
 
 T 9 
 
 A third kind is called the “ piece mould,” as it is built 
 up of several pieces which are retained in position by an 
 outside casing of plaster. This allows of any projection 
 even to full relief, or modelling in the round, to be safely 
 cast. The art of piece moulding, however, comes more into 
 the province of the skilled workman, and is best learned 
 by a practical lesson—in a workshop. 
 
20 
 
 No 1 
 
 N o 
 
 z 
 
 
 
 No 3 
 
 No 4 - 
 
 . 
 
 
 M o i> 
 
 the tools, har butt's plastic method. 
 
21 
 
 THE TOOLS. 
 
 The fingers are the best tools, and in all the lessons their 
 use is developed to the utmost; but for the infants and 
 Kindergarten work, for the purpose of cultivating a sense 
 of good form, accuracy, and neatness, three tools are 
 allowed, two made of wood, Nos. i and 2, having four 
 different shaped ends, chosen for their simple rudimentary 
 character, and one, the flexible stylus (No. 5), with an 
 indiarubber point. These are all that are necessary ; 
 they serve not only as the foundation for patterns when 
 impressed and modified in various arrangements on the 
 Plasticine, but also as the basis for greater development 
 by the pressure and dragging of the finger in the act of 
 modelling, and afford in their resulting combinations an 
 early stimulus towards original design. 
 
 The rudimentary shapes selected are the square, the 
 semicircle, and the angle. It is not advisable that com¬ 
 pound forms be used, but that the number be restricted and 
 
9 2 
 
 “ THE ELASTIC METHOD 
 
 chosen solely for their educational value. These tools 
 are numbered in the illustration Nos. i and 2. Every 
 encouragement should be given the little ones to try to 
 exhaust all the possible combinations in which they can be 
 used for themselves, and by their own effort. This will 
 have more effect in stimulating their interest and awakening 
 their latent powers, than dragging them through all the 
 details of a mechanical drill. It would be advisable, how¬ 
 ever, that the whole class should be at times required to 
 give attention only to what the teacher does , rather than 
 to what he says. To make such a lesson in accurate 
 observation and understanding of real value, the teacher 
 should come well prepared, with power to carry out the 
 practical lesson in an orderly and workmanlike manner, 
 avoiding all slovenly methods, and aiming at executing 
 every movement and touch with certainty and precision, 
 in full sight of the class. Object lessons which appeal to 
 the eye influence the mind and intellect more directly than 
 those addressed to the ear, and instruction is none the less 
 valuable and certain because attended with little in the 
 way of lecturing. Where words are used let them be very 
 few, explicit, and well chosen. 
 
 When the pupils are older and more proficient, these 
 simple shaped tools for the production of patterns are to be 
 
THE TOOLS 
 
 2 3 
 
 totally abandoned, and the use of the flexible stylus, the 
 boxwood, and wire modelling tools should then be intro¬ 
 duced (see illustration). 
 
 Here, again, the number of tools has been limited to 
 the utmost, and four are all that are really essential for 
 carrying out every variety of work shown in the accom¬ 
 panying illustrations. It is better in every way that the 
 pupils should learn to master thoroughly the use of one tool 
 only, than that they should be perplexed with the necessity 
 of choice from several, and end by mastering none. 
 
 In dealing with large classes, it is impossible to strictly 
 define the age period when the use of these tools and the 
 introduction of advanced work may begin ; no hard and 
 fast lines need be drawn. It is claimed for the “ plastic 
 method ” that the forward pupil need not be kept back or 
 depressed by the backward ones in any class, no matter 
 how large ; but that greater latitude for individual ability 
 and original work is possible with it than with any other 
 system. 
 
24 
 
 TABLETS. 
 
