Paper clay is workable much like potter's clay, except overly thick applications take forever to dry, and may mold: it's best to gradually build up the thickness.  In addition to being able to model solid objects, such as puppet heads, arms, torsos and legs, you may also apply the stuff over an armature.  Armatures might consist of wads of newspaper held together with masking tape, wooden dowels or coat hanger wire inside a puppet's arms and legs.  The use of armatures often adds strength and can reduce drying time due to the thinner application of mush.  To make topographical layouts, pound brads (headless nails) into a baseboard, and model your hills and valleys over the nails.  The nails/brads give the mush something to grab onto so it will stick tight and not come apart.  You may use this same system for creating mountain backboards, and bas relief sculpture.  Paper clay is also a fine material to use for pressing into open faced molds.  However, you should use a mold release (such as a sheet of food wrapping plastic in the mold first), and you should probably back up the dried mush with a layer of strip paper mache for extra strength.  To achieve a smooth surface with paper clay, you may do a bit of refining with a damp finger.  However the surface may still retain a somewhat granular appearance.  To get the desired  absolutely smooth working surface,  “paint” on a minimum of four coats of artist's gesso, sanding lightly between coats, but not sanding the final coat.  Onto this surface you will apply color and detail, and finish with multiple coats of clear, gloss lacquer or urethane.  If you are careful, the results are as smooth as fine porcelain.

Even though mush is the traditional method, torn strip is what comes to most people's minds when they think of paper mache.  Used copier paper, newspaper or paper torn from brown grocery bags work well, and you may use all three on the same project.  If you can find it for a good price, the rolls of painting paper that is used for masking off areas when paint a room work very well and are close to the same texture and weight as brown paper bags.  They come in several widths and colors.  I get different colors to use so that I can tell by the color when I have completely covered my project for one layer.  Brown bag paper, especially from LARGE bags, is the strongest and heaviest, and requires the fewest layers.  You may use phone book paper if you have many curves to cover: a bowl or globe for example.  Because it is so thin, phone book paper hugs curves better than heavier stuff.  However, also because it is thin, it is weaker and requires more layers than the others.  Hence, I only recommend it for special projects.

To build strength, stripped paper mache requires multiple layers.  To keep track of layers and to assure complete coverage, it's a good idea to alternate at least two different types or colors of paper: newspaper and brown bag paper, for example.  White copier paper is useful as a final layer before painting.  Cover your working surface with a cheap plastic drop cloth.  Put aside a couple of pieces of waxed paper to rest your work on when it's drying.

Cut down a couple of gallon plastic bottles, one to use for glue or paste, and the other for plain water.  Tear, rather than cut, paper into strips.  Tearing gives a “feathered” edge that lies smoother and tighter than a cut edge.  Using the fingers, smear glue all over a strip of newspaper: enough glue to cover both sides, but don't make it goopy.  Skim off any excess.  Apply the strip to the armature (basic form), getting it down as smoothly as possible, without air bubbles.  Continue adding strips and overlapping about 1/3, until the armature is completely covered.  Rest your project on a piece of waxed paper so it doesn't stick to the work surface.  Take a break.  The container of water is for keeping the fingers damp and for dipping when fingers get too sticky.

Using a different color, add a second layer of paper mache.  You may add up to three layers in a single day.  Anymore than three and you might have drying problems.  The differing colors are to control for complete coverage and to keep track of layers.  Continue adding layers until the piece is as strong and hard as you'd like it to be.  If you make your final paper layer white, it will provide excellent contrast for your final colors.  If you wish an extremely smooth surface, consider the application of several coats of artist's gesso.

If you’re working with pulp papier mache, wait until the object is completely dry, then coat it liberally with boiled linseed oil.  Allow the oil to soak in, then apply another coat.  Continue the process until the paper mache won’t accept anymore oil (usually three to five coats), then wipe off any excess and allow it to dry.  Not only does the boiled linseed oil improve weather resistance, but it also increases strength.  For the strongest practical finish for strip paper mache, is the clear gloss, solvent-based, Marine Spar Urethane.
This is the stuff “they” use to coat boat decks, and it stands up to all sort of abuse.  The surface of your paper mache must be clean and free of all grease and oil, and the finish must be applied with a brush.  Four coats of solvent-base Marine Spar Urethane is the minimum, and six coats wouldn’t be too much.  While this stuff is truly strong, it will only render your project highly weather resistant, NOT waterproof.  To further protect an outdoor display, keep it elevated out of the earth, and out of standing water.  It also wouldn’t hurt if you gave it some overhead shelter.  Going from the “practical” to the “truly serious,” you might opt to coat your project with a clear two-part polyester resin.  Two-part polyester resin is a real bother to mix and apply, but it will provide the highest level of water and weather resistance.  These resins may be found in boating supply houses, and in some large warehouse-type building supply stores.  When creating specifically for out of doors display, replace the glue with portland cement (with a PVA admixture), and the paper with torn strips of old bed sheeting, muslin or canvas.

Keep your eyes open and your imagination ready as there is always stuff all around you that may be pressed into service as a mold, or as a ready made armature.  When creating bowls, candy dishes, containers for dry flowers and potpourri, trays and serving platters,  common paper picnic ware can be used by covering it with stripped paper mache and decorating it.

