masks-msg - 12/1/18

Theatrical masks. Period and modern.

NOTE: See also the files: theater-msg, theater-bib, jesters-msg, puppets-msg, leather-msg, masque-msg, masks-mumming-lnks, Mask-Making-art, P-Polit-Songs-art.

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NOTICE -

This file is a collection of various messages having a common theme that I  have collected from my reading of the various computer networks. Some messages date back to 1989, some may be as recent as yesterday.

This file is part of a collection of files called Stefan's Florilegium. These files are available on the Internet at: http://www.florilegium.org

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Thank you,
    Mark S. Harris                  AKA:  THLord Stefan li Rous
                                          Stefan at florilegium.org
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From: dolge at lib.wfunet.wfu.EDU (brian dolge)
Newsgroups: rec.org.sca
Subject: Re:  SCA Digest V6 #234
Date: 2 Apr 1993 10:57:18 -0500

Unto the folk of the Rialto doth Aaron Exile send wishes for all health and 
happiness.

	Geoffrey Scrymger asked about masks, masques, and the construction of both. Being amoung the theatrically impaired I can only help with the first, and
that by way of reference. Try *The Propbuilders Mask Making Handbook* by James
Thurston (Betterway Pub., 1990, ISBN 1-55870-167). It includes some general 
mask making guidelines, information on a working with a variety of period and
modern materials (including paper mache, clay, metal, plaster and something
 called "friendly plastic" the details of which I did not inquire about).
Of particular interest is a section on the comedia, it's charecters and 
conventions, including illustrations of actual period masks. The author also
attended a workshop at an Italian mask makers shop and gives an excellent 
discription of the methods used there to make leather masks. The book is well written and heavily illustrated. 
	
	Aaron Exile		Brian Dolge
	Shire of Hindscroft	Winston-Salem N.C.
 Atlantia		 dolge at lib.wfunet.wfu.edu


From: katieroz at aol.com (KatieRoz)
Newsgroups: rec.org.sca
Subject: Re: masks
Date: 26 Jun 1994 10:27:02 -0400

001482e at axe.acadiau.ca (WANDA ERNST) writes:

In the "Book of Costume" by Millia Davenport, there are a few
references to their use and one Dutch c1610 picture entitled "Fleshly
Disguises" on pg 443 which shows women wearing masks and gives a
paragraph on their use during the time.
Check his bibliography also since it contains books on accessories.

Lady Katherine Symmonds


Newsgroups: rec.org.sca
From: ejuv64 at castle.ed.ac.uk (B Webb)
Subject: Re: masks
Organization: University of Edinburgh
Date: Mon, 27 Jun 1994 08:21:39 GMT

001482e at axe.acadiau.ca (WANDA ERNST) writes:
>     I have been attempting to locate information on the use of masks in 
>medieval/renaissance culture, and have had little luck. The only references 

There are some articles by Sarah Carpenter and Meg Twycross (sp?) on
this very subject, though I'm afraid I don't have the exact reference
here (I'm in a different country from my copy!). Sarah Carpenter is at
the University of Edinburgh, she gave us a talk last year that was very
good, with references to records of how masks were made and maintained
in royal households (e.g. how much they paid the gilder, whether new
hair was needed, stuff like that). She said they were writing a book on
the subject but I don't know if that is available yet.

Hope that helps,
Caitlin de Courcy


From: gheston at nyx10.cs.du.edu (Gary Heston)
Newsgroups: rec.org.sca
Subject: Re: life masks
Date: 18 May 1995 21:18:27 -0600

In article <01HQMQC3ZIQU9I9MLJ at delphi.com>,  <ALBAN at delphi.COM> wrote:
>i'm working on a small project for decorating my house, for which i
>need information on the making of life masks. most of my sources
>seem to use plaster of paris over the face, buyt most every box
>of plaster of paris says it produces heat and is therefore very, very
>not good for putting on skin long enough for it to solidify. so, i wonder,
>is there anyone out there in the vast wasterland, er, wonderland of
>the rialto that has any experience in doing real live masks of
>people?

First, you have to put a "release compound" on the faces prior to
applying the mould material. Trying to peel plaster of paris off
of your face without having the release compound tends to take
skin with it. 

Second, apply a few thin layers over the release so you don't
dissipate too much heat on the persons' face, then build up the
back of the mask with layers of gauze and more plaster.
-- 
Gary Heston  gheston at nyx.cs.du.edu gary at cdthq.uucp uunet!sci34hub!cdthq!gary


From: corun at access4.digex.net (Corun MacAnndra)
Newsgroups: rec.org.sca
Subject: Re: life masks
Date: 19 May 1995 06:49:30 -0400
Organization: Express Access Online Communications, Greenbelt, MD USA

In article <3ph2m3$qk2 at nyx10.cs.du.edu>,
Gary Heston <gheston at nyx10.cs.du.edu> wrote:
>
>First, you have to put a "release compound" on the faces prior to
>applying the mould material. Trying to peel plaster of paris off
>of your face without having the release compound tends to take
>skin with it. 
>
>Second, apply a few thin layers over the release so you don't
>dissipate too much heat on the persons' face, then build up the
>back of the mask with layers of gauze and more plaster.

Please! Do NOT put plaster of paris on the face to make a lief mask. Not
even over a release agent. This is not how the process is done, and can
be very harmful. Use Alginate, get a stage makeup book, and/or talk to
someone who has had personal experience in this process.

Please read my previous post on this subject.

In service,
Corun
===============================================================================
   Corun MacAnndra   | This is a little souvenir I picked up on Mangus III.
 Dark Horde by birth | That was setting one. Anyone want to see setting two?
   Moritu by choice  |                                         Guinan


Newsgroups: rec.org.sca
Subject: Re: life masks
From: amethysta at eric.stonemarche.org (Amethysta of Kensingto)
Date: Tue, 16 May 95 02:51:48 EDT

Alban writes:
> i'm working on a small project for decorating my house, for which i
> need information on the making of life masks. most of my sources
> seem to use plaster of paris over the face, buyt most every box
> of plaster of paris says it produces heat and is therefore very, very
> not good for putting on skin long enough for it to solidify. so, i wonder,
> is there anyone out there in the vast wasterland, er, wonderland of
> the rialto that has any experience in doing real live masks of
> people?

There's something you can get in almost any craft store, at least 
in craft stores around here, and it's made for doing masks. It's a 
material that has a plaster-of-paris-like substance inbedded in it. It's 
supposed to be a lot like what they make casts (as in for broken bones) 
out of. I've seen it sold in strips and sheets.
        You take this material and dip it in water. Then you can put it 
on a face, or shape it any way you want. I think it dries in about ten 
minutes. I don't think we put anything over the face before putting this 
stuff on it. The only problem we had with it is that the outer surface 
tended to be a bit bumpy.
        Let me know if you can't find any in craft stores in your area, 
and if you want, I could pick you up some.
        Amethysta


From: msilver at eita8net.COM
Newsgroups: rec.org.sca
Subject: Re: Life Masks
Date: 20 May 1995 14:37:08 -0400

This may be a little more involved than you want to get 
into, but this is how we made masks when I worked 
professionally in technical theatre. Here goes:

First, instead of using plaster of paris, venture forth 
and find ye a medical supply house and buy some cast 
gauze. It already has plaster in it, and is not bad to 
work with. Also locate some big drinking straws and 
vaseline. Prepare the cast material by cutting it into 
strips about 4 to 6 inches long. (Usually, the shorter the 
better, but it makes more work...) Get a pan of lukewarm 
water, and a helper.

In a general vein, the person being cast needs to hold as 
still and natural as possible.  There is heat buildup, but 
it is not dangerous. The person may be uncomfortable, but 
will not have any burns as a result.  More importantly, do 
_NOT_ try to do this with someone who is claustrophobic. 
They will more than likely have a panic attack, and you 
still won't have a mask! This procedure makes the person 
expend a fair amount of effort and concentration on 
breathing, and that, combined with the facial covering, 
can drive  even a mildly claustrophobic person to the 
edge.