 The specially prepared tablets are the best for modelling 
 upon, and for receiving the thin grounds for drawing and 
 writing exercises. They are cut to a regulation size 
 of 9 x 6| inches, so that the exhibition or examination 
 work of a whole school can be safely stored or packed 
 for transmission in arranged boxes ; they also fit the 
 hand-desks and other apparatus used. Stout tracing paper 
 or cloth can also be used for modelling upon, and then 
 the work is capable of being rolled if not in too high 
 relief. 
 
THE HAND-DESK. 
 
 Tins has been designed to allow of the pupil holding 
 the work in his hand, and to enable him to model or draw 
 without other rest or table, either sitting or standing. This 
 independent position permits of the best light possible 
 being thrown on the work, whatever may be the limitations 
 of the lighting arrangements. The hand-desk is also capable 
 of being used at a convenient slope on the table or 
 ordinary school desk. 
 
 The arrangements for holding the tablet by a lace is 
 intended to dispense with the necessity of pins, springs, 
 etc., but they can be used if so desired. 
 
 The handle is a hollow tin case with a lid, which is made 
 either fixed or removable (see illustration, page 26), and 
 serves to hold the modelling tools together with a sufficient 
 supply of Plasticine for the use of each pupil. 
 
 The advantages of the hand-desk are evident: (1) enabling 
 a class in elementary drawing or modelling to stand or 
 
2b 
 
 BACtS ) AN Q LOOSE- H A r-J D L E_ 
 
 Hand-desk. 
 
THE HAND-DESK 
 
 2 7 
 
 sit in any position in any part of the room without the use 
 of any other desk or appliance, an arrangement from which 
 many conveniences must result; (2) saving of time in 
 getting a class to work and in dispersing for another study, 
 there being little to clear away ; (3) utilizing whatever light 
 is available by simply turning the body in that direction ; 
 (4) encouraging the use of either hand in modelling, the 
 left hand being as essential as the right in the manipula¬ 
 tion of tool, board and material, and the two hands being 
 thus intimately and responsively engaged upon the work in 
 progress, as in the art of violin playing, the sympathy of 
 movement and pressure between the two conduces to that 
 freedom, delicacy, and firmness of touch which it is of 
 supreme importance to cultivate in all arts and crafts. 
 
28 
 
 THE CASTING FRAME. 
 
 This has a two-fold use, being adapted also for holding 
 the tablets for modelling upon, as well as for casting. 
 It consists of a hard wood frame, with a loose panel 
 secured by buttons at the back and of a size sufficient 
 to take the tablets. The front is grooved at the 
 corners to admit the zinc walls which retain the liquid 
 plaster or gelatine in the act of casting, the junctions 
 being made water-tight by wire springs. 
 
 The principal use of the frame is in taking moulds from 
 finished work, and again in taking casts from the mould 
 itself—all of which is done very expeditiously and without 
 any unnecessary disorder. The zincs, with their springs, 
 form a patent attachment to the frame, and can be used 
 separately for the casting of any shaped or sized panel up 
 to the limit of their dimensions. A sheet of transparent 
 celluloid accompanies each frame for the purpose of 
 enabling the elementary classes to place an extra copy 
 underneath to model upon. 
 
2Q 
 
 CASTING FRAME AND ZINC ATTACHMENT. 
 
 6 A o k or casting frame: and loose, pa n ell. . 
 
20 
 
 COPIES. 
 
 For the purpose of carrying out the teaching, by the 
 “plastic method,” in a systematic manner in any school, 
 copies and casts have been prepared and graded as far as 
 possible to correspond with the drawing standards. 
 
 The copies consist of photographic reproductions from 
 actual modelled lessons. These are mounted on card¬ 
 board, and are of a uniform size. 
 
 The illustrations in this book are produced in a similar 
 manner, and will give a good idea of the style and of the 
 general character of the lessons, and of the field covered. 
 
