This often happens because:

There is not enough subtle variety of expression in its features e.g. the mask can only be angry because of the stern eyebrows or can only be sad because of the eyes.

A good mask needs to work with the performer. I would suggest that as you construct your masks you need to continually experiment with them in a performance/sharing context. A living mask will fit well on the face and will seem to change expression as the audience read the performers gestures and apply that to their reading of the masks expression.

There are many ways to make a Commedia mask. Traditionally they are constructed from leather. This is perhaps the most difficult process but it produces a hard wearing mask that will mould to the performers face like a good pair of shoes.

Masks should be seen both artistically and practically and the shoe is a good analogy. Everyone's bought a great looking pair of shoes only to find out they are the worst they have ever worn.

Other methods include latex, vacuum moulded plastic, felt, cloth, papier mache... the list is endless.

My favourite method for making a mask, which is simple and produces a hard wearing mask, is to use felt and PVA (Glue).

You will need:

This method is safe, non toxic but messy!

The Mould:

Scrunch up some newspaper into a ball and tape this to the wooden board.

This will save you wasting too much clay.

Cover paper with clay. Mould your mask in the clay on the board making sure that the mould roughly matches the dimensions of your face (The eyes are where your eyes will be, nose etc.) You can use a plaster cast of your own face if you want as the base and mould the clay on top.

Take some time to get this right. Do not copy one mask, look at as many examples of the desired character as you can. It is more important to get the essence of Arlecchino than for it to look the spitting image of a traditional mask. Once you are happy with the way it looks leave it overnight. Do not hook the nose or the chin too much as the mask will not release from the mould.

Applying the felt:

Dip the felt in a bowl of PVA and water (About 4/5 PVA to 1/5) and leave to soak for about 10 min.

Don't be afraid to scrunch the felt up and stretch it slightly.

Cover the mask with a layer of Vaseline- Petroleum Jelly. (Make sure you get all the corners)

Place the felt on the mould and carefully press the felt into the contours of the face trying not to crease the felt. As you press the felt into the mould hold it in place with some tacks. When you have finished leave the mask to dry in a warm place. (This will take anything from overnight to 48 hours.)

Turn your oven on to its lowest setting (100 - 120 c) and place the mask in the oven on it's board. Leave for about 2 hours and then let it cool.

Take out the tacks and carefully prize of the mask from the mould (This is time consuming and frustrating but be patient and gentle)

Finishing the mask and painting.

Carefully cut any excess felt from the mask.

Mark in pencil where the eyes should go and put pinpricks in these marks. Once you have aligned the pin holes so you can see through you can use these as the centre point of the mask’s eyes and cut carefully around them.

Eyes often need several modifications before you can see properly. It is better to cut holes that are too small than holes that are too big

Paint the mask with acrylic paints in your chosen design. (Anything from plain brown to neon pink)

Use a darker shade in sunken parts of the face and slightly lighter to highlight the eyebrows as this will heighten the features of your mask.

Cut two holes either side of the mask and add the elastic.

You have your mask!