Then find your first victi... er, volunteer.  Cover their 
face in vaseline, paying special attention to any hair. 
(Speaking of hair, beards, etc, don't cast well with this 
method.) Vaseline may be hard to wash out, but plaster is 
worse if you want a mask out at the end.  Have the 
sacrifice arrange themself in as comfortable a position as 
possible with their face up and parallel with the floor.  
Get the helper to dip the strips and hand them to you as 
you apply them to the face. Overlap the pieces, work 
quickly, and smooth the strips to the skin as you go.  
When you get close to the nose and mouth, decide which you 
want to finesse later, and stick a straw in the 
appropriate hole(s). Cover the entire area you want a mask 
for (plus an inch or two for damage)to a depth of about 
3/16 to 1/4 inch. Allow to set. 

When it is hard enough to stand the handling, remove from 
the person's face, being careful not to distort the cast. 
Point out to the brave soul the way to the local showers 
and towels. Set aside on some sort of supportive blocking 
for several hours to allow the plaster to finish setting. 

Once the plaster is set, cover in the holes left by the 
straw(s). Then liberally coat the inside with a "release 
compound" - our friend vaseline works well here, too. 
Support the cast so it will hold liquid without spreading 
out, then fill with plaster or some other set media.  Let 
this set for several days, depending on the media. When 
set, you can release the cast from the image.  You can use 
the image as the finished product, or you can go on and 
build masks on this "face" using basically the same 
techniques used to make the cast.  Masks made in this 
fashion are very functional, and if made with OOP 
materials like <wince> latex and J-cloth will move with 
the wearer's face!  

One benefit to making more masks is that you can make as 
many masks from that one cast as you want, provided you 
are careful with the "face". If you are going for 
fantastic masks, you can add the additional elements to 
the mask without distorting the fit, ie adding goat's 
horn, overemphasized eyebrows, etc.

Good luck!
-------------------------------------------------
Michael Silver        msilver at hp9000.eita8net.com
         Lacombe, Alberta, Canada
-------------------------------------------------


From: corun at access4.digex.net (Corun MacAnndra)
Newsgroups: rec.org.sca
Subject: Re: life masks
Date: 22 May 1995 10:06:53 -0400
Organization: Express Access Online Communications, Greenbelt, MD USA

In article <29L75c3w165w at eric.stonemarche.org>,
Amethysta of Kensingto <amethysta at eric.stonemarche.org> wrote:
>        There's something you can get in almost any craft store, at least 
>in craft stores around here, and it's made for doing masks. It's a 
>material that has a plaster-of-paris-like substance inbedded in it. It's 
>supposed to be a lot like what they make casts (as in for broken bones) 
>out of. I've seen it sold in strips and sheets.

These are plaster bandages, and are put over the Alginate, NOT on the face
directly.

Please, please, please!!! Do not put plaster of paris or plaster bandages
directly onto your face. Talk to the theatre department of your local
University, professional makeup artists or your local theatrical supply
outlet.

If you're going to do this, PLEASE do it right! I have used Alginate in a
professional setting for theatrical makeup and I know what I'm talking about.

In service,
Corun
===============================================================================
   Corun MacAnndra   | This is a little souvenir I picked up on Mangus III.
 Dark Horde by birth | That was setting one. Anyone want to see setting two?
   Moritu by choice  |                                         Guinan


From: NEFERTITI <gina at delphi.com>
Newsgroups: rec.org.sca
Subject: Re: life masks
Date: Wed, 24 May 95 22:53:40 -0500

Greetings milord Corun,
 
After having given my advice, and then having read all of your posts, I
wish to agree with you, however, from my personal experience, life mask
casting with Plaster of Paris is not impossible, nor is it VERY BAD.  I
grant you it is not nearly as good as Alginate (Thank you...I could not
think of that to save my life!) but it does work.  Alginate is most
definitely better!  Being somewhat flexible, it is certainly easier to
remove than plaster.
 
In all things else, we agree totally, and your advice is very sound...but
then, I am a serious risk-taker *big Grin*...not necessarily to recommended
for the uninitiated!
 
BTW, where did you study and work...and why did you give it up?  Theatre I
mean?  Just curious. <G>.  I gave it up 20 years ago...for marriage.  In
retrospect I should have said no to marriage, and kept the theatre!! <G>.
 
In your service,
Ingeborg


From: NEFERTITI <gina at delphi.com>
Newsgroups: rec.org.sca
Subject: Re: life masks
Date: Wed, 24 May 95 22:38:01 -0500

<ALBAN at delphi.COM> writes:
 
>i'm working on a small project for decorating my house, for which i
>need information on the making of life masks. most of my sources
>seem to use plaster of paris over the face, buyt most every box
>of plaster of paris says it produces heat and is therefore very, very
>not good for putting on skin long enough for it to solidify. so, i wonder,
 
Greetings milord Alban from Ingeborg Synnove av Viken,
 
Regardless of what the box says, Plaster of Paris *can* be used successfully
for life mask casting.  I had it done myself a number of years ago and
I didn't find it uncomfortably hot.  Yes, it does get warm, and it is
imperative that you keep your "victim" (?) comfortable and calm because it
does take a while to set.  It probably is not VERY good for the skin, but
it is not very, very bad...from my experience.
 
I do suggest that you 1) obtain a book on theatrical make-up techniques...
a good one.  I found one the other day in a used bookstore that was the
very same textbook we used when I was in theatre school.  A lot of them do
explain how to do a life mask.  2) Before you apply the Plaster of Paris,
if that is what you will use...be sure to liberally coat the eyebrows,
eyelashes, sideburns, or whatever facial hair to make sure the plaster does
not remove it when it hardens...*very painful*!  3) Check a dental supply
house in your area...they carry several different products which are useful
in making life masks.  One is molding material that they use for dental
impressions...sorry, can't remember the name...and the other is dental stone.
It is like Plaster of Paris, but it gets very, very hard, and is durable.
It is used for making the positive after you have your negative cast.  4)
It is very important that your victim be able to breathe for the 15 minutes
or so the plaster is hardening.  We used soda straws (large ones) in the
nostrils.  Please sure that you stay right with the person that is wearing
the plaster, and calm them and talk to them.  Some people get very, very
panicy with something the consistency of thick mud all over their face.  Also,
be sure to do the mouth area last to give them a many stress free minutes
as possible...and be sure to caution them not to move their face.  Avoid
making them laugh.  It will ruin your work.  Use a latex bald pate (avail-
able in any theatrical costume shop) to protect the hair, and don't put the
plaster to far back onto the ears....it will be hell to get off!
 
Hope this helps!  If you need more information, I will try to accomodate.
 
