The Keeper of the Doomsguard

Production sketches and end photos will be available at a future date.

Somewhere in a distant land there stands a forbidding tower. In that tower there resides an enchanted clock which rules the fate of all the world. About every five hundred years or so the clock begins to wind down. A delegation made up of representatives of both the forces of good and evil must march out to wind the machine before it stops, thus ensuring that the world continues to exist. There is only one thing standing between them and the success of the mission: the Keeper of the Doomsguard and its horde made up of five centuries of lost souls. Let the journey begin.

For more on the story: The Clock at the End of Time. Now, on to the fun!

The mask of the Keeper is a half mask, meaning it only covers the wearer from the forehead to about the upper lip. The lower half of the face is hidden behind black cloth. The technique employed to build this piece is different from the previous projects and should be fairly easy for anyone interested in giving it a try as there is less construction involved. It follows a much more traditional route and is easily addapted to many styles. Either a plastic Mardi Gras type mask blank from a craft store can be used or you can do as I did and stick the base right to your own face thereby insuring a custom fit. For this type of mask you will need:

Cloth rags. I used muslin scraps but any thin cloth should do. You will not need very much. One yard will make many, many masks.

Glue. I used Aleen's tacky glue because it sets up faster than other types. However Elmers would have been better in the long run and I will tell you why later. Use only waterbased, certified non-toxic stuff that does not produce hazardous fumes. I don't want anyone keeling over or loosing brain cells while attempting this project!

Vaseline. If you plan on using your face (or someone else's) for a model it is wise to goop up with vaseline first. Otherwise your mask will be very difficult to remove once the glue dries. Be sure to work the jelly in especially well around the eyebrows. Of course if you use a plastic form it is not necessary.

A mirror. It helps to be able to see what you are doing if you are mucking up your own face.

A small dish, pallet or a bowl cover to put the glue on is helpful.

Scissors, for obvious reasons.

Having a sink or a large bowl of water nearby is very good as a lot of glue will build up on your fingers. Wash it off from time to time or things will get really interesting.

Newspaper. Use it to cover your work surface if you do not want to have to clean up the glue drippings.

Tissue paper. This is used to build up forms such as eye ridges and the nose cavity. Other features can be made as well. Newspaper can be substituted, but I find that the tissue gives a smoother appearance. It is also lightweight and does not require as much glue to hold it in place.

STEP 1:The basic form
Cut or tear the rags into strips about one inch wide and two to three inches long. Pour a small puddle of glue into a bowl or onto a cover. Using your fingers, smear a light coating of glue all over one side of a cloth strip. Stick it on the form (either your face or a mask blank) just above the eyes. Repeat the process to cover the entire forehead from eyebrows to hairline. Be careful not to glue in hair. Use a mirror to check for even coverage. Overlap the strips slightly. Work around the eyes to the upper lip. Cover the nose, but leave nostrils free to breathe. Work on two to three layers and allow to dry before removing from face. If you are working on a plastic form, it helps to tie it on while the glue dries. This way it will fit best.

STEP 2: Forming shapes
Once the base is dry carefully remove it and continue to shape the features. These are all up to you. The following is just a guideline of what I did to create my mask. At this point the forms should be kept relatively simple. Anything like horns that may require an armature for support should be built seperately and attatched later on.

Crumple up small bits of tissue paper and glue them around the eyes to create shadows and give the impression of cheekbones. Build out the nose a bit. Overlay with more cloth strips for extra strength and to smooth out lumps and hollows. Allow to dry thoroughly.

STEP 3: Finishing the basics
Once the form is dry the mask can be completed with many different techniques. Continue with paper mache or plaster wrap to cover up the cloth and hide the layer lines. Paint, stain, beads, just about anything can be used to adorn the mask. Or it could be left plain if a mummy effect is desired. The possibilities are endless.

Because my version is a heavily used and abused item I hunted down a way to make it more resilient than those of past projects. Over time I was given a link to a company called Aves. They produce a wonderful product called Apoxie Sculpt and this is what I used to finish my mask with. It hardens very well and is waterproof, which means no more soggy plaster if we're caught out in the rain. The down side is that it must be ordered directly from the company so plan accordingly. Service is very prompt, but the shipment will only move as fast as the post will go unless you want to pay extra for speedy delivery.

