A MILLINER'S APPROACH TO MASKMAKING: PART I
Jon Cardone, Yale School of Drama

No matter how endearing or frightful, realistic or fantastic, good theatrical masks share a single, basic aim: the actor’s comfort. A mask that’s too heavy is exhausting to wear. One that fits awkwardly demands far too much of its wearer’s attention. A good theatrical mask, on the other hand, is somewhat like theatrical makeup in that it weighs next to nothing and it moves exactly as its wearer does.

Borrowing materials and techniques from millinery, maskmaker Katherine Snider has perfected a way to build lightweight, face-hugging masks. As Plates 1 and 2 demonstrate, each of her masks is a testament to her artistry. Just as importantly, each of them is the result of an approach that uses inexpensive and entirely non-toxic materials. This article, the first in a two-part series, describes the crafting of the base that is common to all her masks. Its sequel will address more advanced issues including the use of non-traditional materials and ways to finish a mask.

Materials

Buckram, the basic material in all of Ms. Snider’s masks, comes in different plies numbered 1 through 4 ranging from very coarse to very fine. Number 1 buckram, the coarsest, has holes nearly ¼" apart; the smoothest, Number 4, resembles lightweight muslin. The coarseness of the ply chosen is directly related to the degree of finish smoothness required for a given mask. The only other materials this approach uses in giving a mask its basic shape are water and Sobo® glue.

Construction

Like other maskmaking approaches, this one involves bending the mask material over a form that reproduces the desired contours, the best choice being a plaster casting of the intended wearer’s face. Construction is fairly simple:

Step 1. Cut the buckram roughly 2" larger than the casting. Soak the cut buckram in warm water for a few minutes until it is so flexible that it will drape easily over the casting.

Step 2. While the buckram is soaking, cover the casting with a light coat of Vaseline. The Vaseline helps the buckram stick to the mold and is especially helpful around prominent features like the eyes and nose.

Step 3. Stretch the buckram over the casting, pushing the excess material towards the top of the head. This will help keep the buckram a single layer thick, preventing the creation of unwanted wrinkles. Because buckram has a bias, several attempts at discovering the best way to lay the material over the casting may be necessary. Fortunately, the buckram can be repeatedly soaked and stretched as necessary.

Step 4. Push the buckram into the eyes, nose, and mouth as illustrated in Plate 4 until it sticks to the casting and lies flat.

Step 5. When the buckram is at last conforming to the casting’s contours,, let it dry. Since buckram is not flammable, you can use a hair dryer to speed the drying.

Step 6. Brush one or two layers of the Sobo over the exterior of the dried buckram as a base for texture materials and finish to be added later. Brush a layer of Sobo over the interior, as well. This coating will make the buckram feel more comfortable. Let the Sobo dry completely-10 to 30 minutes.

Step 7. Cut out the eyes, nose, mouth, andy other necessary holes. Trim any excess buckram off the edges of the buckram, and the base for your mask is finished.

Final Comments

Katherine Snider’s approach to maskmaking has many benefits. It’s a simple, forgiving process that permits re-working as necessary to correct mistakes. It uses completely non-toxic materials. But most importantly, the masks that it produces are comfortable and lie close to the face, allowing performers the freedom of movement that their craft requires.