Ingeborg Synnove av Viken


From: kkozmins at mtholyoke.edu (Kim C Kozminski)
Newsgroups: rec.org.sca
Subject: Re: life masks
Date: 26 May 1995 17:48:18 GMT
Organization: Mount Holyoke College

	You can use plaster bandages, rather than plaster itself for 
making a face-casting, you can also use a material called "Moulage" which 
is a soft rubber that can be reused, I've had good sucess with both.  
Having been on the "Victim" side of castings with both alginate and 
plaster bandages I found the bandages much more comfortable than having 
that cold iccky glop poured down my face.
	If you worried about plaster bandages (or Alginate) damaging 
skin, do a patch test on the inside of the wrist first.  When using 
bandages put moisturizer on first, then petrolium jelly on eye-brows, 
hair-line and facial hair.  Make sure there is no beard stubble! this 
really stings when the cast comes off.  I usually use a cap made from an 
old nylon stocking to cover hair.  I was taught in grad school to simple 
be careful of the nostrils, and not cover them, the subject can blow 
excess plaster out of his nose if necessary.  You can also use straws, 
but they are wicked uncomfortable.
	The advantage of using bandages is that they are easy to obtain 
(any medical supply place has them) cheap, and they do not heat up much.  
They also take only about 10 minutes to dry and they are light wieght.  
to make a positive casting fill the nostrils in with modeling clay, make 
a "nest of newspaper for the casting in a plastic dish-pan, and pour the 
plaster into the cast.  Bob Kelly (theatrical make-up) has  a decent 
video of this process.  His company is located in NYC.
	I've taught make-up and mask-making at two colleges and used this 
process extensively for mask-making, so far I;ve had no complaints of 
damaged skin, one woman even said it improve her complextion!
		Good luck!
			KC

kc/Roen


From: lynx at shakala.com (Lynx ShadoPanther)
Newsgroups: rec.org.sca
Subject: Re: life masks
Date: Tue, 30 May 95 22:57:23 PDT
Organization: Shakala BBS (ClanZen Radio Network) Sunnyvale, CA +1-408-734-2289

NEFERTITI <gina at delphi.com> writes:
> <ALBAN at delphi.COM> writes:
> >i'm working on a small project for decorating my house, for which i
> >need information on the making of life masks. most of my sources
> >seem to use plaster of paris over the face, buyt most every box
> >of plaster of paris says it produces heat and is therefore very, very
> >not good for putting on skin long enough for it to solidify. so,
>  
> Greetings milord Alban from Ingeborg Synnove av Viken,
>  
> Regardless of what the box says, Plaster of Paris *can*
> be used successfully
> for life mask casting.  I had it done myself a number of years ago and
> I didn't find it uncomfortably hot.  Yes, it does get warm, and it is
>>imperative that you keep your "victim" (?) comfortable and calm because
>it does take a while to set. It probably is not VERY good for the
>skin, but it is not very, very bad...from my experience.
> it is not very, very bad...from my experience.
>  
> I do suggest that you 1) obtain a book on theatrical make-up techniques.

Greetings gentles,
I am still a lurker mostly & not yet a member of the Society... however,
I thought that perhaps a couple comments from recently observed life
cast demo (panel, BayCon, experienced costumers) might be welcome.

1. I second the above suggestion on theatrical techniques.
2. In watching the demo... First they started by gluing down with medical 
adhesive, a laytex skull cap, to the "victim's" forehead & cheeks. She 
also used straws for breathing (tho through the mouth). Next, they 
covered the full front of her face in a material called Alginate. (They 
stressed reading the directions 2x before mixing & keeping the bowls for 
mixing the alginate permantly seperate from the ones with the plaster of 
paris!) The Alginate went on rather like pancake batter. (It may be 
available from Dental supply or Theatrical supply if I am remembering 
correctly.)  ...After that set so it was no longer runny (note: it also 
feels cold even after "drying"). ...Then they used plaster of paris 
soaked bandages to give the alginate mold hardness. ...These were gotten 
from a medical supply company (cheaper than at the theatrical supply) 
(Same type as used for casts.)  I think they put on about 3 layers. 
...And little strips around the straw holes.  Setting of the plaster 
was indicated my heat & hardness. (It was described as comforting as a 
facial & quite good for the pores of the skin.)  After the plaster 
hardened, the straws were removed & the "victim" leaned forward to remove 
the mask. (Note: before removing the straws she was told to gently wiggle 
parts of her face to loosen it from the alginate. ----And yes, a layer of 
vaseline was recommended for beards & moustaches so you wouldn't be 
forever removing alginate from them.) :) 
...They then poured a plaster like material called "UltraCal" into the 
mold to make the positive ...they said it will finish setting in 2days & 
is quite hard.

3. Also remember milord's advice above about keeping the "victim" calm. 
This was also mentioned in the demo.  One bit of advice was to keep 
talking to the individual even though they can't talk back. (It is very 
soothing.)      ...Also of note was a story of how Steven Segal, macho
as he felt he was, was not one to be able to undergo having his face 
covered in a life mask. 
---So think carefully about how you feel about undergoing this & who 
could be around to help before you start.

I hope this helps.. My apologies for this being so long, 
                Best Wishes,
                        Lynx GreyShadow
------------------------------------------------------------------
Lynx ShadoPanther  - lynx at shakala.com 
Shakala BBS (ClanZen Radio Network) Sunnyvale, CA +1-408-734-2289


From: Jan.Wagner at f56.n105.z1.fidonet.org (Jan Wagner)
Newsgroups: rec.org.sca
Subject: Re: life masks
Date: Fri, 02 Jun 1995 06:25:00 -0800

Dear Friend,
   I have a couple more suggestions in regard to life masks. Working 
for an art material retail store, we receive many inquiries in regard 
to this subject. The gentles posting information was excellent. We 
recommend to use generous amount of vasaline over the entire face prior 
to the application of the medium used. For two reaseons: the maske will 
be easier to remove and secondly it is less iritating for the skin.
   Aliginate can also be found at art supply stores (many dyers use the 
product in dying fibers). There is a plaster of paris gauze that is 
also available. The trick is to cut it before you use it into smaller 
strips(about 4-5") and cross layer by imersing it first in water. If 
you lay the gauze in on one direction, it will either come apart or 
be weak.
                      hope this helps,
                      Companion Gytha Anora ni Keran


From: connect at aol.com (CONNECT)
Newsgroups: rec.org.sca
Subject: Re: Headware, footware, and Masquarade balls in period?
Date: 21 Aug 1995 09:36:12 -0400

Kaspar von Tirols, Chronicler/Herald for the Canton of Parvus Portus said:

>>>3. Some references/texts on masquarade balls in period.<<<

Greetings fellow Chronicler!  My focus is on Elizabethan, so I can help a
little there. If that's not the timeframe you're looking for, then I won't
be of much help. <grin> There is a wonderful book called Entertaining
Elizabeth I that is a great start for info on masque balls. I've also seen
a book of minatures, Hilliard is in the title I think, that contained b&w
photos of painted minatures done of people in masque costumes.

The courts of Henry VIII and Elizabeth I were pretty lively, and had a lot
of entertainment, so if you can find books on the courts, and not the
people, you may be able to find the detailed info you're looking for. I
hope I've been helpful.

Yours in Service,
Rosalyn MacGregor of Glen Orchy
Pattie Rayl of Ann Arbor, MI


From: merimask at aol.com (MERIMASK)
Newsgroups: rec.org.sca
Subject: Re: maskmaker at Pennsic
Date: 11 Apr 1997 08:28:14 GMT

>> My friend was showing me a  video of her trip to Pennsic last year.  The
video showed very briefly a mask-seller with these fabulous cat and animal
masks.<<

That would be me.  My SCAdian name is Meridith the Maskmaker, and I make
leather masks of all sorts.  All my designs are originals, and all are
hand-shaped and carved out of 8 oz leather.  I've invented a method of
maskmaking using very heavy-weight leather with durability for use in the
SCA in mind. :-)  If you're interested, I have a scanned page of my
artwork in jpg format that I can e-mail to you.  Contact me at MERIMASK at 
aol.com  if you'd like me to send this out to you.  Prices upon request.

PS... I'll be back at Pennsic again this year, but arrive early if you're
looking for something in particular.  Last year, I was sold out by
Wednesday afternoon. :-)


Date: Sun, 10 Aug 1997 23:48:06
From: Edwin Hewitt <brogoose at pe.net>
To: sca-arts at raven.cc.ukans.edu
Subject: Re: Renaissance Masquerade Information

>I forgot to ask for help in any and all information regarding Renaissance
>masquerade and masks.  We'll have lots of people interested in designing and
>making their own masks, and I'd like to keep them as period as possible.
>
>Gillian
>MoAS of Ard Raudh, Artemisia

I heartily recommend the book, "Commedia dell'Arte, an Actor's Handbook,"
by John Rudlin, published by Routledge, London and NY, 1994,
ISBN 0-415-04769-2 (hardback) or
ISBN 0-415-04770-6 (paperback)

It has a very good section on making leather masks of the period you
require.  Even if you do not go through all the effort the art requires,
the illustrations alone will help give you an idea of what the masks
SHOULD look like.  

