FolkEast 2018

 

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!

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A very nice gent showing off his new Green Man mask

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!

Three Day Drogon

On Monday morning I realised I hadn’t started work on my dragon for the St George’s Day celebrations (the next Saturday) at the bookshop day job.  Luckily I had three days off in a row…

Having not really done this before I had no idea whether I’d be able to finish him in time, so I opted to make baby Drogon from Game of Thrones, as then if I missed the deadline at least he’d be useful for a Game of Thrones display when the next book comes out. Admittedly he’s still very rough around the edges (I’d wanted to cover him in scales, but that would have been a massive extra job), but still- he dried out in time which has to be some kind of miracle!

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I even managed to take photos while making him, so here’s a little ‘How to make a paper mache dragon in three days’ tutorial.

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A New Mask at Last

After Christmas I carried on with the cold porcelain, and I really think it has potential. You can add fresh porcelain directly on to a piece that’s already dried for a start. Here’s the Krampus face from the last post with a few more details. Now I just have to figure out how to paint him:

Cold Porcelain Krampus

I also used it to make part of this wand for a Harry Potter event.  I found a straight (ish) twig in the garden, dried and trimmed it.  I added details with cold porcelain, a glue gun and a marble, then painted it all black.  I then re-painted it to look like wood again and added some gold paint details.  Quite fun, give it a go!

Harry Potter Wand

… and some other little bits and bobs still in progress. I’ll be combining it with mask making next. Watch this space.

I finally found time (and a clear work surface) to make another mask sculpt this spring- my second since returning from Florence.

clay mask sculpt Clay Mask Sculpt

 

I had a few different ideas about what I wanted it to look like. I’d like to make a mask with rabbit ears soon, but for this face I felt the horns were better suited.

Mask design ideas

And here it is so far: cast, papier mache’d, popped out of the mold and trimmed.  Next stage is painting and finishing, along with another two devil masks and a lil Cthulhu who are all at the same stage.

Horned Mask

Mask Painting

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!

Red Devil Mask

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.

Bark Testure Mask   Red Bark Mask

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.

Sun Mask

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.

Cat Mask

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.

Cats, Devils and Cthulhu

Back to papier mache masks.  I’d started to get a little fed up with plasticine as a sculpting material.  It was difficult to work with and took forever to create the details that I wanted so I ordered some clay and a couple of airtight containers, and a couple of weekends ago finally found the time to try it out.

What a difference!  I can’t imagine how I put up with the plasticine now.  Using clay has reminded me how much I used to love working with it at school many many moons ago.  It’s so much more agreeable and much easier to smooth.  I began by making a cat and devil sculpt:

Cat Mask Clay Sculpt Devil Mask Clay Sculpt

As you can see, the cat mask was sculpted over the same clay face I used previously.  For the devil mask, I pushed the clay into a modroc cast I’d made of that same face:

Pushing clay into the face cast

This essentially replicated the underlying clay face, but in damp, workable clay.  I added details and chopped off the lower part of the face, and all this resulted in a much closer fit than the cat mask.

Devil Mask Cat Mask

The cat and devil mask popped out of the molds.  They need trimming around the eyes and edges, but otherwise it seemed to work brilliantly!  The cat mask is based on the traditional cat masks found in Venice.  I liked the simple form of them, so didn’t change too much when I made my own.

Sketching Cthulhu

And finally, I wanted to try something a little more complex, and Cthulhu seemed like the perfect subject (when is he not?).  I pondered over how to do the tentacles for some time.  The sketch on the far right would no doubt be easiest: a stylised straight tentacle look.  But who wants to go for the easiest option?  I studied some photos of classical statues with curly beards, then went for it:

Cthulhu Clay Sculpt Cthulhu Mask

The clay Cthulhu sculpt, and the resulting mask as it was this morning; a layer of glue drying so slowly that I had to hold it for the photo otherwise it’d stick itself to my favourite Generic Background paper, and we can’t have that.

In case you can’t tell, I also discovered Instagram.  I’m using it to document my mask making trials and errors as I always have my phone nearby while I work and it’s easy enough to snap a work in progress.  My camera lives upstairs in a drawer, and sometimes you have to be quick before something dries/runs/sets in the wrong place.  See what I’m up to on Instagram.

