Plasticine -The Spirit of Matter, Orbach and Galkin, 1997
- nonaorbach
- Feb 13
- 5 min read
Updated: Apr 5
Medium Characteristics
Modeling clay is a flexible plastic sculpturing material that comes in the shape of blocks in all colors. It has a very specific odor and a greasy feel when kneaded. It is affected by external temperature and will therefore be hard in the winter and soft in the summer.
Therapeutic and Spiritual Significance Modeling clay is closely associated with childhood. Its comes in a rich variety of colors and is very simple to handle, thus encouraging playfulness and joy. It is easy to build with and pull apart, and lends itself to modification and change, reflecting a general atmosphere of optimism and even magic.
There is no need for complex skills in order to reach aesthetic results. The kneading process requires patience and pace, and contains the element of surprise while discovering new shades of color. Children like to mix colors by creating "snakes" and rolling them together. Strips and strings of color and shades create a colorful mix.
Additionally, with some practice one can blend a few different colors of modeling clay to create new shades. Work with it by spreading it, smearing it on cardboard or building taller structures. Since it does not dry, the work can continue throughout several sessions or be changed if necessary. It also lends itself easily to creating rich miniature worlds.
Modeling clay may evoke sensual enjoyment from the strong tactility and aggressive feelings and pleasure from smearing and "getting dirty" (with various implications).
Building with modeling clay should be done after kneading and requires an understanding of the concepts of attaching and three-dimensional structural elements. Such work requires understanding directions and volume and a tactile and physical ability to connect parts. Simultaneously, there is a need to plan, stop and evaluate what has been achieved and then organize the work that is still to be done.
This medium easily produces colorful success and compositional achievement. Works look complex and aesthetic without much effort, so the feeling of accomplishment for the unskilled is significant. Young children, for example, will use modeling clay to narrate stories and everyday situations, and enjoy the three-dimensional “real” miniature world they see in front of them, which they have created themselves. This gives them a sense of power, control, and accomplishment.
In contrast, adolescents may experience modeling clay as childish, so work by spreading, which is more like painting, may be suitable.
We found that the use of modeling clay, especially during the winter, is a significant tool for strengthening the relationship between therapist and client. Sitting together by the heater on a cold day, while kneading hard masses of material together, often develops intimate soothing conversations. The therapist is the client's apprentice, kneads hard materials for him or helps him put together various parts.
Surfaces and Tools
Thick cardboard bases are necessary for modeling clay. As in therapy, a soft and light base surface should not be used for heavy blocks of modeling clay.
Matches, wooden sticks, and pieces of cardboard can be used as supports for modeling clay structures.
Tools for creating textures: a garlic press, forks, knives, a comb, an egg slicer, etc. All can all be utilized to create textures on surfaces or parts of the three-dimensional work.
Modeling clay combines nicely with oil pastels since they share similar adhesives.
Working with Plasticine
Working on flat surfaces – young children ages 4-6 usually create flat Plasticine images, like their drawings. In other words, the figures, the houses, the sun, all lay on the cardboard surface and are attached to it. At this stage the therapist can teach them how to knead, create links and attach them to the cardboard, which should be 10-15 square centimeters. Older children usually want to build taller constructions. In this case it is necessary to teach them to knead well, and then attach the pieces so they are stable. The therapist can help them create animals, a figure or different objects out of a modeling clay block. In a three dimensional work, when placing the image on the cardboard, suggest adding the image's environment by smearing on the cardboard surface.
Teenagers and children who are experienced or interested in trying, can work by rubbing. The therapist demonstrates various techniques on the adjacent sheets of cardboard. If there is a need to create new colors, the kneading of new shades can be done separately from the work and then smeared into it. Another option is mixing colors straight on the surface, but it is advisable not to mix more than two or three shades to not create "mud" or “dirt". You should consider that in the long run, smears of Plasticine leave a "halo" of oil on the cardboard surface.
If a child needs a larger block of plasticine, it should be glued to the cardboard with plastic glue. It is also possible to cover the final work with slightly diluted plastic glue, to keep it in good condition over a long period of time. In any case, plasticine must not be kept in a warm place or out in the sun because it will melt.
Melted plasticine – Prepare a heating source in advance (such as a radiator or a blow heater), and a cardboard surface. Stick a chunk of modeling clay on a long skewer (like when skewering marshmallows), hold the skewer against the heater to warm the clay, which slowly melts, becomes quite fluid and begins to drip. Make sure to place the cardboard under the modeling clay beforehand, so the drippings fall directly on it. The result is layers of modeling clay drops, similar to candle drippings or sand drip-castles at the beach. This is a more abstract way of working, and very aesthetic. This technique is playful, with little concern for things being "beautiful" or "right". It can feel less childish than creating modeling clay figures, because the result is more abstract, and caution and maturity are required when dealing with the heat source.
Initial Encounters
Learn how to knead and then how to create "snakes" from which the work can be constructed.
Create cubes by kneading and banging the chunk on the table, and then construct a work made of cubes. (See also initial encounters with clay.)
Mixing colors - select two colors, knead them into one. Repeat to create a homogeneous new shade of color.
Create an animal out of a cylinder of modeling clay by pinching out the head, the legs, the arms and the tail.
Create a human figure out of an extended cylindrical block of modeling clay by pinching some of it to create a head, the arms and the legs. It is necessary to demonstrate and emphasize the positioning, find the right balance for the structure and select a suitable base-surface to place the work on. The legs need to be quite thick for stability.
Choose three colors and smear them side-by-side on a sheet of cardboard in different rhythms.
The text is based on The Spirit of Matter / A Database Handbook for Therapists, Artists, and Educators Nona Orbach and Lilach Galkin, 1997
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