Edwin


Date: Mon, 29 Sep 1997 12:02:27 -0500
To: bryn-gwlad at Ansteorra.ORG
From: Dieterich <cjw at vvm.com>
Subject: Re: BG - Masks for St. Oligardio

Kirsten wrote:
>For the Feast of St. Oligardio the Gruesome, are we talking say Mardi
>Gras 'ish masks for something to start from?  Since I assume feast
>usually means partaking in food and drink, half masks would be most
>servicable.  Anyone know off-hand what period masks were made of?

I have seen a number of 15th and 16th C. Fasching Masks and all of them were
done in papier machez. Some of these are quite small, half-faced affairs
while others are as large as five or six feet in diameter.  (Fasching is a
Bavarian festival marked by a week of dressing up, getting squiffy, and
fooling around with folks you might otherwise leave be) 


From: Nils K Hammer <nh0g+ at andrew.cmu.edu>
Newsgroups: rec.org.sca
Subject: Re: Masks and Mask-making
Date: Mon, 16 Nov 1998 17:47:39 -0500
Organization: Computer Science Department, Carnegie Mellon, Pittsburgh, PA

The late period Venetian long nosed leather mask seems to be
the one I see more than any other. The leather is stretched
on a carved wooden form. I think that there was a small set
of standard masks for the traditional commedia del arte
characters. After returning from Venice, some friends and I
_almost_ bought one, and said that we would make our own
wooden form redesigned to mould them with space for glasses,
but have not done it yet. 

Since I am not yet prepared to offer you the best, here is the cheapest:
http://www.contrib.andrew.cmu.edu/~nh0g/nils.html

Print it, draw feathers or something on it and tape the beak on.
nils k. hammer


Date: Sun, 13 Dec 1998 13:59:29 -0600 (CST)
From: "J. Patrick Hughes" <jphughes at raven.cc.ukans.edu>
To: sca-arts at listproc.cc.ukans.edu
Subject: Re: Researching the past - question

One of the best way to get at period Italian masks is in the number of
books on Commedia del Art. Several have examples from period (at least the
contemporary pictures) and some have directions on how to make the leather
masks.

Charles O'Connor


Date: Sun, 13 Dec 1998 21:39:52 PST
From: "T Cardy" <otterbabi at hotmail.com>
To: sca-arts at raven.cc.ukans.edu
Subject: Re: Researching the past - question

>I'm currently researching the history of Masks & Masquerades -
>predominately the Venetian Carnival (Circa mid-12th to 16th).
>
>And although I've managed to find fleeting references to diverse and
>twisted sumptry and civil laws regulating the use and wearing of the masks,
>I can find no quotable source (listing date proclaimed, full law etc).
>
>Can anyone suggest where my next search should begin? (ie. specific
>Universities; Italian law societies).
>
>Since I can not speak or read Italian the source needs to be in English
>(or I need to find an Italian scholar susceptable to chocolate &
>back-rubs....)
>
>Mari de Paxford

These are few titles that may help - most are not in print, but might be
available in your local library:

Commeddia dell'Arte - A scene study book, by Bari Rolfe, Oakland, CA:
Personabooks

The Italian Comedy, by Pierre Louis Ducharte, 1929.  Translated from the
French - re-released by Dover books in 1966

The Commedia dell'Arte, and the masks of Amoleto and Donato Sartori, By
Alberto Marcia 1980 (this is in Enlglish, but is published in Italy)

The Prop Builder's Mask Making Handbook, By Thurston James: Betterway
Books (currently in print) ISBN:  1-55870-166-4

Although these are primarily for Commeddia dell'Arte - they all have
bibliographical info in them...more sources to look around for.  Good
Luck!

Timothy Van Vlear


[submitted by Magnus <magnusm at ncsu.edu>]
Subject: FW: Period mask-making (sources?)
Date: Thu, 24 Dec 1998 11:07:20 -0500
From: "Mohajerin, Leila" <mohaj001 at onyx.dcri.duke.edu>
To: "'atlantia at atlantia.sca.org'" <atlantia at atlantia.sca.org>

Poster: Ryan W Snead <rsnead at osf1.gmu.edu>:
>I plan to attend a masqued ball in Janurary, and I am seeking information
>on what materials and styles would be considered period for masks.
>(although I am sure I could make several uneducated guesses!)
>
>Given my limited time and resources, I am looking more for ideas (pretty
>pictures) and basic know-how than documentability. Any thoughts?
>
>William of Rencester

Leather, wood, and ceramics are some of the oldest materials that
masks are made from. They, however, probably take more time than you
have between now and January.  Paper mache is also an authentic
medium, and you can find directions for making things in most
children's activity books.

Another material was fabric.  Sized fabric can retain a shape and be
relatively comfortable and durable. Fabric is quick.

For a modern method of making these age old masks, you will need:
Fabric (almost any will do...felt works best because it will  stretch
in any direction, and is therefore easier to  contour to a human
face....noses in particular are hard to do.) I would not
recommend polyesters since, besides not being period, they don't
seem to bind  well with the sizing. Another thing to be wary of,
fabrics with a nap or fur.  Since you are emursing the fabric
in glue, the nap or fur will become all matted and icky.  It is
better to make a base of a different  fabric, and then cover it with
the plush fabric or fur by sewing or gluing on the underside only.

Glue...Water soluble is the easiest to use, however, if you   sweat
proficiently, your mask will start to get soggy and loose shape.
Elmers white glue and wood glues are good.  Another solution I
have used are the fabric stiffeners, such as Aileen's, that are
found in  fabric store craft sections. The glue must be able to
permeate the fabric, so most acrylic, spray or gel glues absolutely
will not work.  You also will have this on your face and around
your nose, so do not  use anything that gives off fumes.  Even when
dry, I have known people to become discomforted by fumes
from glues in masks.

A mold...Do NOT try to put it on a living face!  You can build
up a mold from modeling clay, carve it from wood....or buy a head
form from a beauty supply  shop (I think they cost around $2-3's).
The   styrofoam heads have kind of small delicate faces, so you
still might want to pad them up a bit.  There is some
flexibility with them masks when they are done, so you might be fine.

Some alluminum foil.
tape
straight pins, or T pins

Here is what you do:
First of all, decide what you want your mask to look like.  For masque
balls and performances, 1/2 masks were quite popular since they were
cooler to wear, and easier to speak and be heard from.

Prepare the head- Get it the shape you want it.  Often it helps to
only have the front half of the head, with a flat back, so that it
will lie face up.  If using the styrofoam, you can chop off the back
1/4 of the head. Make the face the shape you need to fit YOUR face (if
your mask is vastly different in facial structure than yours, you will
do that on the outside, not the inside...it needs to fit close to your
face to stay on and feel comfortable)
Cover the head with the foil.  You should tape the ends down in back
so that it does not shift while you are working.

Soak fabric in glue (or fabric stiffener) until it is thoroughly
saturated.

Place the fabric onto the form.
Start smoothing out the fabric onto the form.  Begin with the nose and
work up toward the brow and then into the eyes.  You will be cutting
out the eye holes later, so extra lumps over the eyes are not a
problem.

Once the whole thing is smoothed over, let it dry. I have used an oven
on a very low temp, when I was in a hurry and the air was so humid,
nothing was drying.  You could also use a hairdryer.  Caution should
be used with both of these since the fabric could scorch or burn or
melt.

If you have thin fabric, satin or such, you should paint another coat
of glue on the dry face and let that dry again.
Completely!

