Clay In Action (1942)

[Music] the doctor is ready to begin his work different types of sculpture require different types of armatures to hold the clay any sturdy upright on a heavy base will serve for modeling a pit the cross pieces keep the clay from slitting of the various types of plastic materials available the sculptor has chosen water clay handfuls of clay are shaped into long narrow strips and packed over and under the cross pieces of the Armature it is advisable to use slightly drier clay for the first few strips since the center of the head must support the weight of the outer mass and therefore must remain firm with a wooden Mallet the clay is packed and shaped at the same time the strips are applied in such a way that they follow the lines and curves of the masses of the head and neck the sculpture has completed a preliminary three-dimensional structure consisting of skull face and neck upon which all the later work will be done any additional masses such as the hair in this case are now applied to the basic head the hair strips are made to follow as much as possible the natural direction of hair growth the main measurements of the model's head and neck will now be taken and marked on the clay with wooden calipers the measurement from cheek to cheek is taken and transferred to the clay the length of the face from hairline to Chin is measured with the calipers and in the same way transferred to the clay similarly other essential measurements are made the height of the forehead the length of the face from brows to Chin the length of the nose the distance from nose to Chin the width of the mouth the width of the base of the nose the width of the neck the depth of the skull at the forehead these and many other measurements are taken and cut into the clay the basic head has been marked with all the essential measurements of the model along the indicated measurements the clay is carved into flat surfaces or planes which correspond in a general way with the features of the model the impatient beginner often wants to Omit this important operation and go directly to the modeling of the forms but he will learn that cutting the planes leads him to a more careful study of the model helps him to keep the parts in proper relation to the hole and gives him greater control over his work the large primary planes have been carved out and will now be divided into smaller planes so that flat surfaces are gradually changed to Curves pieces of clay will be added in some instances as in the case of the eyes larger forms will have to be cut down working with planes is like building with blocks block is built upon block until a solid well organized structure is achieved slowly lips chin nose and cheeks emerge in more natural rounded form both large and small forms have now been produced but the planes do not yet flow smoothly into one another the thumb is the sculptor's oldest and best tool with it he Blends the plane smoothly together by removing the edges where they join the shapes and forms produced in previous operations are made to flow continuously from surface to surface during this blending of the forms the controlled pressure of the thumb works out in still greater detail The Contours of face skull and neck each feature keeps its independent form but at the same time relates itself to the whole head as he works the sculpture moves quickly from part to part keeping each at the same level of completion the scor never forgets that he is making a unified portrait even though at any particular moment he is able to work on only one part frequent wetting of the thumb helps it to move more easily over the clay by preventing clay particles from sticking to it so far the artist has been looking at the model as at any subject of similar appearance every model however possesses unique individual characteristics it is for these that the sculptor now looks this face is classical or Madonna likee being oval and rather wide at the cheekbones the lips are somewhat full and the nose moderately strong and turned up slightly in its length the truly expressive work of the sculptor begins now as he transfers to the clay his personal interpretation of the character of the model artists will interpret the same model differently depending upon the kind and degree of sensitivity they possess the sculptor brings out through slight emphasis those features of the model which he thinks best expressor character the lips are made more full the size of the nose is increased somewhat the oval shape of the face is emphasized the artist has completed those changes called for by his individual interpretation of the model every piece of sculpture requires its own particular type of surfacing the face of a young woman suggests a delicate skin texture this is produced by lightly working the wet thumb over all the fors the work is now finished the result of the sculptor's efforts is not a mechanically faithful copy of the model but a fusion of her external appearance with her essential personality as it is felt and expressed by the artist the clay portrait is now ready to be cast or fired o