DOI issue:
No. 86 (May, 1900)
DOI article:Studio-talk
DOI Page / Citation link:https://doi.org/10.11588/diglit.19784#0280
Studio- Talk
must be arranged for in
relation to the size and
shape of the face and neck,
instead of treating the
head as a whole in relation
to the background. Again,
as different parts of a dress
and different materials will
be coloured differently,
each must be looked at as
a separate patch and de-
signed accordingly. A
piece of work which looks
quite well from the sculp-
tor's point of view before it
is coloured will often be
found to have gone all to
pieces when the colour is
applied.....Another
very important point, to
my mind, is that there
should always be a distinct
edge of modelling where
there is to be an edge of
colour. To see two masses
of colour touching each
other without any differ-
ence of plane always gives
stencilled wall decoration by katherine rayment an unpleasant feeling, I
think, and should be
avoided. This does not
quotation will be helpful to a great many students:— apply necessarily to patterns painted on drapery,
"The masses of colour," says Mr. Bell, "are the or elsewhere, or to work coloured in a vague and
first things to be settled, and one has to remember floating manner, but it certainly does apply when
that it is the shape of the mass as a whole rather the colouring is bold and rich."
than the outline of it that affects the eye. In --,
modelling a head, for instance, one must re- For the rest, Mr. Bell uses a wax medium, and
member that the hair, if it is to be coloured prepares the surface of the plaster by working over
at all strongly, will tell as a mass against the face it several times with rather a weak solution of
and neck, and both will tell against the background ; shellac in methylated spirits. " At first the plaster
the proportion and shape of the mass of hair, then, soaks up the liquid very quickly, then more slowly,
stencilled frieze
by katiierine"|r.\yment
267
must be arranged for in
relation to the size and
shape of the face and neck,
instead of treating the
head as a whole in relation
to the background. Again,
as different parts of a dress
and different materials will
be coloured differently,
each must be looked at as
a separate patch and de-
signed accordingly. A
piece of work which looks
quite well from the sculp-
tor's point of view before it
is coloured will often be
found to have gone all to
pieces when the colour is
applied.....Another
very important point, to
my mind, is that there
should always be a distinct
edge of modelling where
there is to be an edge of
colour. To see two masses
of colour touching each
other without any differ-
ence of plane always gives
stencilled wall decoration by katherine rayment an unpleasant feeling, I
think, and should be
avoided. This does not
quotation will be helpful to a great many students:— apply necessarily to patterns painted on drapery,
"The masses of colour," says Mr. Bell, "are the or elsewhere, or to work coloured in a vague and
first things to be settled, and one has to remember floating manner, but it certainly does apply when
that it is the shape of the mass as a whole rather the colouring is bold and rich."
than the outline of it that affects the eye. In --,
modelling a head, for instance, one must re- For the rest, Mr. Bell uses a wax medium, and
member that the hair, if it is to be coloured prepares the surface of the plaster by working over
at all strongly, will tell as a mass against the face it several times with rather a weak solution of
and neck, and both will tell against the background ; shellac in methylated spirits. " At first the plaster
the proportion and shape of the mass of hair, then, soaks up the liquid very quickly, then more slowly,
stencilled frieze
by katiierine"|r.\yment
267