#48 Mould Maker’s Loom Part 1

This series of posts should allow for a better understanding of how this loom works. This first post is an overview of the four basic parts of the loom; the frame, the wire lifting mechanism, the indexing mechanism and the chain wire twisting mechanism. Later posts will give more detail on each of these in turn.

Above, the loom complete, with all its mechanical parts attached. Other essential parts are added when the time comes to make a laid facing or backing. These include wire weights, wire spacers and wire slides.

The Frame

Here is the loom frame stripped of all of the moving parts which are normally attached to it. Two mechanical assemblies will be fastened directly to this frame; the lift mechanism and the laid wire indexing mechanism. The third mechanism, the one that twists the chain wires, is not attached directly to the frame. The loom is fastened to the wall in the photo. This takes up much less space than the free-standing option.

The Lift Mechanism

In the photo above only the lift mechanism is installed on the loom. In use it has a simple function; to lift the entire web of wire a short distance (1/2″) to make room for laid wires to be slid in at the bottom, one at a time. When the lifting mechanism is released the wire facing drops back down. The chain wires are then given a half twist to incorporate the new laid wire into the facing. This cycle is repeated hundreds of times to make a facing.

Above are shown the two positions of the lift mechanism, up and down. When the foot treadle is depressed (a brick supplies the force here just to demonstrate) the lifting beam at the top is raised by means of rope and pulleys. The middle of a length of rope passes under a lever which is attached to the treadle on the right. This creates a V shape with two upper ends. Each of these (rope) ends passes up and over the top of a wooden pulley, then down and through a metal pulley and back up to the very top of the loom where it is firmly attached. The inch or so that the rope is pulled down by depressing the treadle lifts the beam and all the wire and weights attached to it a half inch. The lift beam returns to the lower position when the treadle is released.

In both photos above the upper line (red) passes through the (fixed) axle of the wooden pulleys and the lower line passes through the axles of both steel pulleys (movable). Hopefully this makes it easier to see that the metal pulleys (and the beam they are attached to) move up and down when the treadle is depressed and released.

The motion may be easier to see in these two photos. Notice the smaller beam being lifted up from the angle iron which supports it. There’s only 1/2″ of movement and it’s hard to see in the photos so I’ve added arrows to show the gap.

The Indexing Mechanism

In this photo only the laid wire indexing mechanism is installed on the frame. The purpose of this assembly is to lower the chain wire twisting mechanism a precise distance for every laid wire added. The twisting mechanism will be bolted to the top edge of the horizontal ‘traveling beam’ by means of the five holes along the beam’s edge. Identical vertical lead screws are linked with sprockets and roller chain. When the crank at the top right is turned (CCW) the two screws will turn together and lower both ends of the beam the same amount. As laid wires are added the beam gradually ‘travels’ down, ending up near the bottom if a large facing is being made. A counting wheel attached to the top of the left hand lead screw makes it possible to precisely control how far the crank is turned each time. This is done by counting audible clicks as the pins of the counting wheel pass a pawl; the same number of clicks are counted out each time to produce uniformly spaced laid wires. There are many of these wheels, each with a different number of pins, so that a counting wheel can be selected to create a specific spacing.

The Wire Twisting Mechanism

In this photo the loom (with both previously discussed assemblies attached) is ready to receive the twisting mechanism which will be bolted to the traveling beam. The twisting mechanism is self contained and activated by a hand crank at its right hand end. The whole thing moves gradually down the frame of the loom as the wire facing grows larger.

The twisting mechanism is composed of many parts. Above are shown five ‘spindle racks’; a separate one must be made for each different chain wire spacing. Each of these provides the main structure for the mechanism. All of the moving parts are interchangeable and are only installed to complete the spindle rack that is currently in place on the loom. After it is bolted to the traveling beam of the loom and completed the mechanism functions to add twists to the chain wires. The crank twists all chain wires simultaneously. The twisting mechanism is the most complicated part of the loom and will have its own post; probably the last.

The Complete Loom

Once again, the complete loom, with all of the mechanical assemblies attached.