Now, carefully peel up the mask.  You can remove the whole thing, mask
and foil from the head, and then peel the foil out of the interior of
the mask.

You should carefully, lightly paint with glue on the inside to help
seal fabric from your perspiration.

Let dry again.

Now you can decorate the mask in any way you like.

Places to get inspirations are pictures of theater and theater history
books. Ancient Greek, Comedia del Arte, the Miracle plays, and
Elizabethan Theatre (Inago Jones).  But, people were as creative then
as now, and just about anything went, depending on the desired effect.

Sveva la Lucciola


Date: Mon, 17 May 1999 12:27:23 -0400
From: rmhowe <magnusm at ncsu.edu>
To: sca-arts at raven.cc.ukans.edu, Merryrose <atlantia at atlantia.sca.org>
Subject: Mask Making Links Pages

http://www.angel-mask.com/masklinx.htm
http://www.masks.org/

This should keep 'Vard busy for a while. Masked Balls anyone?
These pages contain instructions for making all kinds of masks
and links to mask makers.

Magnus


Date: Mon, 17 May 1999 09:54:59 -0700
From: Kenneth J Mayer <domus at juno.com>
To: sca-arts at raven.cc.ukans.edu
Subject: Re: Mask Making Links Pages

For what it's worth, while this site has some interesting links, most of
it the details from any of the sites given are rather sketchy. However,
the recommendation for this book:

The Prop Builder's Mask-Making Handbook, by Thurston James, published by
Betterway
               Books, ISBN 1-55870-166-4.

Is the best thing there. It is a fantastic book for anyone interested in
mask-making, and the section on leather Commedia masks is fantastic. The
Golden Stag Players (West Kingdom acting troupe) are working up a
Commedia for 12th Night, and are relying heavily on this book as a source
of information on making the proper masks ... (we are partly done with
the first phase of the mask-making portion of the project ...).

Details on what we're doing can be found at:
http://ww.mindspring.com/~hirschv/gsplay/gstags.htm

Check out the "Twin Captains" bits, including the "Diary" that I've been
keeping going ...

Hirsch


From: AgnesVF <agnesvf at netzero.net>
Newsgroups: rec.org.sca
Subject: Re: Making Leather Masks for Masquerade Balls
Date: Mon, 16 Aug 1999 06:41:26 -0800

Well the lady on this page
http://www.angel-mask.com/movindex.htm suggests
The Prop Builder's Mask-Making Handbook, by Thurston James,
published by Betterway Books, ISBN 1-55870-166-4 as the must
have book for learning to make leather masks. I myself am
interested in the subject although a little more for my
husband's sake(he's the leather worker).

Lady Agnes von Frunsberg


From: betnoir <betnoir at earthlink.net>
Newsgroups: rec.org.sca
Subject: Re: Making Leather Masks for Masquerade Balls
Date: Mon, 16 Aug 1999 10:11:20 -0700

You might try the following:

See if you can get a 'full-head' mannequin.

Cut out the leather in the shape you wish, wet it, and then mold it to the
mannequin.  Keep rewetting and molding until the leather takes on the shape of
the mannequin face.

Then, you can cut out the eye/nose/mouth on the leather.


From: "wolffe" <wolffe at onslowonline.net>
Newsgroups: rec.org.sca
Subject: Re: Making Leather Masks for Masquerade Balls
Date: Mon, 16 Aug 1999 18:39:17 -0400

betnoir <betnoir at earthlink.net> wrote 
> Cut out the leather in the shape you wish, wet it, and then mold it to the
> mannequin.  Keep rewetting and molding until the leather takes on the
> shape of the mannequin face.
>
> Then, you can cut out the eye/nose/mouth on the leather.

If in the end, making your own mask becomes too much. I HIGHLY reccomend
Cheryl's masks at Angel-Mask. I order the Spitfire Dragon one for our Masque
Ball here in Oct. She did it to my specifications for NO EXTRA money,and its
beautiful. comfortable and everything. She's great to work with too.

-Wolf


From: drgnflydsn at aol.com (DrgnflyDsn)
Newsgroups: rec.org.sca
Subject: Re: Making Leather Masks for Masquerade Balls
Date: 18 Aug 1999 01:48:17 GMT

Lady Agnes Von Frunsberg posted:
<snip>
>The Prop Builder's Mask-Making Handbook, by Thurston James,
>published by Betterway Books, ISBN 1-55870-166-4 as the must
>have book for learning to make leather masks.

This is an excellent book for all forms of mask making. The section on leather
masks is from a class the author took in Italy from a master craftsman.
Detailed photos are included.
My suggestion would be to also look for classes. This is an extremely
challenging art form. Hands on experience can make all the difference. 
As mentioned by several folks already Angel-Mask has some of the best pricing
and quality on the market.
The mother of all mask sites to see masks from around the world is
http://www.masks.org/
I own masks form several of the artists listed. : 0 )

Ronda
~~~~~~~~~~~~~~~~~~~
Dragonfly Design
http://members.aol.com/DrgnflyDsn
Masks, Historical Clothing Patterns, Garb


From: grhardh at aol.com (Grhardh)
Newsgroups: rec.org.sca
Subject: Re: Making Leather Masks for Masquerade Balls
Date: 20 Aug 1999 04:37:24 GMT

I must second or third the recommendation  of the book so described it is
excellent in walking you through the steps needed to create a leather mask. As
far as my reading has lead me masked balls where not a happening thing during
the middle ages as such, mostly in the theatre or on certain holidays long
since lost to antiquity and in some places and times outlawed as the person
wearing a mask was thought to be not in possesion of there own personality at
the time of wearing.

  If you would like to read more about the subject I would recommend "Comedia
dell'Arte-An Actors Handbook"by John Rudlin ISBN 0415-047706 or "Medieval
Theatre in Context" by John Wesley Harris ISBN 0-415-06782-0 both of these will
give you some background on mask usage of the era. 

 After you have made a clay model and a plaster mold of your desired mask shape
it takes about 3 to 6 hours to form it in leather(depending on the complexity
of the design). They are really great fun to make and quite the conversation
piece(like we dont have enough of thoughs already).

  Good luck and hope this helps alittle.
     Gerhard Helmbrecht von Offenbach
 Guildhead-Gyldenholt Leatherworkers Guild       


From: drgnflydsn at aol.com (DrgnflyDsn)
Newsgroups: rec.org.sca
Subject: Re: Mask making
Date: 30 Sep 1999 00:42:19 GMT

Lady Catherine Peacock posted:
<snip>
>I'm interested in trying my hand at mask making, especially >ones in the style
>of Mummers or the Commedia del arte.

The prop builder's Mask-Making Handbook by Thurston
James contains information on how to build leather
masks using traditional methods. He does show masks
built on wooden forms.
I don't work in leather so I can't offer much advice
on this method.

Try http://www.masks.org/

Its the mother of all mask sites. : 0 )
Artists from around the world are featured. It probably
wouldn't hurt to contact a few artists to learn more
about historical practices. 
If you want "the look" of historical masks you might find
paper to be much easier and less expensive. Leather can
be spendy if you plan to make dozens of the masks for a
masked ball. 
You can paint the masks to look like leather.

Ronda
~~~~~~~~~~~~~~~~~~~
Dragonfly Design Studio
http://DragonflyDesignStudio.com
Masks, Historical Clothing Patterns, Garments


From: aw525 at lafn.org
Newsgroups: rec.org.sca
Subject: Re: Mask making
Date: Wed, 29 Sep 1999 19:47:41 -0700
Organization: The Los Angeles Free-Net

The most incredible Comedia masks I have ever seen were made at a leather workshop offered by Thurston James.  Although I don't know if he still offers workshops, (they were held at the local Tandy Leather shop here in the Southern California area) I do know he has a wonderful book which does include comedia masks.  It is titled The Propbuilders Mask Making Handbook by Thurston James - and is published by "Better Way Books" of Cincinnatti.  He may also be listed in the San Fernando Valley, California telephone directory.  Good luck!

