About the Artist

Making a new mask.

Making a new mask.

Thanks for visiting my website. My name is Jonni Good, and I’ve been adding posts and tutorials to this blog since November, 2008. It’s now one of the most popular paper mache websites online. I’ve written four popular books for artists on how to use paper mache and my paper mache clay recipe to create sculptures. I’m also the author of a new mystery novel, The Owl Thief.

My best-selling books about the art of paper mache:

How to Make Masks
Make Animal Sculptures with Paper Mache Clay
Make Tiny Paper Mache Dogs
Make Adorable Baby Animal Dolls

I’m obsessed with both animals and art – as you can see from the photo, I’m constantly surrounded by my growing menagerie of paper mache animal sculptures, and plenty of real critters, too – my pets sometimes “help” me in my studio. You’ll also hear that cat, (unfortunately) in some of the videos on this blog. (I’m pretty good at training dogs. Cats – not so much.)

I started drawing animals back in grade school, which is a very, very long time ago. Doing the research required for drawing and sculpting animals is almost as fun as doing the artwork, because it allows me to learn so much about the natural world.

I made my living selling pen and ink “portraits” of wild animals for many years while my daughter was in grade school, and then, as many artists do, I found myself working at “real” jobs for a while. That was OK, I suppose, but it really wasn’t what I wanted to be doing with my life.

Now that I’m self-employed (I make websites and write books for a living), I have plenty of time to pursue my first love – sculpting and drawing and painting animals.  In my “spare” time, I answer questions from fellow paper mache sculptors from all over the world – you’ll find our conversations in the comments section below each post on this blog.

Enjoy the site, create your sculptures, and join the conversation. I’m glad you stopped by.



  • Hi Jonni,

    I am currently in charge of costumes for my local junior high school’s drama club and we are doing the Lion King this year. I found your hyena mask pattern very helpful. I’m contacting you to say THANK YOU and to ask if you could help me. I’m kind of stuck on how to modify the pattern to create other animals. I have to make one of each animal (hyena, giraffe, lion, antelope/gazelle) and then teach the technique to the costume crew (6th, 7th & 8th graders). I need to make the eye holes and muzzles different for each type of animal but I don’t know how to do it without ruining the pattern. I made a giraffe head and a zebra head but I don’t exactly remember what I did step by step. I was in the moment and didn’t document how I did what I did now I don’t know how to replicate or teach it. Please help! Could you show me how to adjust the pattern for different animals?

    • Gosh – to be honest, when I made the hyena I cut four or five versions and taped them together before I got the shapes I wanted. Then I un-taped the pieces, drew around them on paper, and scanned the paper so I could put the pattern online. There was a lot of cardboard in the recycle bin when I got done. And I don’t know of any other way to do it. You can’t really tell how it’s going to look until you cut out the pieces and tape them together.

      Did you keep copies of your giraffe ans zebra by any chance? Or would it be possible to un-tape them and make patterns, like I did?

  • Hi there, I wanted to know why you made the calico angel cat sculpture. Were there any intentions with that piece? Anything you were trying to show? Personal aspects? could you also give an estimate in size and year it was created. I’m using this as an example for my art project and I want to write about it.

    • Hi Desiree. I made the angel cat in October of 2009. I made a lot of cats that month because I was invited to participate in a charity event. The event was called off, though, and I gave the sculpture to a friend. It’s always been one of my favorites. It’s cat-sized, but I don’t have exact measurements.

      It’s been a really long time since I made the sculpture, and I may have added the wings just for fun. As for ‘intention,’ I was really just trying to produce a large grouping of cats in a short amount of time. It was that project, in fact, that led to the development of my paper mache clay recipe, because I needed a faster way to work. The friend I gave her to takes care of a large number of stray cats, so she liked the sculpture.

  • I just wanted to thank you for all of the information you have available on your website. You are so gracious to share your love of paper mache with everyone searching for information on the internet. This website is so awesome I couldn’t be more thrilled with all of the ideas you have posted with videos to boot. WOW!!! I teach art to students K-12 in Palmer, Alaska and found this site absolutely the best resource for paper mache. Thanks again!

  • Hi There!
    Your youtube channel and website is so cool!
    I Live in Australia and I’m currently studying year 9.
    I have to do this thing we do in year nine called ‘Projects’ for Art and design.
    I was wondering if you could put up a video of how you made the lion I saw in one of your videos.
    It was the video to this link – https://www.youtube.com/watch?v=hrNSCNr2S5Q
    Turtle made with air dry clay 🙂
    I have such a cool idea for its mane!

    Thank you so much!! 🙂 p.s it would be great if I could get a reply!!

