Wow, this year really has flown by! I’ve just got back from a lovely long weekend at FolkEast where I ran mask decorating workshops for the second year in a row. Big thanks to everyone who stopped by the stall in the Art Arcade to take part, try masks on, or have a chat. We met so many friendly people and makers – FolkEast really is something special!
Here are some of the masks and skulls, painted by participants of all ages across the weekend. And once again I’m blown away by how awesome and different everyone’s ideas have been. Aren’t they great?
And here are a few of the masks that I was working on between sessions:
This past year I’ve mostly been posting things as I make them over on Instagram, but haven’t posted any blog-worthy projects on here for a while. That should change soon though, as I’ve just got a brand new workspace that I’m very excited about. I’ll get that set up, and then hopefully I’ll get stuck in to some of the many ideas I’ve been hoarding over the past few months!
I was buzzing to get started on mask making when I returned from Florence but it was going to take a while to gather the materials and equipment. Luckily I still had a few old half-finished masks lying around from last year. I’d left them in various states after booking my course in Florence, as I figured I’d probably learn more there than I would by completing them straight away. I wasn’t too worried about ruining them as I’d learned a bit about how to design a mask to fit a face properly since making them!
I started on the old Cthulhu mask. I managed to find a british equivalent of the paint from Florence that resulted in a much more controlled cracked effect than my attempts last year. The paints used for the colour were a bit of a puzzle and I managed to make a bit of a mess with a cat mask before giving up with them. It might just have been an error in translation, but I did some more experimenting and managed to layer up a selection of others for a fairly pleasing result eventually.
I also had a go at adding gold details to the last cat mask, and leaving the background white to see the result of the aging effect more clearly. Although it looks better in real life than this photo makes out I still think I need to work on that a bit. I also managed to cover this second Cthulhu in red fluff after trying to polish him too early. Again, hooray for learning processes.
Then, finally, I had everything I needed to start a new mask, including a rare full day off work! I made a new clay sculpture using my mask from Florence as a reference, cast it in plaster, and have left it to cure. The real test will be in a week or so when I attempt to make a first mask from the mold. Til then I’ll just have to amuse myself with other projects.
After my experiments last summer making masks I decided I wanted to learn a little more about how the papier mache mask is made in Italy. I scoured the internet and bookshop for related articles and texts, and quickly came across The Masks of Prof Agostino Dessi.
The book itself is beautifully produced, filled with full-page photographs and for anyone interested in masks it’s well worth obtaining. By that point I’d seen a lot of masks and Agostino’s stood out to me as some of the best around: unique and far more like pieces of art than mass produced partywear… So, buoyed up by the mad artistic enthusiasm that grabs me from time to time, I got in touch and asked him if it would be possible for me to visit him and learn how he does it.
And he said yes.
So, I booked my hotel and flights and set off on my own for Florence at the end of March. I’d only been to Italy once before, had a tourist-level grasp of Italian from listening to the Pimsleur Italian course for a few months (which I heartily recommend: no other language course has stuck in my mind so well. Check it out of your library for free), and was travelling alone. It was a bit daunting. Especially when I made the mistake of looking up reviews for Expedia just after booking. It’s a bit like looking up your symptoms to self-diagnose: you’ll always find links to the worst possible scenario and people don’t generally go online to post “actually it was all fine”. So, to break the trend: it was all fine. Expedia was great, communicative and easy to use. London City Airport was fast, easy to drive to and navigate internally as it’s so compact. Air France were friendly and the flight was pain-free which was nice: my hearing was impaired and my ears hurt for several weeks after the flight home from Venice last year. So, credit where it’s due, even if it’s not as exciting as “and then the engine blew up on the runway and we all had to be evacuated”… an incident involving the same airline and airport about a week earlier that I’m glad my parents told me about after the trip.
And Florence was beautiful. The people endlessly helpful, and I got chatting to so many more people than I would have if I hadn’t travelled alone. I stayed for a week, touring the city in the mornings and studying with Agostino in his beautiful mask shop every afternoon. I had the best time. THE BEST time. I learned so much, saw so much, and can’t wait to go back. It’s a gorgeous city filled with incredibly talented people, so many of whom are based in the streets around Agostino’s shop that they seem to be forming an artistic quarter, which can only be a good thing.
One of the many problems I’d had with the masks I’d tried to make before was getting them to fit a real face. I’d been making a clay replica of my own face and then building the mask on top, but then found that the finished item was too wide, narrow, too close to the eyes, or didn’t have enough space for a nose. Just being able to recreate a face doesn’t mean it’s the ideal shape for a mask.
My first day at the shop was almost entirely spent getting the proportions correct according to a set of rules that should eliminate that problem. Fingers crossed I can remember it all from my notes now I’m home!
Then I painted the undercoat for a cracked and antiqued surface, before adding the details and finish.
I’m really happy with the final result, and can’t wait to try recreating the whole process at home! Watch this space.
Having amassed a collection of blank masks, the time had come to start painting them. I’ll be the first to admit that colour is not my strongest point, so I’m glad I’ve got a few to play with!
A basic red devil mask with silly eyebrows. I’m thinking about adding some gold detailing to make it more interesting, or maybe some occult symbols across the forehead.
Here I tried a technique for an aged, cracked surface. If I ever want to do a bark texture mask, I’ll know how. The red one resulted in much larger cracks, perhaps because my red paint is much older and thicker.
I tried using gold glass paint to create the raised gold details on this chap. It worked, but I still prefer the thicker, less uniform lines with the gold leaf that I did a month or so ago.
And a cat mask. A more refined crackled surface, painted with watercolours. I’d like to age this a bit and add a layer of varnish, but I rather like it and don’t want to spoil it with a technique that fails so I’ll have to experiment a bit more before finishing him off.