For creating the above items, without an armature,  molds can be made of flexible plastic bowls, and the tubs you use in the kitchen sink for dishes.  If you turn the tub over, and cover it, the bottom only, with strip paper mache, you get a great platter.  A major advantage of using flexible plastic items is, you don't have to use a mold release.  Just flex the mold and your work of art usually just pops off.  If it doesn't pop off, that means it isn't completely dry, or doesn't have sufficient layers of paper mache.  Antique candy molds are also great for paper mache.  First lay a sheet of thin plastic food wrapping film into the mold.  Then press in, or apply, the paper mache.  When the paper mache is dry, lift the film, and your project should easily be removed.  If you absolutely MUST use fine crystal as a mold, coat it first with liquid detergent.  Apply paper mache and allow it to almost dry through.  Split the paper mache with an Xacto knife, and remove the shell in two or more pieces (hoping for the best).  Glue together the paper mache pieces, and continue with your project.

If you are using rigid plaster or metal molds, a release is often necessary.  Most books recommend petroleum jelly.  Not me!  Petroleum jelly is a mess to remove, and if not completely removed, further layers of paper mache will separate.  In addition, you can't apply paint over grease.  If you've already used petroleum jelly before reading this manual, try cleaning it off with rubbing alcohol.  The simplest and most straightforward release, is to lay a thin sheet of food wrapping plastic into the mold before pressing in the paper mache.  Then, when the adhesive has set, all you do is lift the plastic, and no muss-no fuss.  Other releases that can be used is a light coating of Pam, cooking oil or baby oil.  These work, but they contain grease, and must be completely removed before proceeding.  Now, when a mold release is absolutely necessary, I make up a slurry from liquid detergent with a few drops of water.  The best solution I've found is, whenever possible, use flexible plastic molds.  Then, when your object is dry, stiff, strong and hard, all you do is “flex” the mold, and your creation POPs right out.  If it doesn't pop right out, that's an indication the piece isn't dry, stiff, strong and hard enough: add more layers and let it dry through.  Then flex and pop again.
 
 

Display Masks are the easiest to make, because they don’t have to fit a face.  The backing may be created of foamcore (used for mounting posters and pictures), poster board (illustration board, bristol board), corrugated cardboard, plywood, masonite or similar material.  The first step is to cut your backing to shape.  With the paper materials, this is a cinch: just use a very sharp matte knife (aka utility knife).  With plywood and masonite you may use a coping saw, a scroll saw or a band saw.  Cover the shaped backing with several layers of strip paper mache.  This provides strength, stiffness and a nice working surface for what’s to come.  Once the paper mache is dry, lightly draw your mask on the backing.  For the 3D areas, cut shapes from cardboard or foamcore and glue them to the backing.  You don’t have to be satisfied with applying only a single 3D layer - these may be glued one atop the other until you achieve the effect you desire.  More rounded 3D shapes may be created from wads, rolls and “sausages” of newspaper and masking tape.  You may also use small boxes, bottles, balls, machine parts and other “found” items.  Once the 3D areas are in place, and dry, cover with another layer or two of strip paper mache.  Paint the unfinished mask with flat, white, water based undercoat, and allow to dry.  Now is the time to apply your colors and designs.  You may also add extra frill, such as material, jewels, dangles, feathers, fur, etc.
 
 

The easiest way to make a wearable mask is to begin with a commercial Halloween or party mask, and build upon that.  The most artistic and creative way, is to sculpt the mask first in oil-clay, then cover that positive form with multiple layers of strip paper mache.
Another, similar procedure, especially if you want to make several masks (for a theatrical performance, for example), would be to create a female plaster mold from the oil-clay original.  Press paper mache into the female mold.  When dry, remove, and you’ll have a mask with an extremely smooth surface.  To create a mask to nicely fit your own face, double over a sheet of heavy-duty aluminum foil and press and mold it over your face.  Back up the mask with paper wads to keep it from deforming too much, and cover the front with a layer of strip paper mache.  When the front layer is dry, cover the back with a layer, and allow it to dry.  All this fooling around will have deformed the mask quite a bit, so dampen it slightly and reform it to your face.
TIP:  After molding the foil to your face, “paint” both sides of the form with four coats of undiluted PVA glue (Elmer’s, Dap, Resistol or the like).  Allow each coat to dry before applying another one.  The glue should make the form stiff and hard, and less likely to deform while you’re adding the paper mache strips.  Cut out the eyeholes and do a general trimming with a sharp scissors.  “Bind” all the cut edges with paper mache.  For adding exaggerated details like a big nose, cheeks, brows and the like, use wads of newspaper and masking tape, or cut and folded shapes of cardboard.  These additions should be covered with one or more layers of paper mache.
The most common starting point for a mask is a balloon.  For some reason, middle school art teachers just love using balloons for just about everything.  If you want to begin with a balloon, more power to you.  The process is the same.  Cover the balloon with multiple layers of strip paper mache, cut out the eyeholes and trim.  Add the exaggerated features and other details, cover with more paper mache, and VOILA, you’re ready to paint and decorate.  If this is a project with young kids, you might want to make the final layer of paper white - this will make your colors jump out.  You could decorate the mask with black marking pens, colorful felt markers, poster paint or even bits of colored paper.  If you want it to last, apply several layers of clear, gloss sealer.  For more advanced artists who’d like a really smooth finish, gesso is the secret.  Once the basic mask is finished and completely dry, “paint” on a minimum of four coats of artist’s gesso.  Sand between coats, but don’t sand the final coat.  This will give you a very smooth working surface.  After applying color and multiple coats of clear, gloss lacquer, the surface can be almost as smooth as glass.