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COLOUR IN MODELLING
{) you miss colour in modelling?’ is perhaps one of

the questions which we, the modelling students, have most

frequently to answer. Scarcely a day goes by without a
question of this kind being asked (accompanied by condolences! ).
Modelling to me IS colour, or light and shade. It is actually made
up of ‘‘colour,’’ stunning gorgeous colour, superb shadows and
thrilling vibrating lights, subtle tones, shades, and hues. Modelling
runs the gamut of “‘colour’’ from the warm deep shadows, to the
coldest high lights. Is there-any other medium in which we are given
more living, thrilling effects of light and shade, than that of the
plastic clay? If so, we would very much like to find it. (We are, of
course, open to discussion! ).
Assuming that we have understood the Artist himself, his subject,
his emotional and intellectual intention; and speaking purely of the
colour that is wrought by his skill, we may say that modelling is
the effect of light or lights falling on various planes and forms, de-
pressions and projections. Modelling is therefore Light and Shade
in plastic form.
The modeller ‘‘blocks in’ the form in the rough proportions, finds
the elementary planes by measurements; then, as in painting, works
for the rich dark shadows by carving out, through the various tones
of warmth, to the cold of the highest high light. The last is obtained
by the building up of the projections.
The likeness is very largely dependant on the working up of the
light and shade, the design and form of the shadows cast. Therefore
it is essential that the object (or sitter) to be modelled should be
placed in such a way as to have the same angle of light falling on
both it and the model.
Modelling is fascinating. The magic of seeing the form grow under
your hands day by day, of capturing the colour by adding on or carv-
ing down, the satisfaction of creating forms and placing shadows,

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