- 1 1 I : ■ : ■ H ■ ■ ■ Digitized by the Internet Archive in 2013 http://archive.org/details/instructionsinarOOvago INSTRUCTIONS IN THE ART OF MODELING IN CLAY. By A. L. VAGO WITH AN APPENDIX MODELING FOLIAGE, ETC. By BENN PITMAN, Of Cincinnati School of Design. CINCINNATI : ROBERT CLARKE & CO. 1880. COPYRIGHT. ROBERT CLARKE & CO. 1880. CONTENTS. PAGE Preface, 7 What to Provide and how to Begin, . . 15 Tools, 17 The Face, 22 Expression of Character, . . . . 24 Modeling Stools, etc., 26 How to Support the Clay while Modeling, 27 How to Work with Cleanliness and without Waste, ....... 30 Light, . . . 31 Work before Details are Introduced, . 32 Drapery, . . ... . . . 33 Anatomy, 36 Proportion, 38 Disproportion, 40 (3) 4 CONTENTS. PAGE Method of Measuring to Secure Correct Pro- portions, ....... 41 Proportion in Children, .... 43 Conformableness of the Body to the Head, 45 Phrenology, its Aid in Modeling, ... 49 To Cast Clay Models in Plaster, . . 53 APPENDIX. Modeling Foliage, etc., 63 What to Model, 64 Tools, . . . . . . . . 67 Method of Working, 69 Modeling on Plaques and Vases, . . . 71 Modeled Work for Architectural Decora- tion, ......... 72 PREFACE. From having been frequently asked for a Book of Instructions in the Art of Modeling, and being unaware of the existence of any thing of the kind, I have presumed to furnish the information con- tained in the following pages, as being likely to supply what appears to me to be an increasing want, now that the world is growing wise enough to appreciate the fact that the mind is improved and refined by the classical turn which it receives from being engaged in such an art. To this may be added the advantage arising from the fact, that by thus employing our leisure time, many of us are weaned from such courses as tend to lighten the pocket and impair the health. It should be known, too, that, by practicing in the arts of either drawing, painting, or modeling, merely as a sort of pastime, many of the intellectual faculties (7) 8 PREFACE. acquire an acuteness which can not fail to be of advantage in every pursuit, whether of a literary, commercial, or mechanical character. In thus undertaking to give instructions in the art of modeling, namely, by means of a book, I feel that I have engaged myself to a task by no means easy to accomplish. I may say here what at the same time will be well for the pupil to know, that one practical lesson in an artist's studio is more useful to the learner than a dozen books full of theory. It is easy enough to read in a book that a mountain can be removed by shovel- fuls, but to accomplish such a thing practically re- quires much steady and untiring perseverance. I do not know that it is different in other arts, but in modeling the pupil will find that he will not become master of the art merely by looking to see what the book says. By attending to what is herein advised, the pupil will learn how to set to work, which is somewhat desirable to know, as from setting out without any previous knowledge, the wrong way is mostly adopted, and the diffi- culty arising therefrom is apt to tire, and disgust, and to discourage from any further attempt after PREFACE. 9 the first failure. It is probably owing to this that the false notion is generally accepted, that "artists must be born ; " and as such an error is apt, in some cases, to deter many from making trial of their abilities, such a fallacy should be quashed. With this object in view, I venture to say that no one can boast of a proficiency in any art that was not acquired by long and patient application. So much, then, for " born artists." It is certainly true that some persons are naturally of weaker per- ception than others ; for, while some persons can form a very correct estimate of dimensions and proportions by the eye alone, others dare not trust themselves without rule or measure. But even those of weak perception should not be deterred trying their hand at modeling on that account; in fact, I would recommend persons to engage in the art for that very reason, since nothing could serve better to develop the perception and correct the judgment. Hence the advantage of the c< Kinder- garten " system of teaching children, wherein mod- eling is included, by which knowledge is imparted not only through the ear, but also through the eye, and even the finger-ends. IO PREFACE. Those who feel diffident about producing any thing worth while the trying, may take courage from the distorted forms that fill the market in Parian ware. It