Manning Makes Stuff - Halloween decorations, paper mache masks, costumes, party ideas, and more

Manning Makes Stuff - Halloween decorations, paper mache masks, costumes, party ideas, and more

My paper maché method for masks, Halloween projects, etc

Published by Manning on June 17th, 2015

how to make a paper mache skull mask

Paper maché (aka papier-mâché aka paper mache) is the foundation of most of my Halloween decorations, Mardi Gras skull masks, etc. Everyone who does paper maché has their own favorite materials, recipes, and methods. I’ve tried a ton of combinations and this is the best paper maché recipe and process I’ve found. The main materials I use are:

I also use lots and lots of Scotch masking tape and Scotch heavy duty packing tape, as well as paper towels, modeling clay, aluminum foil, etc.

*Note: The two Home Depots in my area have stopped carrying GH-57 Universal Wallpaper Adhesive and has replaced it with Roman Pro-543 Universal Wallpaper Adhesive, so I’ve been using this exclusively for a few months now. It’s very similar but not identical; a little less thick and a little less sticky, but the end result is the same!

Start with a base

All of my papier maché projects start with some kind of base. This might be: a shape made out of foam board and poster board, a shape made out of clay, a shape made out of chicken wire, a shape made out of crumpled-up taped-up blobs of newspaper, or even a combination of several of these. I always write about the specific base materials I use in all my articles about my projects, so be sure to check out a few of them to see the different ways I’ve built my starting shapes.

Once my base is made, I usually cover it completely with masking tape and/or heavy duty packing tape. The reason for this is that the paper maché I use doesn’t stick to these kinds of tape, which means once it’s all papier maché’d and dry I can cut the whole thing open and remove all the base materials without damaging the paper maché. This is important for projects that need to be lightweight — like masks, things you wanna hang on the ceiling or walls, etc.

Wallpaper adhesive and other kinds of paste

Once my base is built and wrapped in tape, I can start with the papier maché. I use a kind of pre-mixed wallpaper paste called GH-57 Universal Wallpaper Adhesive — it’s the best paper maché ingredient I’ve found, and I’ve tried a bunch (see my note above about replacing GH-57 with Roman Pro-543 Universal Wallpaper Adhesive; more or less the same thing). You can buy this paste at any big hardware store. I’ve seen it in two kinds of container: a small square container and a large jug. The small square container (or small round jar in the case of the Roman Pro-543 adhesive) is great because the opening is huge and you can work right from that, instead of pouring it into a bowl. The large jug is a little cheaper per volume but you need a bowl to pour it into. Since I’ve done so many of these projects I just keep an old square container to use as a bowl, and buy the big jugs of paste and pour them into the square container.

The wallpaper adhesive I use doesn’t need any water or any mixing; you just open it up and you’re ready to go. It’s a thick white smooth paste that looks and smells a little like Elmer’s Glue, but in my opinion it works much, much better than Elmer’s for papier maché projects. Some people swear by Elmer’s glue for paper maché, but I’ve tried it and it hasn’t worked well for me. It’s much thinner and stickier and it seems to not dry as hard as the wallpaper adhesive. I’ve never tried the flour-and-water method, not since I was a little kid anyway, but I hear that’s a good way to go too. One caution I’ve had from artist friends who live in hot/humid areas is that projects made with flour and water can attract roaches! Eek! I’ll stick with the wallpaper adhesive. There are also powered kinds of wallpaper paste you can try, but these require mixing and just sound like more trouble, so I’ve never used them.

(Above: my violin skull mask in progress)


Okay, before we can begin papier-machéing our base, we need to tear up some paper. I use newspaper, brown wrapping paper, and brown paper bags. I grab a ton of free weekly newspapers from the boxes in my neighborhood, and I buy rolls of brown wrapping paper, aka craft paper, from the dollar store. I’ve found that cheaper brown paper is more porous and works better than more expensive paper; I buy rolls of 3M paper for a buck at the dollar store, and they work better than nicer-quality Scotch paper that costs two bucks.

I also keep any brown paper bags that come my way, although some are better than others for papier maché. Bags made of thinner paper are better; sometimes larger paper shopping bags are too thick and stiff. Sometimes I’ve received paper bags that have a weird slightly plasticky/waxy texture, and these I just throw in the recycling. You want the paper to be thin and porous. I’ve found that Dunkin Donuts bags are perfect! When I work with paper bags, I always throw away the bottom part with all its weird folds, and the seam that runs down the side. Those parts are too thick and layered and weird and they can create weird textures in your paper maché.

Now then, time to tear up tons of paper. I find it useful to tear up lots of strips of paper in different sizes, and set them aside in piles — big pieces (around 4″ square) to cover big, relatively flat areas, medium-sized strips (about 1.5″ x 4″) to work around big curves and corners and irregular shapes, and tiny pieces (around 0.5″ x 2″) to cover the smallest details. I’ve even gone smaller than that for tiny things like the teeth on my skull masks.

