William Andrew Young
Draper / Designer / Freelance Artist
Masks
Thermoplastics
This Greek-inspired mask is constructed of foam and wonderflex and painted with acrylics.
Wonderflex layering provided dimensionality for accentuation with paint. Special care was given to use the eyes and cheeks to accentuate the lips, Rumor's main feature.
Actor Mariah Claiborne as Rumor. "Argonautkia." Penn State School of Theatre, 2017. Costume Design: Austin M. Rausch.
This Greek-inspired mask is constructed of foam and wonderflex and painted with acrylics.
This Greek-inspired three-quarter mask is constructed of foam and wonderflex. The mouth and lower jaw of the wearer remains visible.
Each mask features a variation of width and direction of the wonderflex strips of the forehead and cheek areas.
Cat Rokavec as a Desert Goddess. "Argonautika" Penn State University School of Theatre, 2017 Costume Design: Austin M. Rausch
This Greek-inspired three-quarter mask is constructed of foam and wonderflex. The mouth and lower jaw of the wearer remains visible.
Materals: Worbla, EVA foam, faux suede, rhinestones (Looking Glass Gems), acrylic paint, satin ribbon The set of masks is designed to go together: each featuring similar layering, complimentary cheek guards, and stoning arrangement. The mask consists of of a symmetrical domino-style layer laid on top of an asymmetrical layer that includes the cheek guard. There is a third, smaller layer that borders the eyes and creates the additional layers across the bridge of the nose.
Materals: Worbla, EVA foam, faux suede, rhinestones (Looking Glass Gems), acrylic paint, satin ribbon The set of masks is designed to go together: each featuring similar layering, complimentary cheek guards, and stoning arrangement. The mask consists of of a symmetrical domino-style layer laid on top of an asymmetrical layer that includes the cheek guard. There is a third, smaller layer that borders the eyes and creates the additional layers across the bridge of the nose.
The masks are designed to be worn together, each being uniquely individual while simultaneously identical in basic anatomy and stylization.
Materals: Worbla, EVA foam, faux suede, rhinestones (Looking Glass Gems), acrylic paint, satin ribbon The set of masks is designed to go together: each featuring similar layering, complimentary cheek guards, and stoning arrangement. The mask consists of of a symmetrical domino-style layer laid on top of an asymmetrical layer that includes the cheek guard. There is a third, smaller layer that borders the eyes and creates the additional layers across the bridge of the nose.
The concept for this mask is a ram's head transitioning from life to death. I incorporated hemp to enhance the organic aesthetic of the mask. Click the "process" link for construction details.
The mask is painted with acrylics. Two thicknesses (and colors) of hemp are incorporated into the beard and horns.
The concept for this mask is a ram's head transitioning from life to death. I incorporated hemp to enhance the organic aesthetic of the mask. Click the "process" link for construction details.
This mask is a reproduction of an existing Mayan relic. It is constructed of wonderflex and painted with acrylic paint. The gold fret across the crest is broken bits of jewelry. the circles at the ear are edged in hemp rope. The mask is comprised of 35 pieces of wonderflex. The pattern was "draped" from a clay sculpt over which the wonderflex was heated and formed.
The severe angle of the forehead receding into the crest is matched by the nose. The nose does not flatten in the recess, which presented a unique set of patterning challenges.
The rough surface of the mask was achieved through intentional overworking of the wonderflex to produce a rippled effect. This rippling was accentuated through layers of dry-brushing and washes. The tip of the nose resolves into the main plane of the face at 90 degrees less than 1/4" from the upper lip, which also resolves at nearly 90 degrees.
This mask is a reproduction of an existing Mayan relic. It is constructed of wonderflex and painted with acrylic paint. The gold fret across the crest is broken bits of jewelry. the circles at the ear are edged in hemp rope. The mask is comprised of 35 pieces of wonderflex. The pattern was "draped" from a clay sculpt over which the wonderflex was heated and formed.
This piece is inspired by the helm of the Witch-king in "The Lord of the Rings" The Return of the King." For wearability, the height of the central crest and the angle of the jaw flanges are modified. Click the "process" link for construction details.
Rust spots are worked into low-lying areas of the helm.
Each half of the helm features a row of 4 double-pointed spikes.
This piece is inspired by the helm of the Witch-king in "The Lord of the Rings" The Return of the King." For wearability, the height of the central crest and the angle of the jaw flanges are modified. Click the "process" link for construction details.
Leather
The concept of this mask is intended to suggest flames erupting from the wearers mouth. The mask is essentially symmetric, with slight variation in how the tendrils are shaped on either half. Click the "process" link for construction details.
The tie ribbon is melted in areas to carry the theme of the piece.
The leather dye was applied working from the center out toward the edges. The color gradation was achieved with nearly ten applications of different dye mixtures.
The concept of this mask is intended to suggest flames erupting from the wearers mouth. The mask is essentially symmetric, with slight variation in how the tendrils are shaped on either half. Click the "process" link for construction details.
This mask was a class project. Each student had the same flat pattern to manipulate at will. My concept was inspired by Greek and Egyptian armor in shape and color.
The flanges at the cheek and areas around the eyes are gold leafed, and the corners of the eye also feature light tooling.
This mask was a class project. Each student had the same flat pattern to manipulate at will. My concept was inspired by Greek and Egyptian armor in shape and color.
Other Materials
These two masks for the Harpies in "Argonautika" are a hybridization of a crow and raven skull. They are made of wonderflex, muslin, and liquid latex. Click the "process" link for construction details.
The angle of the side of the beak becomes more severe as it moves toward the back of the mask.
Ellie Milewski and Tim Lewis as the Harpies. "Argonautika." Penn State School of Theatre, 2017. Costume Design: Austin M. Rausch
These two masks for the Harpies in "Argonautika" are a hybridization of a crow and raven skull. They are made of wonderflex, muslin, and liquid latex. Click the "process" link for construction details.
The concept of this mask is armored scales reminiscent of a dragon's scales. The gold leaf from the front view picks out the flared areas above the ears, the point at the top, and the nose. These areas are intended to suggest the wings, head, and curved tail of a dragon, respectively. The mask is made of wired cardstock, brown gum paper, and is painted with acrylic and spray paint. Click the "process" link for construction details.
The concept of a dragon rearing back carries into the side of the mask. The silhouette is intended to mimic a dragon in flight, reared back with neck and tail arched. The scales ascending the upper crest and descending the crest of the nose accentuate this concept.
The unseen portions of the interior are entirely covered in gold leaf.
The concept of this mask is armored scales reminiscent of a dragon's scales. The gold leaf from the front view picks out the flared areas above the ears, the point at the top, and the nose. These areas are intended to suggest the wings, head, and curved tail of a dragon, respectively. The mask is made of wired cardstock, brown gum paper, and is painted with acrylic and spray paint. Click the "process" link for construction details.