should be known that all produc- tions in Parian ware shrink about one-fifth in the "firing," and previous to undergoing this process many of them warp, and what were intended to represent classical subjects often assume very gro- tesque shapes. Hence the preference, with a cor- rect taste, for plaster casts to Parian ware. In modeling, it is not always those who start with the best judgment that become the most suc- cessful in the art; for often when the eye is in ad- vance of the hand, the ''attempt," though even good for the "start," not being equal to what is desired, the tools are cast aside, and the matter ended. Those void of such qualifications as con- stitute the connoisseur are often charmed by the first effort, and thereby encouraged to go on again and improve as they go. It was my own ex- perience to be so delighted with my first attempt that I thought there was nothing equal to it in this world; in fact, I prized it so much that, as the phrase goes, I "wrapped it up in lavender," that PREFACE. is, I stowed it carefully away. I went on dab- bling occasionally in the clay, and forgot all about my original model. Some long time afterward, while searching for something else, I came across a package, and, being curious to know what it con- tained, I opened it, and beheld my much treasured model with a feeling of disgust, then as strong as my delight was great at the first. It was, of course, " disposed of under the hammer;" and this I acknowledge without shame, knowing, as I do, that the works of even great masters have sometimes been similarly subjected. I feel thankful, however, that, as an amateur, I was not too wise for myself, as, like some critics whose knowledge is not founded upon experience, I might have known wonders and have remained too clumsy to snuff a candle without putting out the light. I feel greatly inclined to believe that every teacher of music has experienced much the same thing with regard to the musical faculty, namely, that those pupils having a quick ear for music are most reluctant to go through the ordeal of learn- ing to perform on an instrument, because they can 12 PREFACE. not endure the jarring sounds which frequently occur from mistakes while practicing ; whereas, those less sensitive in this respect go through their exercises more willingly, and become proficient soonest. From these instances, it will be seen that any scruple arising from fear of failure should be abandoned ; while the idea of " born artists " must appear as ridiculous as that of born washer- women. In the preceding and what is to follow, I ht>pe that I shall not be found guilty of having tres- passed upon territory belonging exclusively to that class represented by Messrs. Moore and Burgess, who may with impunity propose as facts worthy the serious consideration of the Darwinite — that pigs lay eggs and that sausages grow on trees. That the object of this preliminary be not missed, I may add in concluding it that patience and perseverance will do much to develop, where latent, those faculties so necessary to the proper comprehension of such subjects as engage us in the affairs of daily life. Although, as a fact, no kind of training will produce faculties, yet, on this account, we may not claim the excuse of being PREFACE. 13 deficient, for, excepting in cases of idiocy, it is as unusual for a person to lack any one of the natural faculties as it is to see a face without a nose. The prospect, therefore, is clear to all who may wish to improve themselves, as far as it is possible to do so, by engaging in modeling, while success in the art will be in proportion to the diligence of the pupil. A. L. Vago. INSTRUCTIONS IN THE ART OF MOD- ELING IN CLAY. WHAT TO PROVIDE AND HOW TO BEGIN. Clay is the material generally used in modeling. That of the lightest color is preferable, as dark clay obscures the shadows by which form is, to a certain extent, rendered distinguishable. If the clay be dry and hard when procured, it should be broken into small pieces and sprinkled with clean water. It should then be left to soak and occa- sionally stirred about, so that it be moistened evenly throughout. It is possible to have the clay too stiff, as also too wet, to work it easily. When too dry or stiff add a little more water, and if too flabby and wet add a little dry clay, finely powdered. It should then be well kneaded ; this should be done by the person who is going to use the clay, as thereby the hands will become d5) INSTRUCTIONS IN THE ART OF