    • Olivia, the lion in the background of the video is a mountain lion (cougar, puma) and it was made in a rather different way than my usual techniques. You can see the mold I made for it here, and the final piece here. I have made an African lion, however, and you can see it here – There isn’t much info in that video on how the lion was made, unfortunately. There was really no room in that little house for any craft project. But it was basically a mask sculpted with oil-based clay, and then several layers of shop towel mache were put over the clay sculpture and pulled off when the paper mache was dry. I played with the mane, because of the ReStore auction, and it was fun. I do hope you’ll make one, too, so we can see what you come up with for the mane!

      If you’d like more info on the techniques for making the masks, check out the videos on this page for the Commedia del Arte Mask – Pantalone mask.

  • Salutations Jonni,
    I am a mask maker/performer/Instructor and I am doing a summer camp, soon, with kids who will make their own animal mask and use it to perform with. I was using Celluclay but it is very expensive and slow drying. in looking for a quick and easy way for kids to make a paper mache mask, I found your tutorial on how to make a quick drying Commedia mask. Thank you for the very informative tutorial. I went to purchase some Plaster of Paris today but noticed the huge warning about how it shouldn’t make contact with skin and eyes. Since all the masks that I make are for performance, I am concerned about the toxicity and the breathability of the skin. Is this product safe or could you please give me some guidance in another product or process that is quick and easy for kids as well as me. -Thank you, Tanya

    • Hi Tanya. I’m not a chemist, but I know many people make masks right on their own face using plaster cloth – which is gauze material with plaster embedded in it. It’s a messy way to make a mask, and I don’t personally do that, but lots of people do. That said, plaster of Paris does, I think, have some silica in it from the way it’s mined or manufactured, and that means you should never sand it without wearing a mask. And, the plaster loves water (hydrophilic is the technical term, I think) and that means it will draw water from anything it touches, including your skin. There should always be something between yourself and the plaster, which could be something as simple as a coat of acrylic paint.

      Another issue with plaster that you probably won’t run into but it’s worth mentioning. When you mix plaster of Paris with water, a chemical reaction sets in immediately, and this causes the powdered plaster to turn itself back into the stone it started out as. It also creates heat – and people have been burned badly by trying to make molds of themselves by covering their hands or even faces with a thick layer of wet plaster. The method shown in my videos doesn’t recommend anything remotely like this, but this seemed like a good place to throw in a caution. I’m sure the bag of plaster mentions this, too.

      OK – that was a whole lot more rambling than was really needed 😉

      Here’s what I would suggest if you’re making your masks using the techniques shown in the Commedia mask videos: First, make sure the sculptors wear latex or nitrile gloves so the skin on their hands don’t get dried out when working with the fast-setting paste, and to make it easier to clean up later. When your masks are totally dry, paint both the inside and outside of the masks with acrylic paint, and seal with a good acrylic varnish. And finally, for comfort and breathability, add a few strips of foam to the inside of each mask to bring it away from the face and make it more comfortable. I see that Amazon has self-sticking helmet pads that would be perfect for this use, but $4 price, times the number of kids in the play, might be prohibitive.

      Another option that would work great for many theater production is to make headpieces rather than face masks, like Keven Doheny is doing for his school’s Lion King production, and then secure them to the head using baseball caps – he uses the construction method shown in my Commedia mask videos (and my mask book) – with some creative changes, of course – and then secures them to the head with the method he shows in this video.

      I hope this wasn’t too long and drawn out – I do tend to overdo things sometimes. Let me know if you have more questions.

      • Thank you so much for your speedy and informative response. Kevin’s technique is great but I would like to stick to face masks and I love your technique used for the Commedia tutorial. I forgot to mention that I have large amounts of buffstone clay and so will have 10 kids use that to build up the features off of face molds of myself that I made years ago. Will it still work with your technique? I am assuming that the Plaster of Paris is what makes the mixture fast drying, and also wondering if there might be a different product that I could use instead of the Plaster of Paris or if I used less of it would it still work? As well, I have 3 two hour classes to get these masks complete, including painting. Thanks for your time and expertise, Tanya

        • Hi Tanya. Yes, the wet clay will work just fine with the shop towel mache – I use it all the time.

          As for the paste, will there be a few days between sessions? Even when you add the plaster of Paris to the paste, it still has to dry. It hardens quickly, but then it dries the same as any other paper mache – but with just two layers it still dries quicker than many layers of newspaper and paste. I’ve been thinking that when working with kids, the joint compound/glue mixture would be a lot easier because it won’t harden in the bowl. And only two layers are needed, so it also dries fairly quickly, if you put the masks (still on their clay forms) in front of a fan. However, some schools don’t put joint compound on their “approved” list for art supplies. Have I already given you a link to the witch mask video, that shows how the joint compound paste comes out when used instead of the plaster-based paste? Just in case I didn’t, it’s here.