 It is intended that each pupil shall have a copy to work 
 from, the hand-desk or frame having clips for the purpose 
 of retaining it so that it may be easily seen. Each lesson, 
 except in the more advanced stages, is of a progressive, 
 self-explanatory character, complete in itself. The finished 
 study, and the various component parts which represent 
 the progressive manner of manipulation, order of procedure, 
 
COPIES 
 
 3 [ 
 
 and building up, are presented in a complete series, and 
 can be comprehended at a glance. 
 
 In this way most of the lessons partake of the nature of 
 an individual demonstration by the master in the sight 
 of the pupil in such a manner that his interest and 
 emulation are at once aroused to go and do likewise. Step 
 by step, touch by touch, the work proceeds in a self- 
 evident manner. Synthesis and analysis go together, so 
 that there is no unintelligent working in the dark at frag¬ 
 mentary elements, not knowing what the finished design is 
 going to be ; the idea of the whole is present throughout, 
 and the conception is formed in the mind as to the orderly 
 manner of arriving at a result, the feeling of structure 
 and construction satisfying together the eye and the mind. 
 
 The effect of this must be a permanent good, as it 
 cultivates habitual method of judgment and analysis of 
 complex form in a way that can never be forgotten. 
 
3 2 
 
 THE CASTS. 
 
 The casts are taken by gelatine moulds from the models 
 in Plasticine, and no attempt has been made to give them 
 that objectionable machine finish which has been so much 
 complained of. They all bear the impress of finger and 
 hand work, and of such tools only as the pupil is 
 expected to use. 
 
 Each pupil should be provided with one of the easier 
 cards to work from, but it is not essential that each should 
 have a cast. One set of casts or specimens of each of the 
 different series should certainly, however, be in the posses¬ 
 sion of a school as examples and standards to be carried 
 in the mind to work up to. Occasional inspection only of 
 the actual school cast will serve to strengthen the memory 
 and afford freer scope for the abilities of all, even of the 
 most backward. 
 
 By the use of the photographic reproductions a greater 
 latitude is afforded for individuality and independence, 
 
THE CASTS 
 
 33 
 
 which, under the eye of the teacher, can easily be prevented 
 from degenerating into license. 
 
 Slavish imitation of any cast is not required, but an 
 intelligent rendering of it, aided by observation of the 
 photographic representation. This should be encouraged. 
 
 D 
 
34 
 
 EXHIBITION CASES. 
 
 The exhibition case for the protection of work from 
 dust and injury while hanging on the school walls con¬ 
 sists of a glazed frame with a movable back sufficiently 
 far away from the glass front, to allow of the showing of 
 high reliefs. A dozen specimens of the best work, 
 selected from the various classes, should always be on view. 
 A stimulus of this sort is necessary in every school; in 
 modelling, it is disappointing and depressing to young 
 people that their work should be instantly destroyed and 
 lost sight of. 
 
 Children like to keep their work, besides which it interests 
 their parents and friends. It is quite probable that very 
 little of it will be thought worthy of casting, but if much 
 time and interest have been spent in elaborating a special 
 study, the pupil should at least have the privilege, if he so 
 wishes, of retaining it, the cost of the material being so 
 slight. 
 
EXHIBITION CASES 
 
 35 
 
 If not subjected to violence, modelled Plasticine will 
 keep upon the tablets without injury, change of colour, 
 or loss of any of its plastic character, and may be freely 
 cast from at any time. 
 
 At least one exhibition case should be used for each 
 class, and it will be found that nothing will serve to 
 raise the standard of excellence, keep up the interest of 
 the pupil, and put the teacher upon his mettle, more than 
 the habitual selection of “ Honours work ” for exhibition in 
 these cases. 
 
 I) 2 
 
36 
 
 THE CABINET. 
 
 The cabinet is a plain deal box, the interior of which is 
 fitted with grooves like a photographic plate box, so that 
 the tablets may be taken out easily with their modelled 
 work either in high or low relief. Care should be taken 
 that they are placed in the box in a perfectly horizontal 
 position. 
 