Mix the Apoxie Sculpt according to the package directions. Vaseline will keep the clay from sticking to your fingers and allow for a smoother finish. I made the teeth for this mask ahead of time so that they were all set to go once I started at this point. Apply the clay in thin layers, blending and smoothing as you go. Keep an eye on the form while you work as the clay can get heavy and cause some warping if the cloth base is not sturdy enough. It takes a long time for Apoxie Sculpt to set up so make sure you can devote a lot of undivided attention to this method to avoid disaster. If you must set it aside, the whole thing can be put in the freezer for a day or so without harm. Cover the entire front side of the mask. Work in details when the clay starts to get stiff and remember to check for warping. I actually attatched a string to the base and tied the mask on for the three or so hours it took for the clay to cure. Like I said, be prepared to devote a lot of attention to this one!

STEP 4: Finishing
With the use of Apoxie Sculpt the cloth base can either be left in or it can be removed. If you leave it in apply a waterproof varnish inside and a liner to add comfort. Waterbased glues such as Elmer's tend to disolve and get sticky if they come in contact with any moisture, such as perspiration and condensation from breathing, so a sealer of some sort is likely a wise idea if you plan on wearing your mask a lot. Aleen's tacky glue did not disolve as badly as Elmer's does, but it did start to after a while. I wanted this mask to have a hollow effect so I removed the base and just hung a tiny piece of nylon stocking in the nose hole. This is where the Elmers would have been best. That base was really hard to remove!

Because the clay turned out to be heavier than expected it was nearly impossible to keep the thing on with just a string tie. I went to the craft store and picked up some modeling wire mesh and turned the mask into a sort of helmet. This had the added bonus of providing me with a way to keep the hood up as well. I formed the mesh to my head, covered it in a thin layer of Apoxie Sculpt and attatched the mask to the front with the clay. Again, check occasionaly for warping until it sets up.

A quick coat of paint (with the aid of an airbrush if possible for a smooth finish) and a few final details and the basic mask is done. The Keeper is actually a double mask, the second being formed of leather over the clay. This might not be possible with other finishes as the leather must be soaked and stretched over the mask itself to be tight fitting. The leather should be fairly thin and supple and be sure to check it for colorfastness before using it or the dye might leach out onto your work, likely turning it purple or blue. Cut it slightly larger than the area you are covering, soak thoroughly and apply to the mask. Lace it on tightly across the back until dry. Trim off excess leather. Glue or use double stick tape to keep it on. Immitation silver leaf was used to apply detail around the eyes. Apply several light applications of exterior/interior matte waterbased varnish to protect the paint and the leather from moisture and wear.

STEP 5: The hood
The Keeper wears a voluminous hood adorned with metalwork and a horsehair roach. The hood itself comes from the Simplicity cloak pattern #9452. Leave the front hem ungathered. The material is allowed to drape at the shoulders and is held up and partialy open with a band of soldered tin. (See picture at the top of this page for details on the metalwork). I could not get a piece of tin large enough to cut it all out as one unit so it had to be soldered together from scraps. So far it it doing well. A few seams popped the other day but were easily repaired. The material of the hood is held in place with brass fasteners soldered through holes in the leading band.

A strip of velcro along the top of the mask keeps the hood in place even when running. Sew the hook strip to the mask, using a small drill bit to make holes through the clay and wire mesh. Heavy upholstery thread is best. Sew the softer loop strip to the hood. This way the hood can still be worn without the mask without getting your hair caught in the velcro.

The horsehair roach I adopted from Native American tradition. It is made basicly the same way using horsehair I found in a catologue. Stitch it on firmly to the top of the hood inside the metal "holder". It looks real good when it actually stands up and cooperates. Does not do so well in a downpour.

ACESSORIES: As the Keeper is based on an actual character I am trying to bring as much of it to life as possible. Past costumes borrowed heavily from one another, but this one was made entirely on its own. Gone is the scrappy shroud. A full length cloak, hood and cowl were made in its place along with a close fitting shirt with full sleaves and pants all cut from the same black micro fiber material. A long leather vest cut from one solid piece of fine cowhide bound with two belts break up the flat black texture of the cloth. Gloves with wire mesh and Apoxie Sculpt claws finish it off. I have also brought to life a small battle axe crafted again from Apoxie Sculpt made specificly for the Keeper which even carries the theme of a clock into its faux iron blade. The sad thing is that this outfit is currently worn in the dark with very little lighting save for the moon so all the fine details go unnoticed. As usual. But it is all worth the trouble anyhow.

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