          • Thanks Jonni,
            I have 3 consecutive days to complete this mask process so that the kids can be using them on the 4 day, Yikes! This is the problem that I have had with a 5 day Theatre camp. In the witch video, you mention using an Elmers art paste and boiled flour and water recipe. Might that work with your shop paper technique? Not sure if I feel comfortable using joint compound with kids. Is the plaster of paris less toxic and could I use less of it?

          • Ouch – 3 days! That does make it difficult. Another option that might work – if it’s affordable: use two or three layers of plaster cloth instead of the paper mache. You’d be able to pull the masks off the forms within 1/2 hour, and they dry much faster when air can reach both sides. One layer of newspaper (using any type of paste) could be added on top of the plaster cloth as soon as the masks are pulled off the forms, even though they aren’t dry yet. The paper mache would make the plaster cloth smoother, and it would dry along with the plaster, probably over night. I hate to keep throwing links at you, but you can see a project I did using the plaster cloth under paper mache here.

            Now for your question: You can use less plaster of Paris in the recipe – and that will allow you to use a thinner application of paste, which might help it dry faster, but I can’t guarantee how quickly it would dry. I don’t have an alternative recipe for you, so you’d need to play around with it and test it before the workshop to make sure it works. I did try the boiled flour and water recipe with shop towels. It worked, but it wasn’t easy – the shop towels are really thick, and they stay soft and towel-like, rather than paper mache-like, if they aren’t totally saturated with paste. I had to brush more layers of paste over the shop towels several times to get them totally saturated, and that obviously adds to the drying time. I can’t remember using Elmer’s Art Paste with the shop towels. If you have some on hand, give it a try and see if the shop towels are hard when they’re dry.

            I think the plaster of Paris has similar warnings on the bag that joint compound does – mostly because of the trace amounts of silica that you shouldn’t breathe. But I’m not an expert, by any means. Also, some people have said that joint compound contains a anti-fungal ingredient, just like wallpaper paste does.

          • Thank you so much for all your time Jonni, I have one final question for you, please. I have found some plain white paper full masks in my supplies. I will cut them and put them on my bases and have kids build big features with tin foil then add a mache clay? for smaller features. Would you recommend using your air dry clay recipe along with additional glue and water so it adheres to the mask structure?

          • I think the answer to this depends on the age and abilities of the kids you’re working with. The pm clay and the air dry clay recipes are a bit tricky to work with, and some of the products used in the recipes weren’t intended for use by children – I developed the recipes with adults in mind – who have reasonably good fine motor skills so they can apply thin layers of pm clay to an armature. The air-dry clay is even more difficult to work with than the original recipe. I’ve never tried working with kids with either of the recipes.

            If they’re older and you think they can apply the material thinly over the armature (anything over 1/8″ takes a really long time to dry); and if you make sure they wear disposable gloves so their hands aren’t covered with the clay, then it’s possible that it would work. Test it at home first. Don’t use the linseed oil, whatever you do – it contains chemicals that shouldn’t be used around kids. I try to say that as often as possible, but it’s always a good idea to say it again.

            Since you don’t have much time for this project, I would strongly advise you to do a workshop for yourself at home, and follow all the procedures exactly as you intend your kids to do them. Give yourself exactly as much time as they’ll have, remembering to reduce your working time to allow for instructions and questions. Try to pretend that you have no idea how to do any of it before you begin, and that you’re the same age as the kids in the workshop. Then see how long your masks take to dry and paint. It’s the only way you’ll really know ahead of time if your workshop will be a success or not.

  • Hi Jonni – I am finishing my masters this year in Sculpture – I am working mostly from home and I’ve found I like paper mache the best – I have really enjoyed your site and the recipes and have experimented with several. Right now I am making figures and a larger tree and will be making some larger figures. I met someone who used papercrete and I wondered if you’d experimented with that yet? I want to make figures for outdoors but am concerned they will be too heavy to use for my masters show….not sure how thick paper crete has to be to prevent breakage….thanks for your generosity to share your knowledge – you’ve been an inspiration…..

  • Hello , I am a student from Taiwan. Currently a high school sophomore , studying the design department , we have a graduation exhibition , and my chosen theme is animals, just unexpected to see your work , I feel great is very unique, so I can see more different animal presentation , I would like to ask you , when you are doing these works when trying to convey the idea of ??what is it ?

  • I feel upset because i was paper maching a balloon and now its gone wrinkly im not sure what to do start again or find an idea.i think i might use masking tape but i will have to use allot because it is wrinkly all over

    • That always happens to me, too, when using paper mache over a balloon. I know a lot of people use them for their sculptures, but I’ve never been able to get it to work. I did use a balloon for my Humpty Dumpty, but I cheated and put on a layer of plaster cloth first. Your masking tape idea seems like it might work, if the paper mache is completely dry.

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