 These cabinets are made to hold from twenty-five to 
 fifty cardboards, and may be used to preserve work in 
 progress from lesson to lesson ; and also, if necessary, as 
 packing cases for the transmission of work to exhibitions 
 or to examiners, &c. 
 
37 
 
 CABINET For MODELLED work.. 
 
38 
 
 REFERENCES TO ILLUSTRATIONS. 
 
 In elementary and Kindergarten work it is not necessary 
 to “ lay a ground ” upon the hand-desk, or tablet ; 
 if not for preservation the work may be done direct 
 upon them, and scraped off after the lesson. 
 
 For first work this is the easiest and most readily per¬ 
 formed, the result being clearer in form, and more 
 precise, although it will lack that softness which 
 incorporation into the “ground” secures. (Nos. i, 2, 
 
 3 . 4 -) 
 
 The lessons being completely explanatory to the eye, it is 
 not necessary to enter into detailed descriptions here, 
 but for the use of the teacher printed directions 
 for lessons will accompany the sets of copies and 
 casts used. 
 
 
39 
 
 {Harbutt's) “ Plastic Method.” Plate I. 
 
41 
 
 (Har&utt’s “ Plastic Method.") Plate 2. 
 

43 
 
 (Nariutt's "Plastic Method") Page IO9. Plate 3. 
 

 
 
 
 
45 
 
 ( Harbutt's “ Plastic Method.") 11 Cite 4 . 
 

REFERENCES TO ILLUSTRATIONS 
 
 47 
 
 For older children, and as subsequent practice, the same 
 exercises as the foregoing may be used upon a 
 “ ground.” This ground consists of a layer of 
 Plasticine spread evenly and thinly over the card¬ 
 board as indicated in No. 5 : Take a pellet about 
 the size qf a garden pea, make a roll of it between the 
 finger and thumb, and carry it by a firm pressure in 
 a line as far as it will go ; repeat these lines side by 
 side until the card is covered, then smooth with the 
 flat tool and a slight rub with the finger. The thin 
 ground so prepared should present a perfectly flat 
 surface and be in a fit state for modelling upon, or for 
 such writing and drawing exercises as Nos. 6, 7, 8, 9, 
 10, 11 and 12. 
 
49 
 
 E 
 
 (Harbutt's “ Plastic Method.”) Plate 5- 
 
E 2 
 
 ( Harlutt's “ Plastic Method") Plate 6. 
 
53 
 
 (Harbntt's “ PListic Method.”) 
 
 Plate 7 . 
 

55 
 
 Harbutt’s “Plastic Method.") Plate 8. 
 
57 
 
 >V - f 
 
 
 .m ! I ( U 111 I '9Vi<0k’fk*lf/ 
 
 ( Harbutt’s “ Plastic Method.") Plate 9 - 
 
59 
 
 ( Harbutt's “ riastic Method") Page IIO, 
 
 Plate io. 
 
(. Harbuti's “ Plastic Method.”) 
 
 Plate i r. 
 
63 
 
 (Harbutt's “ Plastic Method.") 
 
 Plate 12. 
 

 
REFERENCES TO ILLUSTRATIONS 
 
 65 
 
 In Nos. 13, 14, 15, 16, 17, and iS, the ground is laid 
 slightly thicker to admit of the pressure of the finger 
 or tool being exercised to cause greater relief as well 
 as recession in the material. 
 
67 
 
 F 2 
 
 (Harbutt's “ Plastic Method") PlaU 1 3 . 
 
6q 
 
 (Harbutt's Plastic Method.'') 
 
 Plate 14. 
 

7i 
 
 (Harbutt's “ Plastic Method.'') Plate 15 - 
 
73 
 
 (Harbutt’s “ Plastic Method.'') Page 109 . Plate 16 . 
 
75 
 
77 
 
 (Harbutt's “ Plastic Method.") 
 
 Plate 18 . 
 
