1. MASKS

2. • The following slides are sources for the ideas
for the primary school production of the lion
king firstly from the original movie and then
the existing masks from the musical version to
find inspiration for my own

3. simba

4. • Simba once the lion cub the strong adult male
destined to be be ..needs to be regal

5. timon

6. • Timon a meerkat a comedic character with a
philosophical side the mask needs to reflect
his caricature personality

7. pumbaa

8. • A warthog …slightly dense but with humble
caring quality

9. nala

10. • Pretty lioness but with a feisty quality that
should be reflected in the mask

11. mufasa

12. • Stern and regal father of simba

13. sarabi

14. • Caring and concerned mother of simba will do
anything to protect her cub

15. zazu

16. • Comic , mouthy, bossy, if slightly annoying

17. rafiki

18. • Old,Wise and mischievous mandrill

19. scar

20. • Simba's uncle, twisted, sly and bitter, with a
sarcastic nature and a vendetta against Simba
for being born

21. Shenzi banzei ed

22. • Shenzi is the sarcastic female leader with a
cruel nature the smartest of the three..banzei
the greedy agrees with everyone a real
scavenger follows the pack.. Ed is the dim-
witted pack member really really goofy

23. sarafina

24. • Lioness of the pride nalas mother strict and
stern

25. The jail broken mask
(After this point we were given
complete creative freedom to design
and construct our own mask )

26. The following slides are those of masks that I
liked and wished to take inspiration from for the
creation of my own mask

28. • This mask stood out to me due to the levels
and layers of leaves which gave the mask tone
and shadows and a more three dimensional
effect whilst still moulding and highlighting
the key features of the wearers face…the
realism of the leaves also surprised me

30. • Again a leaf shaped mask the reason I wish to
have a leaf related mask is the fact the
textures and layers would present me with a
challenge …this one is a classic volto mask I
liked the way the maker had moulded the
shape of the facial features

32. • On this mask the point which stood out was
the shades round the eyes adding a classic
dramatic effect to the mask

34. • The effect of this mask impressed me with the
textures and the angling of the leaves along
with the seamless blend of colours

36. • Another example of a volto mask the
introduction of charcoal to add tone and
shadow

38. • First concept, the only issue I had with this
mask was the colouration if I made it I may
not have been able to make a good enough
cream to do this mask justice though I did like
the contrast between the green/cream, and
the black

40. • Concept 2 the issue I had with this again was
the cream also the fact there wasn’t enough
contrast or tone in the red to make this mask a
viable option in my eyes

42. • Concept 3, the design I was happiest with that
I planned my mask off. The contrast between
the black the red and gold. And the shaping of
the leaves around the facial features

44. • After choosing the concept I decided to look
closer at the mask at the finer details and
painting styles/tones

45. The making of the mask
• Stage one
• To begin I drew out a basic concept design
from this conceptual drawing I them printed
out an outline for a venetian mask, which I
then edited to appear more wolf like in shape

46. • Stage two
• I then blew up a balloon and stuck the outline
to said balloon

47. • Stage three
• I then layered newspaper over the outline so
the mask started to take on a three
dimensional form

48. • Stage four
• After several layers of newsprint, I then
deflated the balloon leaving me with a thin
newsprint mask

49. • Stage five
• After which, I added layers of plaster of Paris
to give the mask structure and strength

50. • Stage six
• I then made a paper templates of the leaves
for the mask which I then drew round on
white card to make them structured and make
them more robust.

51. • Stage seven
• I then plastered over the mask and arranged
the card leaves on top before plastering them
on top and smoothing it over using water

52. • Stage eight
• I then applied base coats of paint to the mask
to start give it form

53. • Stage nine
• I then blended tones and shadows into the
mask to create definition

54. • Stage ten
• Adding flecks of gold paint to add the classic
venetian air of wealth and splendour

55. • Stage eleven
• To finish the mask and give it a professional
smooth/shiny finish I then sprayed the mask
with a glitter graffiti spray