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Description
While I was in Venice I made it my mission to find some of the various small mask studios that still produce hand-made papier mache masks. I spent many happy hours wandering the streets searching out new mask-makers and gazing in wonder at the beautiful things they created. And I turned a corner.
For many years, and to many people, Venice has set the gold standard of the mask-maker's art. I've exhibited my work in the past and had people admire what I've done, then ask me if I've been to Italy because 'that's where the proper mask makers are.' I've also been told more than once that my masks are lovely, but that people would rather buy a 'real mask' from Venice.
So, travelling the streets of La Serenissima, I was expecting a very high standard of craftmanship. And for the most part, I found it. Many of the masks created by individual artisans with small studios were indeed very beautiful, and very well made, and I added several to my own mask collection.
However...
The standard of workmanship varied from exquisite to downright shoddy, if I'm completely honest. Many of the larger mask shops were selling masks which had clearly been rushed out for Carnival - they were not finished on the back, and in some cases the bare paper was left exposed. There were mis-shapen masks, masks which were structurally poor and masks which had obvious mistakes that were covered up with gold leaf. There were bubbles and runs in the gesso and thumb prints in the varnish. I walked into one mask-maker's studio and was told by the person I was with that there was nothing in his shop that I couldn't do better.
We went into another shop, in costume, and the proprietor asked us where in Venice we had purchased our masks.
And there was my turning point. That was it, the end of my apprenticeship.

On my return, I decided to set myself an exercise to see if my friend was right. I wondered if I could produce a mask that was at least as good as the decorated one I had bought from a highly respected mask-studio. I found an unfinished bird mask that I had made a few years ago then set aside because I was unhappy with it, and I attempted to reproduce the decoration from the Venetian mask. The result is above - on the left is the Venetian, and on the right my decorated bird. I'm a bit shaky on the scrollwork, and the 3D gel I used is rather more liquid than the substance they have used, but I think with a little practise and research I could improve considerably.
Finally, I have to say that I don't actually want to create masks that are identical to those produced in Venice. Much as I love the whole Venetian look, I have my own style and am enjoying exploring that. Decorative techniques, however, are always worth learning and adapting.

Description
While I was in Venice I made it my mission to find some of the various small mask studios that still produce hand-made papier mache masks. I spent many happy hours wandering the streets searching out new mask-makers and gazing in wonder at the beautiful things they created. And I turned a corner.
For many years, and to many people, Venice has set the gold standard of the mask-maker's art. I've exhibited my work in the past and had people admire what I've done, then ask me if I've been to Italy because 'that's where the proper mask makers are.' I've also been told more than once that my masks are lovely, but that people would rather buy a 'real mask' from Venice.
So, travelling the streets of La Serenissima, I was expecting a very high standard of craftmanship. And for the most part, I found it. Many of the masks created by individual artisans with small studios were indeed very beautiful, and very well made, and I added several to my own mask collection.
However...
The standard of workmanship varied from exquisite to downright shoddy, if I'm completely honest. Many of the larger mask shops were selling masks which had clearly been rushed out for Carnival - they were not finished on the back, and in some cases the bare paper was left exposed. There were mis-shapen masks, masks which were structurally poor and masks which had obvious mistakes that were covered up with gold leaf. There were bubbles and runs in the gesso and thumb prints in the varnish. I walked into one mask-maker's studio and was told by the person I was with that there was nothing in his shop that I couldn't do better.
We went into another shop, in costume, and the proprietor asked us where in Venice we had purchased our masks.
And there was my turning point. That was it, the end of my apprenticeship.

On my return, I decided to set myself an exercise to see if my friend was right. I wondered if I could produce a mask that was at least as good as the decorated one I had bought from a highly respected mask-studio. I found an unfinished bird mask that I had made a few years ago then set aside because I was unhappy with it, and I attempted to reproduce the decoration from the Venetian mask. The result is above - on the left is the Venetian, and on the right my decorated bird. I'm a bit shaky on the scrollwork, and the 3D gel I used is rather more liquid than the substance they have used, but I think with a little practise and research I could improve considerably.
Finally, I have to say that I don't actually want to create masks that are identical to those produced in Venice. Much as I love the whole Venetian look, I have my own style and am enjoying exploring that. Decorative techniques, however, are always worth learning and adapting.