REFERENCES TO ILLUSTRATIONS 
 
 79 
 
 If modelling of greater relief and variety'is desired, it is only 
 necessary to lay a still thicker ground, which is done 
 by increasing the size of the pellet, and pressing in a 
 lighter manner than in the former, or by making a fine 
 roll or rope of the Plasticine and flattening it with the 
 thumb upon the card (see No. 19). A beginning is 
 thus made for such borders and frames as Nos. 13, 16, 
 20, 21, 22, 23, 24 and 25, the patterns and designs being 
 obtained by pressing and indenting the finger or tools 
 into the material, such simple procedure affording an 
 almost unlimited scope for developing new and original 
 designs, which the cleverer pupils will have the oppor¬ 
 tunity of inventing after a little progress has been 
 made. 
 
 The geometrically-shaped tools are limited in number and 
 used only for specific purposes. In the last named 
 exercises, for example, the two shapes upon the ends of 
 No. 2 tool are used to obtain a great variety of correct 
 or geometrical forms, upon which first efforts of 
 modelling may be made. Complex shapes are not 
 required : it is better to let the pupil develop his in¬ 
 genuity by trying to exhaust all the possible combina¬ 
 tions of a few elementary forms first. The use of 
 these tools is afterwards dispensed with. 
 
8o 
 
 “ THE ELASTIC METHOD ” 
 
 The addition of finger modelling upon shaped tool work is 
 a next step, but at all stages of the work the pupil 
 should be encouraged to think and act for himself and 
 to express his own ideas. 
 
 Nos. 20, 21, and 25 are produced by the same circular end 
 of tool No. 2 only. 
 
 No. 22 by the same tool and th epressure of the forefinger. 
 
 No. 23 by the same tool and by pressure of the forefinger, 
 and at the same time a slow downward dragging 
 motion. 
 
 No. 26 (2) by the same tool and a scooping action of the 
 finger ; 26 (3) same as in No. 23. 
 
 No. 24 a and b by the square end of tool No. 2, and a 
 touch by the flexible stilus No. 5. 
 
 No. 24 c and d are identically the same forms but with the 
 addition of a gentle touch of the forefinger. 
 
 No. 27 is produced by the combined shaped ends of tool 
 No. 1. 
 
 Nos. 28 and 29 by the combinations of the shaped ends of 
 tool No 2 and a little finger work. 
 
81 
 
 G 
 
c; 2 
 
 (Ilarbutt's “ Plastic Method.") Plates 20 and 21. 
 
8 s 
 
 £z put) zz S3)V] C ] 31JSVJJ „ ijptq/v// 
 
87 
 
 (.Harbutt’s “ Plastic Method.”) Plate 2\. 
 
8 9 
 
9 1 
 
 {Hat butt’s “ Plastic Method Plate 26^ 
 
93 
 
95 
 
 7i 
 
 3 
 
 (Harbult's “ Plastic Method.") Plates 28 and 29. 
 
REFERENCES TO ILLUSTRATIONS 
 
 97 
 
 Nos.-30 and 31. The application of No. 2 tool to a 
 vertical treatment, with the addition of a touch of the 
 flexible tool No. 5. 
 
 No. 32 is formed by the same tool, No. 2, with a touch 
 added of No. 4. 
 
 No. 33 a and b are produced by the ends of tools No. 
 2 and No. 1 respectively, the pressure by the finger 
 being the same in each, and yielding almost identical 
 results. 
 
 Series, alternation, repetition, contrast, opposition, etc., and 
 other elementary principles of ornament, are illustrated 
 by these shaped tools in a practical and interesting 
 manner, and such instruction forms a good groundwork 
 for original design. The ease, neatness, and accuracy 
 with which the work is done, captivates the pupil from 
 the first, and affords that necessarv amount of en- 
 couragement, pleasure, and satisfaction at the right 
 period of his efforts, when the imagination is so much 
 in advance of the performance, that he is always 
 eager for fresh developments ; for in the Plastic 
 Method originality of arrangement is always possible, 
 while the power of execution is insensibly acquired, 
 and a higher standard of technique arrived at. 
 