used to its nature, and the ability to manipulate it facilitated. It is advisable to begin not on too large nor on too small a scale, nor on any difficult or intricate subject ; neither should the novice attempt to model any thing " out of his own head." Some common object should be chosen to copy from ; say an old boot, to begin with, as this may be started on a flat piece of wood, and will not need interior props to support the clay: although a peg driven into the flat board will prevent the clay from slipping off. In beginning to model do not squeeze the clay into form in the hands, but lay it on the flat board, and gradually build it up until it assumes the form of the object being copied. Before introducing any detail see that the proportions are tolerably correct. It is of the greatest importance to attend to the contour previous to putting in the finishing strokes, as where it is attempted to finish from the beginning it is likely to be found, on making a general survey, that the work on the w 7 hole is out of proportion. To correct work that has been once finished frequently necessitates much remod- MODELING IN CLAY. I J eling, unless the alteration can be effected by cut- ting out or letting in a wedge of clay, as the case may need. TOOLS. With regard to tools, much may be accomplished with the fingers, although there are three kinds in particular without which the progress of the pupil can not but be slow. These are represented in the annexed cuts. That numbered (i) is used for roughing out, (2) for reducing and making grooves, and (3) forgiving the finishing touches. With this tool numbered 3, the small end of which resem- bles the bowl of a spoon, more work may be done in one hour, and with better effect, than could be accomplished in three hours with a tool of any other shape. i8 INSTRUCTIONS IN THE ART OF The old boot, when attempted, will enable the pupil to understand better how to use these tools than words can inform. The tendency of the clay to slip or shift from its base will suggest the ne- cessity of inserting pegs, by means of which the clay may be secured to the board. When the work is left unfinished, it should be carefully wrapped around with wet cloths, for when left not thus cov- ered up, the clay is apt to get dry and inflexible. When this should happen, an occasional sprink- ling with water will restore its pliancy — a brush will serve best for this purpose. A glass shade placed over the model so as to exclude the air an- swers better to keep the clay moist than wet cloths. When the model is too large for a shade, a piece of oiled cloth laid over it may answer to prevent its moisture from evaporating. The old boot, or whatever other object may be chosen, is intended to give the "prentice han' " something of dexterity in managing the clay, rather than for producing something for its sake. Al- though there may be no desire to set any great store by the first production, yet it is advisable to bestow as much care and attention upon it as if it MODELING IN CLAY. 1 9 were intended to be sent to the Royal Academy for exhibition ; for the more proficient the hand is made by the first piece of work, the greater will be the ease of accomplishing the second. . When the model is finished, it will be well to invite a friend or several friends to inspect it, as defects are thus often detected which have been overlooked by the person engaged on the work. A person need not be a Royal Academician to be able sometimes to make suggestions which may be of advantage to the artist. A painter, while en- gaged on some pigs at a farm-house, was told by the crow-boy that "the picter is n't nat'ral, for I never see'd three pigs feeding together without one at least of them had his foot in the trough." When a fault is pointed out in this manner, and it appears evident to the artist, it is advisable to cor- rect it. A little discretion should be used, how- ever, even with regard to the criticisms of our friends, as otherwise we may fare the fate of the man who led the donkey, then rode the donkey, next carried the donkey, and got laughed at in the end, all from following the advice of several kindly disposed persons. 