Maestra Isabel


From: gunnora at my-deja.com
Newsgroups: rec.org.sca
Subject: Re: Mask Making ?
Date: Thu, 06 Apr 2000 15:56:53 GMT

"GA & NM Lowrey" <galowrey at mindspring.com> wrote:
> I have been asked to teach a class next month on Mask Making to
> prepare for a masked ball.  I would like to hear from anyone who has
> information on period masks and how they were made.  I've had a hard
> time finding anything in period on the web so far.
> THL Bianca Allegri da Vicenza

Mistress Brynhildr got me interested in the two masks shown in Inga
HŠgg's Die Textilfunde aus dem Hafen von Haithabu.

HŠgg references the masks on pp. 69-72.  My German is not very good,
and I'm not sure how good my translation therefore may be, so here's
both the text and my probably not-so-good translation follows:

Abb. 46. Schafs-Maske aus dŸnnem, rštlichem Filzstoff.  Breite etwa 19
cm, Hšhe etwa 14 cm.  StoffstŠrke 0.4 cm.  Die Seitenkanten sind rundum
beschnitten und enden oben in zwei Zipfeln in Ohrenform.  An den Seiten
sind die charakteristischen Konturen von Kiefern zu erkennen.  In einem
Abstand von etwa 6 cm sind zwei Augenlšcher ausgeschnitten.
Stirnpartien und Maulpartien sind wahrscheinlich durch Walken gewšlbt.
Das Maul ist darŸber hinaus durch einen schrŠgen Schnitt der wohl
ursprŸnglich zugenŠht gewesen ist nach unten spitz zugeformt und mit
Nasenlšchern versehen,  Die IberflŠche ist, wie bei den gerauhten
Stoffen, zottig und pelzig.

Figure 46. Sheep mask from thin, reddish felt material. Width about 19
cm, height of about 14 cm. Thickness 0.4 cm. The material edges are all
round cut and end above in two tips shaped like ears. On the edges the
characteristic outlines of the jawlines are to be detected. From there
at a distance of approximately 6 cm two eye holes are low-cut. Front
portions and muzzle portions are probably curved by felting/fulling.
The muzzle is formed by a diagonal cut that has been sewn and formed
and with nostrils provided probably originally angled downward beyond
that, the upper surface is, as with the roughened materials, shaggy and
furry.


Abb. 47. Maskenfragment aus mittelfeinem, stark gerauhtem
Gleichgratkšper 2/1.  Nur eine HŠlfte erhalten.  LŠnge 26 cm, Breite 20
cm, StoffstŠrke 0.8 cm.  Die vollestŠandige Maske DŸrfte aus zwei
gleichartig geformten Teilen bestanden haben, die der LŠnge nach
zusammengenŠht waren.  Der jetzigen Form nach handelt es sich um eine
Rindermaske.  Die Seiten sind scharf zugeschnitten und bestehen aus
einer geraden, etwa 21 cm langen Kante von der Stirn bis zum Maul die
ursprŸnglich mit der zweiten HŠlfte vernŠhte Seite, einem konkaven
Bogen fŸr die Maul-partie, einer festen Kieferkontur, einem Ohr und
einer leicht geschwungenen Stirnlinie.  Als Auge ist ein etwa
35 x 40 mm gro§es Loch ausgeschnitten, das sich 22 mm innerhalb der
Trennkante befindet.  Der Abstand zwischen den Augenlšchern dŸrfte
deshalb maximal etwa 88 mm betragen haben; wahrscheinlich etwas
weniger, da durch die Verbindungsnaht zwischen den MaskenhŠlften mit
einer geringfŸgigen Reduktion gerechnet werden mu§.  Ihre
dreidimensionale Form hat die Maske durch starke Walkung und eine
entsprechende Zuformung erhalten, ihre naturgetreu pelzartige
OberflŠche durch eine starke Tauhung, die nur jene Teile bedeckt, die
bei einem Rinderkopf behaart sind, das Maul also ausnimmt.

Figure 47. Mask fragment from medium-fine, very coarse even twill 2/1.
Only one half survives. Length 26 cm, width 20 cm, thickness 0.8 cm.
The full mask might have consisted of two similarly formed sections,
which were sewn together along the midline. Judging by the remaining
fragment, this was probably originally a cattle mask. The are sharply
sut and consist of straight lines, originally about 21 cm from the edge
of the forehead to the muzzle with the second half sewn along the edge,
a concave curve for the muzzle portion, a fixed edge-contour, an ear
and gently curving forehead line. A large eye-hole, about 35 x 40 mm is
low-cut, which is 22 mm from the midline edge. The distance between the
eye holes might have amounted to therefore max. about 88 mm; probably
somewhat less, since a slight seam-allowance between the mask halves
must be considered. The three-dimensional form of the mask was created
by strong felting and an appropriate shape  created, the furry hide
surface was formed by combing, excluding only those sections which
would not show.

Mistress Thora Sharptooth suggests that "medium-fine, thickly napped
2/1 twill" means that "the thread count on this piece is kind of high
(25x10/cm); that's what medium-fine means, even though the yarns are
thick (0.9mm and 1.7mm respectively)"

The diagrams provided with the illustration show these masks being worn
with a hood covering the remainder of the head and neck.

The Byzantine Emperor Constantine Porphyrogenitus referred in his Book
of Ceremonies to a "Gothic Dance" performed by members of his Varangian
guard, who took part wearing animal skins and masks (Hilda R. Ellis-
Davidson. Pagan Scandinavia. NY: Frederick A. Praeger. 1967. p. 100).
Davidson suggests that this type of costumed dance is also seen in
figures from Swedish helmet plates, scabbard ornaments, and bracteates
which depict human figures with the heads of bears or wolves, dressed
in animal skins but having human hands and feet. These figures often
carry spears or swords, and are depicted as running or dancing. (For
example, the helmet plate from Torslunda, Sweden).

I wondered if anyone else has done any research on the idea of period
Scandinavian masks.

::GUNNORA::


From: "blademaster" <merlyn at jps.net>
Newsgroups: rec.org.sca
Subject: Re: Mask Making ?
Date: Thu, 6 Apr 2000 17:52:25 -0700

GA & NM Lowrey <galowrey at mindspring.com> wrote:
> I have been asked to teach a class next month on Mask Making to prepare for
> a masked ball.  I would like to hear from anyone who has information on
> period masks and how they were made....

    Greetings.  From what I have been able to find out, masks were made in
period using literally what ever was available that could be shaped to the
desired appearance.  Theatrical masks seem to have been predominately made
from fabric, leather and papier-mache, although in earlier times wood and
clay were used extensively.  Festival masks were even made from woven straw,
leaves, grasses and even mud (although the latter is extremely short lived!)

    Construction techniques have not changed significantly (except for those
items made from modern materials such as plastic and latex) and there are
several good books available in the theatre arts section of any good
bookstore or library.  Some books on Special Effects Makeup also have
sections on basic techniques.  I have even found information on cloth masks
enclosed with packages of fabric stiffeners.

    The primary thing needed for any large mask is some sort of head form.
Individual pieces are then shaped and assembled on the form giving a much
more comfortable fit.  Simple masks (such as the classic "Lone Ranger/Zorro"
type) can be cut from material or leather and decorated without the use of a
form.

    Insofar as feather masks are concerned, I have found no references to
masks made entirely of feathers, but feathers were commonly used as
components/decoration.  Also animal hair and fur were and still are very
popular, especially horse hair.

    Masks are and always have been limited only by the imagination of the
maker.  As long as you avoid modern materials like rubber and latex you will
be fine.  Make sure you have lots of glue and ties.
    The one book I have found that I like the best on making masks is:
                        The Prop Builders Mask-Making Handbook
                        by Thurston James
                        published by Betterway Books of Cincinnatti

Cost is around $20.00
    Best of luck with your class.

