Method i. Grease clay all over to facili-
 tate removal when mask is finished.
 Waxed bread paper torn in small pieces
 less than an inch in size may be substi-
 tuted for grease by placing them real
 close together all over the damp clay.

 Tear strips of paper (newspaper or
 toweling) several at a time, with a
 ruler. Make various lengths and an inch
 or less in width. Put strips in a pan
 of water, and use one at a time, placing
 them across the clay model horizontally.
 Across the nose is a good place to be-
 gin. Overlay strips a little and push
 them down into crevices. Use smaller
 pieces where needed. Cover entire clay
 model around edges and everywhere,
 and apply some strips vertically, to
 strengthen. Apply layer of paste with
 hands. Have paste thinned with water.
Cooked Argo starch may be used as a substitute.

* Repeat process of paper strips and paste until you have from 5 to 7 layers,
depending upon strength of paper used and sturdiness of mask.

* When dry, remove from clay base. If it doesn't come off easily, use a knife
to loosen edges, or dig clay out.

* A thin coat of shellac may then be applied if desired, and after a few minutes
when dry, use tempera paint. Another coat of shellac can be applied over the
tempera.

Method 2. Buckram may be used as a base
for the mask. The clay model should be
thoroughly dry and covered with grease
or real soapy suds.

* Cut buckram large enough to fit down
in the impressions, wring it out of water,
and fit it carefully onto the model. Keep
hands wet and use a clay modeling tool if
needed to press parts down. While buckram
is still wet cover with paste. Then cover
with wet soft paper strips, as described
above, both crosswise and lengthwise.

* Let dry about 2.4 hours, remove (break
clay out) and decorate as in Method. I