Masks and Moldmaking

After making a few masks by applying the papier mache directly onto the sculpt (see previous post) I decided I wanted a way to produce multiple copies of the same design.  This’d make it less labour-intensive, quicker, and would save me worrying about ruining hours of work on a mask by getting the decoration wrong.  So, back to the research.  In Venice, they seemed to create a clay sculpt of their design, then cast it in plaster to create a mold for the papier mache.

Plaster of Paris seems to set in most circumstances (even underwater) so I skipped the clingfilm and poured it straight over a new plasticine sculpt.  My suspicions proved correct, and it set with no problems.  I can only assume it was the glue component of the papier mache that didn’t like the plasticine in my last post.

Plasticine mask moldmaking   Plasticine mask moldmaking

The plasticine then peeled out of the mold easily, leaving a smooth surface for the mache.

Plasticine moldmaking mask

And there we go!  A replicable design.  The loose bits of mache need sticking down, the edge trimming, and a smooth layer added on top, but it still takes a fraction of the time the other method did.  Still- I’ll use the method from the last post if I want to make a one-off mask, or a more complex design.  The more complex the surfaces, the harder it’ll be to get it out of the mold.

Plasticine mask moldmaking

Red and Gold Mask

Here I experimented with a method for raised gold detailing using replica gold leaf.  Think I need some practice.  I also tried adding a wash of dark paint and then removing most of it to give an aged appearance and visually deepen the recesses.  Again, not satisfactory and will need a good bit of experimentation before I try it on a mask I like!

Gold Detailing Mask   Gold Detailing Mask

Here I used the same technique to create the raised lines, but instead of using gold leaf, I picked them out with gold acrylic paint above by just covering the whole area in gold paint, and below by trying to stick to the raised areas, and distressing the rest with another wash of dark paint.  I think it makes it look like it’s just been dug up, rather than carefully stored and aged for half a century, but there we go.

V Mask

All of this was to try and make a mask for a friend, and here’s what I produced by the end of that period of experimenting.  My first finished mask: gold leaf raised detailing on blue and gold.

Let the Maskmaking Begin…

I’ve always loved masks: from recurring obsessions with Phantom of the Opera and Labyrinth, to finding every project for my anthropology degree tended towards masquerade and transformation.  I’ve also had a good few attempts at making them throughout my life, but it’s been a while since I attempted it with any real focus on refining technique.  My early masks were thick, unweildy, lumpy papier-mache creations, better suited for hanging on the wall than wearing.

Earlier this year I went on a short holiday to Venice with friends.  As a mask obsessive, it’s somewhere I’ve always wanted to visit, and I was not disappointed!  I’m afraid I dragged my friends into every second mask shop that we saw (and there’s certainly no lack of them), turning the masks over and trying to work out how they were made, as well as admiring the amazingly skilled decoration.  Needless to say, I came back inspired and fired with determination to give mask making another shot.  I researched, bought a couple of books, and experimented for a few months.

For my first attempt I used a method suggested by Jonni Good in her book ‘How to Make Masks’, which is well worth buying if you’re interested in starting to make masks.  It uses easily obtainable materials, and results in a lightweight, smooth mask.  Jonni also runs an excellent website over at Ultimate Paper Mache filled with great tips, videos and examples of her work which helped no end.

For my very first attempt I used an old clay model of my face (I’m sure everyone has one of these lying around) and created a sculpt from plasticine on top.  I then built the papier mache directly onto the finished model:

Plasticine Mask Sculpt    Plasticine Mask Mache

Plasticine is horrible to work with, I’ll say that straight away.  Smelly, stubborn, and leaves a nasty residue on your hands.  I also discovered that it reacts badly with the plaster/glue papier mache mix and retards the drying process.  After half a week it was still gloopy, so I abandoned this mask and started afresh.

Plasticine Devil Sculpt Plasticine Devil Mache

I decided to go for a full face mask, again using plasticine on top of the clay model.  This time I covered the model in clingfilm (using vaseline to get it to adhere to the model and follow all the recesses and details), and then added the mache.  This worked an awful lot better, and the mask was almost dry in an hour.

Plasticine Devil Mask

Here’s the devil mask trimmed and after a bit of sanding.  It fits my face so well it hardly needs a cord to stay on!  There’s still a bit of smoothing to do before I paint him.  The disadvantage of this method is that once the mache is dry, you’re pretty much guaranteed to destroy the original sculpt as you pull it out of the back of the mask.  That makes this chap a one-off, so I’m a little nervous about painting him in case it goes wrong.  I decided to make a few more masks to experiment on before painting this one, and to do that I wanted a method that would let me create multiples of a particular design…