Yours in service,
Etienne Xavier Bondurant de Blacquemoor


Subject: *WH* Only 72 Mask-Making Days Until Twelfth Night - Some
Ideas to Use
Date: Thu, 02 Nov 2000 16:51:06 -0500
From: Jerome Quillen <jerome_quillen at unc.edu>
To: keep at windmastershill.org

Only 72 Mask-Making Days Until Twelfth Night

 The Masqued Ball at Twelfth Night has the potential to be either one of
those unforgettable magic SCA moments just another Twelfth Night with a
few people  in masks.  Which one it will be depends just as much on all
of us as on those in charge.  We have a chance here to create something
amazing here - only 72 days to go….

Here are a few ideas to get you started with your masks:

CHEESE CLOTH MASKS FROM CAST MOLDS
These masks may be built over a plaster cast, over a Styrofoam head
form, or directly on top of the wearer's face.

 MAKING THE CAST

 Materials (available at craft or hobby supply stores such as
Michael's or Hungate's)
   Plaster bandages
   Petroleum Jelly
   Plaster-of-Paris
   Water

 1)  Tear the plaster bandages into 4-inch sections.
 2)  Secure the person's hair back from their face.
 3)  Cover the person's face with a thin layer of petroleum jelly.
 4)  Cover their facial hair (eyebrows, eyelashes, moustaches, etc)
with Kleenex for added security.
 5)  Dip the plaster bandages into the water one at a time and wring
out the excess moisture immediately.
 6)  Smooth the bandages onto the person's face, overlapping the edges
and laying them diagonally (using the bias) over the contours of the
nose, eye sockets, etc.
 7)  Cover the entire face (except for the nostrils) with 2 or 3
layers of bandages.
 8)  Allow the cast to set (allow 10-15 minutes for the fast-set
variety). Warn the person that the plaster will heat slightly during the
setting process.
 9)  Carefully remove the hardened cast from the face and discard the
protective tissue.  You now have a negative cast of the person's face.
The next step is to make a positive cast, upon which the mask will be
built.
 10) Plug the nostril holes on the outside of the negative cast with
additional strips of plaster bandage.
 11) Mix the plaster-of-Paris according to the package instructions.
When the mixture begins to thicken and warm, pour immediately into the
negative cast.
 12) Allow the plaster-of-Paris to set.  Like the plaster bandages, it
will warm first, then cool before it is set.  This may take several
hours, depending on the brand and the water-to-plaster ratio.
 13) When the plaster has set, pull back the sides of the negative
cast.

 The negative cast may be discarded, or if it is still intact, it may be
used again to make another positive cast.  It's helpful to have several
positive casts when a large number of masks are required because of
the time taken up in waiting for a mask to dry.

 CREATING THE MASK

 Materials
   Postive plaster face cast (the one you've just made)
   Modeling clay (depending on the type of mask)
   Petroleum jelly
   Cheesecloth
   Elmer's glue (or similar brand)
   Water
   Paint brush(es)
   Paint (acrylic, enamel, and spray paint will work)
   Small dishes to mix glue and paint
   Scissors and/or utility knife
   Felt
   Other decorations such as feathers, trim, glitter, beads, jewels,
etc. as needed
   Ribbon, elastic or a mask stick.

 1)  The positive plaster face cast may be used as is or it may be
built up with modeling clay to create animal or fantasy masks.
 2)  Cover the positive face cast with a thin layer of petroleum
jelly.
 3)  Pour some glue in a dish and thin it a bit with water so that it
can be painted on smoothly with a paint brush - mix well.
 4)  Place the cheesecloth over the face form one layer at a time and
brush each layer with an even coat of glue.  Use three or four layers.
 5)  Allow the mask to dry completely before removing it from the form.
 6)  Trim a piece of thin felt so that it will be large enough to line
the mask with a slight overlap.
 7)  Trim the outer edge of the mask to the desired shape with sharp
scissors or utility knife, and cut out eye and nose openings.
 8)  Fit the mask to the wearer's face and pad any areas which feel
uncomfortable.  Eye and nose areas frequently need a bit of padding.
 9)  Paint or decorate the mask
 10)  Trims can be applied with Elmer's glue, hot glue or with a
needle and thread.
 11) An elastic band, ribbon ties, or a stick (for a hand-held mask)
may be stitched in place.

DECORATING STORE-BOUGHT PLASTIC MASKS

A quicker way to make your mask is to buy a plain plastic mask and
decorate it to your taste.
You can either paint it or coat it with glue and cover it with the
fabric of choice - felt, velvet, corduroy - even fake fur.  For to
attach heavier fabrics and trims, you may want to borrow or invest in
a hot glue gun.  You can decorate it as described above.  For a more
natural look, you can glue dried autumn leaves in a fish scale pattern
over the mask or even use pine cone scales, spagnum moss and other
natural materials or the great silk flowers and leaves that can be
bought in craft or hobby stores.


3-DIMENSIONAL LEATHER MASKS
I've seen some marvelous leather masks - check out some of the web
pages below for examples of these.
I've never made one of these, but I'm told that the method is to boil
some medium weight leather at 180 degrees just long enough to soften
the leather, then mold it onto a form and let it set and harden - it will
shrink a bit as it dries.  Then stain or paint it as desired and finish
it off with some kind of polish - like atomic balm to keep it from
drying and cracking.

DECORATIVE THEME IDEAS
Animals - cats, birds, birds of prey, wolf, bear, fox
Mythical Creatures - Unicorns, goblins, elves, fareies, dragons, medusa, wood, water, earth, air, fire and tree spirits, ghosts, daemons and more.
Gods and Godesses - Choose from the Norse, Celtic, Welsh, Greek, Roman
pantheons and more.
Seasons, emotions, virtues, vices, flowers, trees, etc.

WEB SITES WITH PHOTOS OF MASKS
   LEATHER MASKS
   http://www.angel-mask.com/movindex.htm
   http://www.mansourdesigns.com/

  FEATHER MASKS
   http://www.maui.net/~love/

That's it for now - if you have any ideas, corrections, additions, or
whatever, please post them to this list.

Ursula von Bremen


Subject: [medieval-leather] Re: Leather Maskmaking
Date: Mon, 01 Jan 2001 08:13:54 -0000
From: cptkay at hotmail.com
To: medieval-leather at egroups.com

Having made leather masks for SCA use, among others, my 2cents worth 
is here: The old Leathercrafter magazine had an excellent article a 
few-okay several- years back on the le4ather masks used by the 
Comedia del arte.

My method is to use a light-2-4 oc vegetable tanned calf skin, pliver 
is too thin, and heavier than 4 oz will mould well, but gets very hot 
very quicly, best used on puppets instead of masks.
You will need a base to mold on.  As i do not usually do grotesques, 
I tend to use a life mask.  if the person you are making for will not 
sit, then make your own life mask cast, and mold on that.  Unless you 
are doing a latex mask for theatre or convention work it will fit 
well enough!

Soak the leather until very soggy, then into the plastic bag to case-
rest and fully wet thoughout.  Remove from bag and allow to get to 
that point of dryness that looks like it is drying, but still feels 
chill on your cheek-9THE ONE ON YOUR FACE! at )
now just begin the molding process on your life cast POSITIVE and 
don't be shy about folding in details, and modeling in lines, 
wrinkles, and other effects.  Pull the leather initially to makeit 
tight onto the face, pressing down to get the details at the nose and 
such.  The comedia masks are made with a little hammer made from a 
tip of cow horn to gently pound the leather to the model, getting it 
into all the crevices and shapes. (these masks usually involve 
exaggerated features and grotesques) Outline the eyes well with a 
stulus, and determine your cut off marks.
You can make a nice tree branch effect by taking long trims at the 
edge, and simply twisting them around on themselves.
Use a spray bottle if things dry before you want them too, and a hair 
dryer- on low- if they get too soggy, or you want it to dry faster.