 H 
 
99 
 
 (Harbutt's “ Plastic Method.") 
 
 Plate 30 . 
 
 II 2 
 

 IOI 
 
 ( Harbutt's “ Plastic Method.”) 
 
 Plate 31 
 

 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
I0 3 
 
 (/bar butt’s “ Plastic Method.") 
 
 Plate 32 
 
riale 
 
 "» -> 
 
 
 (Harbiitt’s “ Plastic^Method.") 
 
REFERENCES TO ILLUSTRATIONS 107 
 
 The next step carries the pupil still farther, and enlarges 
 his ideas in touching and varying the pressure of his 
 fingers upon the material so as to modify or alter the 
 geometrical shape, or to make quite a new one out of it. 
 The advance is natural and certain to follow. Number 
 33, for instance, shows some of the variations which 
 the hollow angle and curve shape take when pressed 
 in a variety of ways by the tip of the finger. Number 
 45 also shows developments upon a simple square, 
 and No. 46 upon a spherical shape fingered to assume 
 different patterns, and upon which no tool of any 
 description has been used. 
 
 When a child comes to model, in a true sense of the term, 
 by the application and building up of material, the 
 value of this preliminary training of eye, hand, and 
 mind, will at once be apparent. 
 
 Care must be taken not to allow the broad, simple forms so 
 produced to be destroyed by over-elaboration of 
 surface and detail. Cultivate a decisive, firm, and 
 definite use of the tool, always observing, however, 
 due caution and restraint. 
 
 The drawing and writing is done with the registered 
 flexible stylus, and pressure may be varied to any 
 extent, even to exposing the cardboard, although 
 
io 8 
 
 “ THE ELASTIC METHOD ” 
 
 greater command and delicacy of hand is shown by 
 lighter treatment. See Nos, 9, 11, 15, 17 and 18. 
 
 Drawing with an etching or fine knitting needle is shown 
 in Nos. 8—12. The edge and flat side of the wire 
 tool numbered 3 also gives great variety of treatment. 
 (Nos. 6, 7, 10, 12.) 
 
 Such exercises should be regarded as preliminary or intro¬ 
 ductory to drawing with pencil and paper. The 
 advantages of this system lie in the extreme ease and 
 facility with which the point travels over the surface, 
 the rapidity and thoroughness with which corrections 
 can be made, and the inexpensiveness of the process. 
 It effects a saving in time, energy, and means, which 
 becomes very appreciable when dealing with large 
 classes. 
 
 The tools may be cleansed from any fragment of adhering 
 Plasticine by simply pressing them on the small supply 
 of material kept on the corner of the hand-desk. 
 
 When more than usually creditable work is done, the tablet 
 can be readily unlaced from the board and transferred 
 to the exhibition case, where it may be shown for a 
 week or two as a stimulus to the rest of the school. 
 The Plasticine can then be taken off and used again 
 If it is desired to keep the work in a more permanent 
 
REFERENCES TO ILL USTRA TIONS 
 
 109 
 
 form, it may easily be cast in plaster by means of the 
 casting frame by following the instructions on pages 14 
 —19 ; it would however be only in the more advanced 
 and laterstages,where design and modelling from nature 
 are the principal features, that the work would be 
 thought worthy of such preservation. Under ordinary 
 care, and even unenclosed, the work can be kept 
 uninjured for years without the necessity of casting 
 at all. 
 
 No. 16 shows a class of design begun by the free use of 
 the circular-shaped tool, and finished by the finger or 
 flexible stylus. Exercises of this character have a 
 direct bearing upon the art of wood-carving, and they 
 can be multiplied to any extent, there being unlimited 
 scope for originality of treatment and design. 
 
