The next step is the construction of that part of the mask which will cover the head. Here you will need assistance. While you hold the mask to your face, your assistant will take a one-inch strip of heavy paper, long enough to go around the back of the head, and attach it to the outside edges of the mask, just above the ears. If this strip is attached too low, the mask cannot be removed from the head, if too high, the mask will not be held securely. You will soon discover that it is necessary to put the chin into the mask first, when you put it on. A mask should fit the face and head closely. If you follow the steps in the illustration, you will see how this basketlike framework is constructed and how any kind of headdress can be built up on it. When a headdress is completed, and the inside of the mask is finished with a lining of papier-mâché, you are ready to paint the mask. Oil paints are the most practical. Tempera colors, however, may be used. The painting of the mask should emphasize the character. [Illustration: [Masks]] Complexion is the first consideration. Faces usually are fair, sallow, or swarthy. There are certain masks, however, that are much more effective when they are painted symbolically. The mask of the priest of Osiris was painted a rich green to indicate the fertility of the Nile. The demon mask was painted a greenish-gray. Yellow, vermilion, and black were used to heighten the terrifying aspects. Observation and experiment will guide you in the painting of the eyes, lips, brow, and hair, and also in the subtle violet shadows about the eyes, cheeks, and chin. Beware of timid lines that imitate nature. They say very little when the mask is a few feet away from you. Big, sweeping rhythmic lines make for design and carrying power, and are to be seen in all great masks. The inside of the mask should also be painted, decorated if you like, and shellacked when the oil paint is thoroughly dry. This prevents the breath from softening the papier-mâché. The outside must not be shellacked. The masks shown in the accompanying illustrations aimed to bring out the most important traits of the character chosen. North American Indian symbolism of design and color was carried out in the masks of the Corn Maidens. Each mask was made by a different person, with a very clear idea in mind of what she wished her mask to express. Notice how like and yet unlike these Corn Maiden masks are. A clown’s face is supposed to show grotesque humor. By exaggerating nose, ears, and mouth, both in shape and color, the grotesque effects of the clown group were produced. Cheerfulness and contented old age are characterized by two Oriental masks shown at the bottom of the page. The demon mask grew out of a careful study of Chinese and Japanese demon masks.