When dry, remove from the face mold, and trim up the edges--make the 
cuts at the eyes- I usually only cut the bottom line, and fold it up 
like eyelids- sort of a makers style mark of mine. It ads a change in 
texture, and looks king of cool, as well as keeping "sharp" edges 
away from the eyes.

NOTE:
I put smooth side out on most masks, but not all
I sometimes line the inside with a spray coating or spray adhesive 
and fabric (mold them both at the same time, spray glue after dry)
This keeps the leather mask in shape during long wear, if the person 
sweats alot
It is possible to make masks that will work with glasses using this 
method, just make a buildup on the positive before molding the 
leather. Do not use plastilina to make this, it will not take the 
stress of the modeling, and pulling.>

It is really pretty easy to do, just takes some time to let yourself 
play with it!

Kay


Date: Tue, 17 Feb 2004 19:19:14 -0800
From: Elaine Koogler <ekoogler1 at comcast.net>
Subject: Re: [Sca-cooks] Pictures from my Illusion Feast
To: Cooks within the SCA <sca-cooks at ansteorra.org>

Robert Downie wrote:
><snip>
> we ended up using that plaster coated mesh stuff (the stuff used to make casts for broken bones) available at art supply stores in large rolls.  It took four big rolls to execute all the masks and food covers!
>Faerisa

Yeah...great stuff.  It's called Pariscraft...or at least it used to 
be.  It's really super for making life masks...put a little cold cream 
on the person's skin, then cover with layers of the material.  It sets 
up VERY quickly. 

Kiri


From: "willowdewisp@juno.com" <willowdewisp@juno.com>
Date: December 1, 2008 9:09:26 AM CST
To: ansteorra@lists.ansteorra.org
Subject: [Ansteorra] Info on Making a mask for 12th night

How to make a Venetian Carnival animal mask
By Duchess Willow de Wisp

I have never made a paper mache mask so the first thing I did was to do research.  I looked at modern Carnival Mask and discovered that Mask making in <?xml:namespace prefix = st1 ns = "urn:schemas-microsoft-com:office:smarttags" />Venice had almost totally disappeared under Fascism and was started up again the 1980. I kept up looking because there was some evidence that they had based modern masks on period sources.

Carnival of Venice
http://www.ultimateitaly.com/festival-events/carnival-venice.html

Mascaras Venetians 2006
http://www.youtube.com/watch?v=ub9rEAHIQzo&feature=related
This one is fun to watch not historical

These are the sites that had period pictures of period mask. 

Medieval mask 
http://larsdatter.com/masks.htm
This is a great site with lots of period pictures

Inspiration for a 16th century mask 
http://www.geocities.com/curvess2000/mask_inspiration.htm

 Here is a site that covers most of the period mask
http://www.bauta.it/venetian-masks-bauta.asp

I read the information on how the period masks were done. Check this site out. 
La Fondazione
http://www.fondazione.com/index.aspx?tabindex=1&tabid=3&page=24

I decided that the true period method took somewhat too long for me and involved too many steps,

 I then went to the web for “How to” on paper mache masks.  I decided to adapt a method using aluminum foil. And combine it with some of the traditional methods.

By doing this I was hoping to produce a more finish product. 

In one traditional method the mask making will use clay and make a sculpture of the mask and using this molded piece make a strong mold and coming in from the back create the mask. In my experimentation I discovered you need to work form the back if the mask has a long or hooked nose because if you work from the front you will need to destroy the mold to get the mask off. I suppose if you are not afraid of destroying your original piece you could mold your sculpture and use it to put your paper mache directly on it and just dig the clay out of the back. 

Some techniques suggest working from a life mask or directly on a person face. If you are doing the mask making on a person’s face make sure put a heavy layer of lubricant on the person to keep the mask from sticking.  What ever method you used if you are make a negative mold or building from a positive you need to make the features big. If you make the mask too tight the person can not move their face to talk. 

I needed to make four masks so I chose to use a plastic mask I purchase at a craft store and aluminum foil. I could have shaped the foil over my own feature but the face mask fitted me so I just shaped the foil over the plastic mask. It I was making one mask I might of just used the plastic mask as a base.

I was trying to make a fox mask so I then went to the internet and found images of foxes. I looked at fox mask and got a general idea of what I could do with a mask. I found cartoon images to be the most useful because they have simple lines.

Once I had my design I fitted the first layer of foil and then took more foil and built the nose up and made a bottom to the jaw.  I did not put the ears on at this time because I wanted to enforce the aluminum foil so it was stronger before putting weigh on the mask. 

I then took paper I had torn and covered the paper with paste. You use torn paper because the torn edges mesh better. I put my first thin layer of paper mache all going in one direction and overlapping.    It took 24 hours for this layer to dry. I kept layering in different direction until the mask felt strong enough.  I then made the ears and put them on with a couple of layers of paper and hot glue.  I had to reinforce the bottom jaw to make sure it was attached to my mask. I used wire to wire it on.  I took paper and chopped it up in my bender like I was making paper pulp for paper making. I mixed this with my glue and used this as molding clay to build up areas.  I then put on gesso over the whole mask to get a smooth finish. It is very important to let all your paper dry before putting the gesso on. I once made the mistake of not waiting and the paper mache started rotting and that is not nice. 

I know you can bake paper mache and the traditional technique talk about it but I haven’t tried yet. If you bake your mask please post and tell everyone how it worked out. 
I am now painting the mask and we will see how they come out at 12th night. 

Here are some sites that might help you:
How to make a Venetian Mardi Gras Mask Paper Mache
http://www.youtube.com/watch?v=Cc1MCHxvFZo&feature=related
This video will get you started

How to make a Mardi Gras Mask
http://www.youtube.com/watch?v=mm9SfRCt6FQ&NR=1
This has a few more pieces of information

I hope this is of some help
Willow
Please show me your mask at 12th night. 
I am offering prizes for best animal mask at 12th night. 


From: Katrina <katrinaofyork at yahoo.com>
Date: October 11, 2009 8:45:33 AM CDT
To: Ansteorra <ansteorra at lists.ansteorra.org>
Subject: [Ansteorra] Fw: [SCA-AE] masks

SCAdian mask maker on "Martha Stewart". You may have seen her wares at Pennsic.

Katrina

--- On Sun, 10/11/09, Kim Veillette <geirnythorgrimsdottir at yahoo.com> wrote:

From: Kim Veillette <geirnythorgrimsdottir at yahoo.com>
Subject: [SCA-AE] (no subject)
To: Rhydderich_Hael at yahoogroups.com, "AEthelmearc" <discussion at aethelmearc.org>
Date: Sunday, October 11, 2009, 7:30 AM

 For those who missed Meredith the Mask Maker's (Andrea Masse-Tognetti) segment on Martha Stweart the footage is now up on Martha's Site.  http://www.marthastewart.com/article/leather-unicorn-mask

She did an awesome job. :-)

Geirny


From: Lady Tartan <lady.tartan at yahoo.com>
Date: January 6, 2011 8:38:40 PM CST
To: trimaris-temp at yahoogroups.com
Subject: [tri-temp] 16th century mask

I thought this was pretty nifty... a mask a woman wore to protect her face from 
that awful burning heat wave of a sun in England.

http://www.pasthorizons.com/index.php/archives/12/2010/rare-mask-found-concealed-in-wall 


St. Val's is around the corner -- masking time is upon us!!




Date: Tue, 06 Dec 2011 07:42:26 +0800
From: Dean Caruana <dinodemalta at iinet.net.au>
Subject: [Lochac] Awesome Masks website
To: lochac at lochac.sca.org, WASCAL at yahoogroups.com

I found this website and it has some truly beautiful masks... for the 
more crafty among us, maybe inspiration.

http://www.bluemoonvenice.com/

Dino

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