You definitely don’t want to use scissors for this; that will create lots of hard edges that will be too visible in your papier maché. Torn edges are much much better. I also recommend against tearing multiple sheets of paper together at the same time, because they’ll often get kind of stuck together and are annoying to separate. Tearing individual pieces is slower but will save you this hassle.

The nice torn edges of your paper will be easy to smooth out and blend together when you’re doing the paper maché. Some people tear off and throw away the clean outer edges of the paper, because they can stay somewhat visible when your whole shape is papier maché’d and painted. For me it really depends on the project — if it’s going to be something really big I don’t think those clean edges really stand out too much, whereas if it’s going to be a small, detailed project, I might avoid using those edges. Another thing you can do is use all those strips of paper with clean edges on your earlier layers of paper, and make sure to avoid them for your final layer. Depending on how crazy I feel like being I sometimes set all the clean edged pieces aside in a separate pile and make sure to use them only on the inner layers.

I always keep one shoebox full of torn up newspaper and another full of torn up brown paper, and alternate them when I’m working on my projects. A big mask project with 8-10 layers can take up about one full shoebox of each; that’s a lot of paper!


You’ll probably need to put several layers of paper on your project, depending on how sturdy it needs to be. For my masks I always do at least seven layers, because I need them to very hard and durable. For a project that’s going to be a decoration that no one’s going to touch, you might be able to do just three or five layers. If you’re going to leave the base inside, you can usually have fewer layers, because the base will help keep the shape. If you’re removing the base, you’ll need more layers since the paper maché will have to keep the shape by itself.

I do alternating layers of newspaper and brown paper, mostly just so I can visually keep track of which areas I’ve covered. I’ve tried doing multiple layers of the same paper and it gets very confusing!

I always make sure that my last layer will be brown paper, because when it’s time to paint the thing, you’re much better off starting with a solid-colored surface. You’d be surprised how much newsprint can show through spray paint, especially white.

Here’s my conjoined twins skull mask for Mardi Gras 2014, with the last layer of brown paper finished, insides pulled out, holes all cut, and before painting:

My conjoined twins skull Mardi Gras mask

Preparing your work area

Okay, we’ve talked about paste and paper, but it’s still not time to begin papier machéing yet. I live in an apartment and the only space I have where I can do paper maché projects is my dining room table. Before I begin, I cover the table with big sheets of newspaper, and I tape them down with masking tape. Then I cover that with long sheets of wax paper, and tape them down with masking tape.

Finally, we can start paper machéing!

If you did papier maché projects with flour and water in school, you might have worked with a relatively watery mixture, where you could dip the strips of paper in the paste, squeeze the excess off with your fingers, and then apply that strip of paper to your base. The wallpaper adhesive that I use is too thick for this method, and I’ve found that a different method works much better. First, I scoop up some paste with my fingers and apply it directly to my base, coating a small area. Then I scoop up a little more paste with my fingers, grab a strip of paper, and apply the paste directly to that. I place the paste-covered paper on the paste-covered base, and then smooth it down with my fingers. Voilà! Repeat until the whole base is covered — well, you might have to leave the bottom surface uncovered until this part dries, then flip it over and do that part.


Each layer of paper maché will need to dry completely, for several hours or even a full day, before you can do the next layer. I’ve found this drying time can vary a lot, depending on the weather, what kind of base material you’re using, etc. I live in New York and during our cold, dry winters I can usually do two layers a day, one in the morning and one at night, and they have time to dry completely during that time; I’ve even squeezed three layers into one day a few times. My friends in hot/humid New Orleans usually have to wait a full 24 hours between layers.

I’ve also experimented with doing two or three layers at a time and letting them all dry together. If the weather is dry this works pretty well and can save you a little bit of time. Two layers done at the same time definitely take longer than one layer to dry, but less time than it takes to do one layer, let it dry, then another, and let that one dry. An electric fan can be a big help! Just point it at your project and rotate it every hour or so.

One thing to watch out for with doing multiple layers at the same time is that this tends to make the paper maché a bit more as it dries. Paper maché shrinks and warps a little bit pretty much no matter what, but this effect is pronounced when multiple layers dry together.

If your base material is porous and hollow (like cardboard) drying can usually be pretty quick, whereas if it’s non-porous, like aluminum foil, plastic, etc, it’ll be a lot slower. I’ve done a few projects with papier maché over plastic cling wrap and that can take ages to dry.

One last layer of paste to smooth everything out

A technique I’ve started using recently is this: Immediately after I’ve applied the final layer of paper maché, I grab a huge glob of wallpaper adhesive, and I use my hands to carefully spread it all over the surface of the project, really pressing down all the paper and smoothing everything out as much as possible. This last layer will dry a bit slower as a result of all the extra paste, but when it’s dry it will be incredibly smooth, and even somewhat shiny. If you want to try this method, take a couple photos to see what a different it makes: first take a photo of your project after the next-to-last layer of papier maché has dried, and then take another photo after this last layer with the extra paste has dried. You’ll really see a difference in the smoothness and evenness of the texture; the torn paper edges really disappear into each other.