20 INSTRUCTIONS IN THE ART OF Should the old boot be adopted as a copy to work from, it should be filled with paper or what- ever else may serve to fix its shape, for if this gets altered after the model is begun, it will give the trouble of altering the model to the last shape. On this account there is a disadvantage in working from a flexible copy, though in some cases it might be considered convenient on the same account, since it admits of being twisted to suit the model where it is wished to avoid the trouble of working the model up to the original shape of the copy. The moral to this kind of deception is, that the cheat alone gets cheated. The business of the pu- pil is to reproduce his copy faithfully, and not to cheat himself out of that practice intended to ad- vance him to a class which should be above such chicanery. Having faithfully executed his initiatory model, the pupil will have learned how to work the clay and how to ply the tools. The next object chosen should still be neither too large nor too small, and the copy should be done nearly as possible the same size as the object being copied. This will admit of testing the proportions by MODELING IN CLAY. 21 means of calipers or compasses. It is better to work without using these until after the building up and roughing out is done, purposely to quicken the judgment with regard to dimensions and pro- portions, and then to correct by measuring before finishing off. It will be easy to take from where there is too much, and to add where necessary. At this stage I would recommend a plaster cast of the mouth for the next study. This should be worked upon until it is accurately copied, even if it should take one hour's work- ing daily for one month. Then a cast of the eye should be copied ; after which a cast of the ear. Those of classical shape are preferable.. It is advisable not to go from one to the other until the first has been well copied. The pupil may now choose such subjects as may be most agreeable to the inclination. If there be a preference for architectural modeling, a boss, not too elaborate, will make a good subject to start with. In the same way of basso-relievo, or model- ing in low relief. But this branch of the art, in some cases, conjoins that of the painter, wherein it is necessary to observe the rules of perspective, 22 INSTRUCTIONS IN THE ART OF where figures in the foreground are represented larger than those which appear in the distance. I do not know whether any rule is recognized among painters which may direct the pupil with re- gard to perspective other than that of watching his work at such distance as it is intended to be viewed from by the spectator, where the eye affords the only guide. This method of reviewing the work at a distance may be employed with advantage in every instance, during the roughing out, as there- by the general effect is brought under notice, which is of much more importance than fine finish. THE FACE. If the desire be to excel in modeling busts, the next best study is a cast of the face of the Venus di Milo (Fig. 4): copies of this can be easily ob- tained. This will be quite sufficient to test the pa- tience of the pupil ; for in this study is some hair which should be copied, first the mass, and then the minutiae. The hair, which might be considered but as a minor point, will, in practice, be found most difficult to treat ; but by diligence it may be mas- tered. The mask of St. Jerome, by Michael An- MODELING IN CLAY. 23 gelo, is the next best study. In this cast the beard is represented in masses, and not by fine lines. Where it is possible, it is better to represent hair by masses or tufts, than by lines, which give a harsh or hard effect, rather than that of wavy soft- ness (Fig. 5). Fig- 5- Fig. 4. MASK, VENUS DI MILO. MASK, ST, JEROME BY MICH- AEL ANGELO. It is of the greatest importance to copy cor- rectly the contour and inequalities of the head, at least equally so as those of the face. Where the head is represented short in proportion to the face, 24 INSTRUCTIONS IN THE ART OF the bust is apt to be regarded as that of a male- factor. In the illustrations which frequently ap- pear in Punchy malign characters are represented as such with more force by a shortness of the head. It is not necessary to believe in the principles of phrenology, but an observance of them in model- ing busts will materially assist the artist. The geography of the head, as furnished by the phreno- logical divisions, supplies landmarks whereby the ground can be reconnoitered with precision. EXPRESSION OF CHARACTER. It may be taken for what it is worth ; but if the pupil can not appreciate the fact that the head and face are indicative of character, he will be insensi- ble to the chief charm in modeling busts, and he had better turn at once to still life, where it is not attempted to make u art stand substitute for na- ture," by giving to the clay a living form, that is, an expression of life and character.