 Particular attention should be paid to the character of 
 work shown in No. 3. It occupies a middle place 
 between drawing and modelling, with an element of 
 carving thrown in, and induces great freedom of 
 action. An inexhaustible field for practical work of a 
 most useful and valuable kind is here presented, with 
 the additional advantage that the result offers no 
 difficulty to expeditious casting, there being no 
 undercutting to take into account. The shapes are 
 
no 
 
 “ THE ELASTIC METHOD ” 
 
 first boldly swept on by the finger with the free motion 
 of the elbow and shoulder—this forms the beginning of 
 such objects also as Nos. 3, 15, 34 a b c> and 44. The 
 flexible stylus should then be employed fo clear and 
 refine the form; surface treatment and modelling 
 follow subsequently. No ground is here necessary, 
 so that the pupil can quickly get to work, and cannot 
 fail to become interested in it. 
 
 No. 10 is a class of work the reverse of the foregoing. A 
 ground is laid on, and the forms are broadly scooped 
 out with tool No. 3, the design appearing in 
 intaglio instead of relief. These also can be easily 
 cast; No. 55 being produced, by the same method 
 and a cast made. 
 
 Variety may be obtained by modelling many of the lessons, 
 dispensing with the ground altogether. 
 
Ill 
 
 {II arbutt’s “Plastic Method.’’) Pages i io and 145. Plate 34 a and b. 
 
113 
 
 (Hartnit's “ Plastic Method.'') Pages 110 all i 145 Plale W- 
 
 I 
 
11 q 
 
 I 2 
 
Page 161 . 
 
 Plait 36 . 
 
 Harbutt's “Plastic Method.") 
 
REFERENCES TO ILLUSTRATIONS 
 
 119 
 
 A useful exercise consists in the teacher showing to the 
 class for a few minutes or handing round such objects 
 as a pear, tomato, a leaf, or even insects and other 
 small creatures, such as frogs, snakes, birds, fish, etc., 
 asking the class to model from memory. Nothing 
 tends more to develop the artistic faculties, strengthen 
 the powers of observation and reflection, and at the 
 same time stimulate the imagination. 
 
 For those who, in the graphic arts, have never tried this 
 recourse to memory, the difficulty may appear great 
 and the license too wide, but after all the difficulties 
 are largely imaginary. There is such a thing as “ a 
 graphic memory/’ the result of visualization based 
 upon scientific lines, which can easily be cultivated, 
 and prove of immense value in the pursuit of other 
 studies and the affairs of after life. 
 
 The same procedure may be adopted by means of any 
 good drawing of objects of natural history (Nos. 34, 
 35, 06, 4§, 49 and 50). 
 
120 
 
 “ THE PLASTIC METHOD ” 
 
 When the actual modelling in high relief is begun, there 
 will not be much difficulty in following such progres¬ 
 sive lessons as Nos. 37, 38, 39, 40, 41 and 42. 
 No. 43 is more complex and not so elementary, but 
 the introduction and use of the section would be soon 
 understood by ordinary students, and open out work in 
 advanced stages. 
 
I 2 I 
 
 (Harbutt’s “ Plastic Method.") Plate 37 . 
 
12 
 
 5 
 
 (Harbutt 's “Plastic Method..”) Plate 38 
 
125 
 
 (Harhutt's “ Plastic Method?') Plate 39. 
 
127 
 
 {Harbntt's " Plastic Method”) Plate 40 . 
 
129 
 
 K 
 
 (Hariutt's “ Plastic Method") Plate 4I • 
 

 13 1 
 
 K 2 
 
 (Harbutt's “ Plastic Method,") Plate 42 . 
 
133 
 
 (Harbutt's “ Plastic Method.”) Plate 43. 
 
REFERENCES TO ILLUSTRATIONS 
 
 i35 
 
 No. 45 gives six designs based upon the elementary 
 form of No. 41—the square, produced entirely by the 
 finger without aid from any of the tools. 
 
 No. 46 is also finger work exercised upon a spherical piece 
 of Plasticine. No. 47 are the same shapes produced 
 by the exclusive use of the square-end of tool No. 2. 
 
