By Linda Perina

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Additional resources for La Magia de la Globoflexia Paso A Paso

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Run your fingers through the mixture and, if still very fluid, add more pulp. When you judge that things are right it is time to make a test sheet. To the left of the vat should be a large photographer's developing dish, or something similar, to catch the water, and in it place a wooden pressing board. At the back of the dish stand a pile of well-wetted felts. Lay two of the wet felts on 57 Forming the Sheets and Couching Lifting and draining the pressing board and smooth flat with the hands. Place the deckle over the mould and pick up both together with a hand on each side, fingers underneath and thumbs on top.

There are, of course, suppliers of new felts for hand-made work, but these are quite expensive and, until well worn with use, the high nap can be very troublesome to a beginner. The nap of a felt is longer on one side than on the other, and it is an advantage when paper making to lay the long nap side downwards on the pile so that the sheet is couched upon the short nap side. There is considerable scope for experiment in the matter of materials for felts, and there may be some yet untried which would prove very satisfactory and impart new and interesting textures to the paper.

Except that we use bronze or brass wire, the method is similar to that employed today. I decided on 12 X 8 inches as the size for my first paper, and Amies of Kent made the laid mould and deckle complete with my name as watermark. Watermark designs are formed 38 The Mould in fine wire and sewn with still finer wire to the upper side of the mould. As they are in relief, less pulp lies upon them than over the rest of the mould. The resulting thinness gives the familiar transparency to the watermark when the paper is held to the light.

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