* French artists, who do not hesitate to recog- * The pupil will derive much advantage from a careful study of such works as Lavater's "Physiognomy" and Bell's "Anatomy of Expression." MODELING IN CLAY. 25 nize physiognomy, excel on that account in the art of portraying character in their busts. By certain strokes they can heighten those qualities for which the character is noted. This art can not be con- veyed in writing, it can be acquired only by attend- ing to physiognomic indications while we are en- gaged in the clay. A little experimenting with this object in view will be advantageous. That the pupil may not adopt half measures by neglecting to attend to the shape of the head, un- der the impression that the face alone will answer the purpose of indicating character, I will here quote Lavater, that the importance of attending to the shape of the head may have more weight from being supported by an authority so pre-eminent. In his universally popular work on u Physiog- nomy," Lavater says, Ta^I^IS. "VKTi-ito for And full Descriptive Catalogue of everything required in painting Limoges, Biscuit, Longwy, Bennett Ware, Majolica, or ordinary China Paint- ing, including BRUSHES, COLORS, MODEL- ING TOOLS, ETC. EMERY H. BARTON, EVERY SHAPE AND KIND OF MODELING TOOLS. A. H. ABBOTT & CO. IMPORTERS OF Artists' Materials, 147 STATE STREET, CHICAGO. ROBERT CLARKE & CO. HAVE JUST ISSUED A SECOND EDITION OF THEIR CATALOGUE OF Works on the Fine Arts. Part I.— GENERAL: Art, Painting, Sculpture, Ceramics; Descriptive, Historical, and Biographical. Part II.— PRACTICAL: Drawing, Painting, Carving, Engraving, and Photography. Will be sent by mail on receipt of a three-cent stamp. A LARGE STOCK OF FINE ART BOOKS always on hand, and special attention given to the collection of Rare Works, and the importation of Foreign Books. ^JF" Letters of Inquiry meet with prompt attention. ROBERT CLARKE & CO., Cincinnati, O. ROBERT CLARKE & GO . Cincinnati. Publish the following Art Books: McLaughlin's Pottery Decoration. POTTERY DECORATION: Being a Practical Manual of Under-Glaze Painting, including complete details of the author's method of Painting Enameled Faience. By Miss M. Louise McLaughlin. Square 12mo. Fancy boards. 1 00 McLaughlin's China Painting. CHINA PAINTING. A Practical Manual for the use of Amateurs in the Decoration of Hard Porcelain. Square 12mo. Fancy boards. 75 Yago's Modeling in Clay. MODELING IN CLAY, Instructions in the Art of. By A. L. Vago. "With an Appendix on Modeling in Foliage, etc., for Pottery and Architectural Decoration. By Benn Pitman, of the Cincinnati School of Design. Illustrated. Sq. 12mo. Cloth. 1 00 Carl Robert's Charcoal Drawing. CHARCOAL DRAWING without a Master A complete Trea- tise in Landscape Drawing in Charcoal ; with Lessons and Studies after Allonge. Translated by Miss Elizabeth H. Appleton. Illus- trated. 8vo. Cloth. 1 00 Keller's Perspective, ELEMENTARY PERSPECTIVE Explained and Applied to Familiar Objects, for the use of Schools. By Miss M. J. Keller, of ■Cincinnati School of Design. Illustrated. 12mo. Cloth. 1 00 Any of the above sent by mail, prepaid, cn receipt of the price. ROBERT CLARKE & CO., Cincinnati, Ohio. _a_:R/T books FOR MODELERS IN CLAY FAU (Dr. J.) The Anatomy of the External Forms of Man, intended for the use of Artists, Painters, and Sculptors. Edited with Additions by Dr. Robert Knox. Atlas of 25 plates from Nature, and 4 from Antiques. • 4to. Plain plates $9.60; with the 25 plates finely colored 16 80 FAU (Dr. J.) Elementary Artistic Anatomy of the Human Body, for the use of Art Schools. Translated and edited by C. Carter Blake. Fine illustrations. 8vo. Paper. 2 00 MAESHALL (John). A Pule of Proportion for the Human Figure. Fine plates by John S. Cuthbert. Folio, in Port- folio. 3 60 MARSHALL (John). Anatomy for Artists. Illustrated by 200 Original Drawings by John S. Cuthbert. Eoyal 8vo. Cloth. 12 60 BELL (Sir Charles). The Anatomy and Philosophy of Expres- sion, as connected with the Fine Arts. Numerous plates. 12mo. Cloth. 2 00 FLAXMAN (John). Lectures on Sculpture, delivered before the Royal Academy. 53 pla es. 12mo. Cloth. 2 00 LAYATER (J. C.) Essays on Physiognomy. Edited by Holcroft. With 400 Profiles. 8vo. Cloth. 4 80 ROBERT CLARKE & CO'S Catalogue of Works on the Fine Arts will be sent by mail on application. 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