/ I 80 A = ^^ e Al =^^ en n = r ^ =^= 33 m === 3D 7 ^ H — > 4 — ^^ o: 1 ; h = ^^ -^ M ^ == J> o = ^ = ^— ' ^52 -< 7 1^ Milton Bradley Corapany The Viay of the Clay THE LIBRARY OF THE UNIVERSITY OF CALIFORNIA LOS ANGELES STATE NORMAL SCHCX)L LOS AIJGEUEa CAlJl-ORNiA Other Works on Clay Modeling CLAY m()1)i:ling in the school room By Ellen Stevens Hildreth. Boards. Price vSO.25. A manual of instruction in Clay Modeling for the kinder- garten and school, based on the curved solids. An exhaustive and complete work. WHA r AXD HOW By H. O. Palen and Anna W. Henderson. Cloth. Price S2.00. Cha]jter HI of this book offers a short text on Clay Modeling, \vith plates of excellent models. PARADISE OF CHILDHOOD By Euwaku VVieue. Cloth. Price v$2.00. "The Twentieth Gift" in this book treats extensively of Clay Modeling, willi illustrations. MILTON BRADLEY COMPANY publishers SPRINGFIELD, MASSACHUSETTS Boston New York Philadelphia Atlanta San Francisco » » J . J J J THE WAY OF THE CLAY ^-7^ ^ y A BRIEF OUTLINE COURSE IN CLAY MODELING WITH ILLUSTRATED DESIGNS 19KS Milton Bradley Company SPRLXGFIICI.IJ, MASSACHUSETTS Boston New York Philadelphia Atlanta San Francisco 9 » • • • • , • . . . • • •• • " CorVRIGHT, 1909, BY MILTOX BRADLEY COMPANY Springfifm), ATa^-^achusetts THE WAY OF THE CLAY THE WAY OF THE CLAY THE VALUE OF IT "Representing, imitating, creating or transforming in general, is the ehild's greatest enjoyment. Bread-crumbs are modeled by him into balls, or objects of more complicated form, and even when biting bits from his cookie, it is the child's desire to produce form. If a piece of wax, putty or other jiliable matter falls into his hands, it is kneaded until it assumes a form of, which the>- may assert that it represents a baby, — the dog Roamer, or what not ! Wet sand, they press into their little cooking utensils, when playing 'house- keeping,' and pass off the forms as puddings, tarts, etc.; in one word, most children are bom sculptors." — Paradise of Childhood. Alodcling with clay has long been one of the most delightful occupations in the kindergarten and primary curriculum. i\side from the pleasure which the child derives from such work, the educational value of clay modeling is generally recognized in its excellent finger training, its stimultis to acctirate observation and its unconscious development of the artistic sense. It assists the child to com.prehend trtie ideas of form and enables him to express those ideas in material things. These are features which every teacher appreciates, and which are more appar- ent in clay modeling than in any (jther occupation or form of hand work. Modeling, ftirthermore. awakens ingenu- ity in ihe teacher and allows of an almost tmlimited range of originality. It is nf)t the purpose of this work to outline a complete or specific course in modeling, but rather to suggest a few funda- mental ideas and illustrate basic models which the teacher may. vary or enlarge u]3()n according to conditions and the material at hand; and to express these suggestions by illustrations and explanatory notes rather than by a lengthy text. The method of modeling is so obvious that an attempt to describe it in detail usuall\' results in confusing the novice and offering nothing new to the experienced modeler. First, assist the class to reproduce as nearly as possible the models illustrated, and then supplement them with other designs which are based on the same forms. By devoting tw^o periods to each of the six successive lessons, and then working out original designs on the same plan, the course here suggested may be made to extend over a term's work in clay modeling. THE MATERIAL In years past the only material used for modeling in schools has been a clay in powdered or brick form, which is mixed with water and set aside until it becomes of the desired consistency to mold readily. While this clay, when properly mixed and cared for, will produce excellent results, and really makes but little trouble, the opinion prevailing among a large number of teachers that it is mussy and troublesome has prejudiced many against its use, and consequently there are many schools where "working in clay" is unknown. To overcome all such objections to this valuable art is the mission of Bradley's Composite Clay, This material is ready for use when taken from the original box. It requires no mixing with water, makes no muss, and creates no dust. It comes in a soft, plastic condition and remains so. It never hardens, but is of the right consistency to retain its shape without shrinking or drooping, when worked into the desired model. All that can be done with brick or powdered clay — and more — may be accomplished with the Com- posite