I only use this technique for projects that have a lot of detail and need to hold up to some degree of scrutiny, like my Mardi Gras masks. I don’t usually bother with this step for a lot of my Halloween projects, as they’ll be displayed in low lighting and they often actually benefit from being a bit rough-looking and having more texture to them.

One more method to get your finished shape even smoother is to coat it in gesso; either the kind you brush on or the spray kind. This thick coating will cover up any visible edges of the paper maché completely. I wouldn’t bother with gesso on a big project that no one’s looking closely at, but it can help on projects where you really want the surface to be perfectly smooth. I actually wrote a whole article about working with various kinds of gesso; it’s here.

Make a schedule

Because of all of the drying time involved in a big papier maché project, it’s important to make sure you’re giving yourself enough days to get your project done on time! I’m usually working on projects for either Halloween or Mardi Gras, so I always have a hard deadline — failure is not an option! I plan the whole thing out weeks ahead of time to make sure I’ll have enough days for all the layers, all the drying in between, and then all the other stuff like painting, letting the painted project that air out for a few days, then applying a sealant, letting that air out for a few days, etc. I actually make a schedule for all of this, and I include several extra days for all unforeseen problems, which I promise you will happen!! You can plan lots of little non-paper-maché tasks to do during all those many long drying periods.

That’s about it! I’ll get into a lot more specifics in my articles about individual projects. Have fun!

Further reading

Does all this sound like too much hassle? Hire me!

I’ve been doing tons of commissions lately! See my page about custom paper maché masks, sculptures, etc. Drop me a line and let’s chat!

8 Responses to “My paper maché method for masks, Halloween projects, etc”

  1. maria Says:

    I really like your skull mask. How can I make an alien mask. I need one that is the size of a big big bobble head. Now how can I make a giant size head with chicken wire? Where do I begin?

  2. manning Says:

    Hi Maria! Chicken wire comes in a roll that’s about 3 feet tall, so I bet you could start with a piece that’s about 3×6 feet and curl it into a huge cone shape, like an ice cream cone, and then take another piece about 3×3 feet and bend it over the top like a dome, and attach it all together with twist ties or wire. BE VERY CAREFUL when cutting chicken wire! It’s very easy to cut yourself, so wear thick work gloves! And then once you’ve got this ice cream cone shape, you can pull and stretch and bend it to make it a typical alien-like head shape. You can cut off the pointy part at the bottom to make a hole that’s big enough for your head. You could then cover the chicken wire with paper mache directly, but you’ll get a much smoother surface if you first wrap the whole chicken wire shape in bubble wrap (with the smooth side out) attached with tons of masking tape, and then paper mache over that. Good luck!

  3. OurmanFlint1 Says:

    Manning, You’re a real artist. Your planning and attention to detail are exceptional. I’m make a giant Sugar Skull for a Dias de los muerto party. Mostly a hack job with lots of chicken wire and cardboard. I had a roll of contractor paper (the brown stuff they put down to keep from harming floors during construction) It’s $10 for 150′ x 3′, I was just wondering if you’ve ever used it?


  4. manning Says:

    Hey, thanks OurmanFlint1! I’ve never used contractor paper before but I suspect it would work fine. One thing to look out for is: is it very porous? Try wetting some with water, leave it alone for a few minutes, and see if it get soggy or not. If it does get soggy/mushy, it’ll probably be a great medium for paper mache, but it might take a long time to dry (two days?) and the end result should be nice and strong — the thicker the paper, the more glue it’ll take, and the stronger the end result will be — probably similar to two or three layers of the cheap dollar store wrapping paper I use (which is something like 3’x30′ for $1 — that’s half the price of your contractor paper, but probably half as strong) If it doesn’t do well with the water test it might be made with a small amount of plastic mixed into the pulp, in which case it will probably not do well for paper mache. I would love to hear how it goes, and see some pics! Good luck and be careful with that chicken wire! Wear gloves!

  5. June Says:

    Can holes be safely drilled in the dried mask for hanging without cracking the mask?

  6. manning Says:

    Hi June! Usually, yes! I’d recommend reinforcing the holes with washers or plastic zip ties or something like that, to keep them from stretching/tearing. Also, if the mask is heavy, the whole shape of the mask might warp or sag over time, but this can be reinforced on the inside with copper wire or any other sturdy material.

  7. Andy Says:

    Great tip about the cheap dollar store kraft paper – much easier to work with than the thicker stuff!
    I used it with boiled flour & water paste (2 Tbsp flour per cup of water) which is smoother than unboiled and dries clear. It turned out so nice I don’t even want to paint it now.
    Thanks for all the great tips and photos on your site!

  8. manning Says:

    Hey Andy, thanks for your comment! I totally hear you about the texture being so nice you don’t even wanna paint it! I’ve had the same dilemma on a few projects. For things like monsters and mummies and old bones and stuff the brown paper texture/color on its own is perfect; better than any paint job I could ever do.

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