137 
 
 (Harhutt’s “ Plastic Method.") 
 
 Pages 110 and 145. 
 
 Plate 44, 
 
139 
 
 (Itarbutt's “ Plastic Method.”) Pages I07 0.12d 135 * Plate 45. 
 
(Harbutt’s “ Plastic Method.”) Pages 107 and 1 3 5 * 
 
 Plate 46. 
 

143 
 
 (Harbutt’s ''Plastic Method.") Page 135. Plate 47. 
 
REFERENCES TO ILLUSTRATIONS 
 
 *45 
 
 Reference has already been made to modelling from outline 
 or shaded drawings of objects of natural history. 
 No. 34 (rz, b, c ) shows the general mode of procedure. 
 Thus it will be seen that drawing is the basis of the 
 “ Plastic Method ” from the beginning: (a) the 
 
 portions in lower relief are first freely laid on with a 
 sweeping motion from the shoulder; (b) the higher 
 relief and corrected proportions ; (c) the surface detail 
 and finish. In Nos. 44, 48, 49 and 50 a bolder 
 treatment on the-same lines is shown. 
 
 L 
 

147 
 
 * 
 
 L 2 
 
 {Hat-butt's “ Plastic Method.") Page I45. Piute 48, 
 
149 
 
 (H arbutt's Plasticpiethod.") Je 145 . Plate 49 . 
 
i; 1 
 
 (Harbutfs “ Plastic Method.") Page 145 . Plate 50 . 
 
REFERENCES TO ILLUSTRATIONS 
 
 T 53 
 
 The same general treatment can be applied to outlines and 
 photographs of ornament, the pupil having reference 
 only to a good cast to determine his scale of relief. 
 
 In modelling plant form the greatest care is required to 
 produce as close an imitation of the actual object as 
 the material will allow (No. 51). But when the same 
 forms are used as the elements of a design, imitation 
 gives place to interpretation of nature, and a greater 
 latitude of treatment is allowable. The principle 
 underlying the growth of nature must be observed, 
 the character, structure, and individuality of the plant 
 expressed, and no truth violated (Nos. 52 and 53). 
 
T 55 
 
 ( Harbutt's “ Plastic Method.") Plate 5 I 
 

i57 
 
 ( Harbutt's “ Plastic Method. ") 
 
 Plate 52 . 
 
159 
 
 ( Harbutt's “Plastic Method.") Plate 53. 
 
REFERENCES TO ILLUSTRATIONS 
 
 i 61 
 
 No. 54 shows a class of twisting, plaiting and weaving 
 —a pattern easily followed. It demonstrates the 
 extreme plasticity and tenacity of the material, the 
 ease with which it may be rolled out and manipulated, 
 and its general suitability for school work. Letters, 
 figures, and elementary forms can be carried out in 
 this way—by cutting the Plasticine into slips, or by 
 rolling into thin ropes as in No. 36. 
 
 No. 56 (pa ge 1) carries this idea still further by erecting 
 letters and simple forms in a vertical manner. For 
 this purpose the Plasticine requires to be harder than 
 usual. 
 
 Note to p. 4.—If it is desired to harden the Plasticine 
 for any special purpose—as in modelling very small subjects, 
 and bas-reliefs where great detail and finish are required — 
 it suffices to press a few pieces out flat, like cakes, and 
 immerse in boiling water for a few minutes, and then knead 
 well up in the hands and fingers. 
 
 To soften, add a little vaseline, and work it well in the 
 same way. These operations can be repeatedly performed 
 without injury to the paste. 
 
 M 
 
163 
 
 r 1 1 
 
 
 ya. IB Bl 
 
 w IB 
 
 ( Harbutt's “ Plastic Method.") 
 
 Plate 54. 
 
 M 2 
 
i6; 
 
 Harbutt’s “Plastic Method.") Pages 12 and IIO. Plate 55. 
 

 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
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