Clay. This is because of its greater cohesiveness, which allows of curving and twisting to an extent not possible with ordi- nary clay. Another feature which will appeal to most teachers is that when the lesson is over the Composite Clay may be quickly rolled together and put back in the original boxes, if desired, or wrapped in a piece of oiled paper and put away until next time. The Composite Clay may be procured in different colors — Green Cra\-, Terra Cotta and Brown — which gives a variety to the work and suggests pleasing and artistic combinations. The illustrations in this book are from photographs of Composite Clay Models, though, of course, the forms could also be produced with the ordinary clay. % THE TOOLS The best modeling tools are the fingers. The only other tools necessary for ordinary work are the wooden knives, here illustrated. A piece of brass wire hamm.ered flat and fastened to a wooden holder makes an excellent implement for fine work. A SUGGESTIVE COURSE GENERAL DIRECTIONS First give each child a small lump of the clay and allow him to roll and press it into different shapes at will, so as to become familiar with the plasticity of the material. LESSON I Normal Type: The Sphere. Basic Forms: Snow man. Sugar Bowl. Beads. Additional forms based on the Sphere. (These may be suggested by the children or worked out by the teacher.) LESSON II Normal Type: The Hemisphere. Basic Forms: Bowl. Cap. Bell. Additional forms based on the Hemisphere. LESSON III Normal Type: Ovoid. Basic Forms: Pear. Mouse. Vegetable Dish. Additional forms based on the Ovoid. LESSON IV Normal Type: The Cone. Basic Forms: Carrot. Sea-shell. Indian Wigwam. Additional forms based on the Cone. LESSON V Normal Type: The Cylinder. Basic Forms: Mallet. Fire Cracker. Wind-mill. Additional forms based on the Cylinder. LI-:SSON VI Normal Type: The Cube. Basic Forms: Ink-well. Basket. House. Additional forms based on the Cube. LESSON MODELS Six Basic Forms with Typical Objects Plate I THE SPHERE Snowman Sugar Bowl Beads NOTE: "In joining two surfaces, as the handle to the cup, prick lightly the parts to be joined with the clay knife, making rough surfaces, which join more readily. " Plate 1 Plate II THE HEMISPHERE Bowl Cap Bell NOTE: Contrast in the cap is secured by roughening the alternating sections. Plate II Plate 111 THE OVOID Pear Vegetable Dish Mouse NOTE: In making fruits with stems, a "pinch" of clay is set aside for the stem. Roll this between the thum.b and finger, making a slender stem. Then make a hole m the fruit with the clay knife or pencil and insert the stem, taking care to work the miodel at the base o: the stem to make it secure. Plate III Plate IV THE CONE Carrot Sea-Shell Indian Wigwam NOTE: Make the wigwam sufficiently thick to stand alone and flatten the apex. Stand the upright pieces on top, and smooth the clay around them. Draw in seams with the clay knife or piece of wire. Plate IV Plate V THE CYLINDER Firecraclier Mallet Windmill ^ k kT \ n^V Plate \' Plate VI THE CUBE Ink-well Basket House NOTE: The basket is supported by pieces of very thin reed around which the clay is woven. ^-^ Plate VI Miscellaneous Model: These models are mostly the work of kindergarten training students and represent results which may be attained by the average teacher. Plate VII POTTERY IN MANY FORMS Intentionally crude, but representing results which may be actually accomplished by the children. Plato VII Plate VIII THE HOME OF THE ESKIMO AND A BIT OF MASONRY NOTE: By putting a picture back of the models a realistic effect is obtained. The wall is made of oblong bricks, alternating, light and dark brown. Plate VIII Plate IX "SOUTHERN PACIFIC, No. 611" AND AN OCEAN LINER Two suggestive bas-relief models for home work. ■ 1 ^1 ^on It /^ Plate X "THE OLD OAKEN BUCKET" NOTE: The uprights supporting the roof of the well are small sticks plastered with clay. Otherwise this model is made entirely of Composite clay, cut to form, marked, and joined by overlapping. Plate \ Plate XI "MOUNT TOM" This bas-relief model will suggest buildings of local interest which the pupils may combine in making with the teacher's aid. ^' -A^ ■ ^w i mmmm nm p mmm n t mmm mmm. •MMMMa ^*Jf . Plate XI Plate XII "GRANT'S TOMB" An impressive flat design modeled by a kindergarten teacher. The Composite Clay is well adapted for work of line detail as shown in this model. Plate \1I .1 i LOS AJiGELSa CALU-'OiUMlA This book is DUE on the last date stamped below NOV 4 MAY ii 5 iao^" 0EC9 1958 mi 17 1932 ,UL 1 3 «33 ^^^ A" f NOV 1 3 193* m '^ ^ ^'^ Form L-9-10m-5,'28 '-^ KC'DlD-USn , OCTSBliW OCT 16 197^ DlSCHftRGE U«>- WW 3 SEP 30 m 1981 wvik.T'niT'^T;' S?Y CAT CALIFORl^iA Syracuse, N. Y. Stockton, Calif.