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#47 Making a 24″ x 36″ Laid Facing

The largest laid facing I’ve made measured 30″ x 40″ but that was more than twenty years ago. Until now I hadn’t hadn’t made a very large facing on my new loom. There was no reason to think that it wouldn’t work but I was pleased to get a positive result.

This mould maker’s loom is designed to make laid facings as large as 29-1/2″ x 40″ (approx. .75 meter by 1 meter). The completed facing above measures 24″ x 36″.

The facing required about 530 laid wires, each 36″ long. Pulling the wires off the spool and through the straightener took about 2 hours.

I ended up using only the first set of rollers. I wasn’t able to get significantly better results by adding the second set. I think this was because the ‘helix’ of this wire was so slight. This was the first time I had straightened this size wire.

A complete circle cut from the spool shows a ‘cast’ of 8″ diameter. This ring of wire lies flat by its own weight; the ‘helix’ is minimal. It would be impossible to use this tightly curved wire for laid wires but just below it you can see a usable wire (from the same stock) which has been pulled through the straightener. This wire is .020″ diameter phosphor bronze with a 3/4 hard temper. It will be used along with annealed .011″ diameter wire (as chain wire) to make a facing with 22 laid wires per inch.

The diameter of the loop is the cast; this photo shows the helix. If it was possible to remove the cast alone a slight curve would still remain from the helix. This is what was done (sort of) with the single bank of rollers that were used. But the wire cannot be controlled precisely enough when passing through the rollers to completely isolate the cast from the helix so the resulting wires vary in their straightness.

This is the completed batch of laid wires. When bundled together they appear to have the same curvature but if examined separately all are different. Many of these wires lie nearly straight, a few are truly wild and the rest fall somewhere between.

Putting the Wires Together

This loom is very dependable. I’ve made improvements over the years to reduce the chance of error while making up facings, but a certain level of concentration must be maintained and it’s still possible to goof up. Large facings are a little stressful since making a mistake often means starting completely over. Set-up took for this facing took 3-1/2 hours. This involved swapping out the twisting mechanism already on the loom for another of the correct spacing, adding the spindles and hooking up drive weights, measuring out, stringing up and weighting chain wires, and putting all the foam board spacers in place. (Many of these steps are illustrated in other posts). This facing was completed without incident but the actual ‘weaving’ took 4-1/2 more hours.

Above are shown some steps in creating the facing. At the beginning the loom has been strung up with 30 chain wire sets, each formed of a single soft phosphor bronze wire draped over the steel rod at the top, threaded through spindles and weighted at the bottom. Wire spacers made of foam board (300 in all!) are important to keep the wire from twisting up at the bottom as the spindles add twists at the top. As the facing grows larger and the twisting head descends, these wire spacers are removed, a row at a time. The last photo shows the completed facing. At first it is best to work standing but later when the wires must be inserted lower it becomes easier to sit (thus the stool).

When finished most facings can be cut off of the loom by simply holding the free edge in one hand while snipping off the attached edge with the other. But larger facings are harder to hold onto and more likely to be damaged while being cut away from the loom. To help support this large facing I added a strip of stiff cardboard at the bottom. But it still seemed risky and I tried something new. After the weights were removed and the bottom edge of the facing cut free I cranked the twisting mechanism back up to its starting position. As shown above it passed behind the completed wire facing as it moved up.

I found this piece of honeycombed cardboard among my packing supplies. It is rigid and light weight; perfect for this purpose. After it was inserted vertically behind the facing the fully raised twisting mechanism provided a ledge to support the back of the cardboard as it was raised, carrying the facing with it. The front end was propped to hold the whole thing horizontal and the back was lightly clamped so it wouldn’t slip off.

The chain wire twists could now be safely snipped off. The facing weighs about two pounds. If it’s not well supported as the chain wires are cut the weight of the wire could stretch some of the chain wires and damage the facing.

When not in use the weights are returned to this wooden crate. The box with a complete set of weights weighs 48 lbs.

The wire slides and remaining wire spacers are separated.

This box stores enough spacers to make the largest possible facing.

The scrap wire will be added to the scrap box for recycling and the slides are returned to their bag.

About this Facing

This facing has 22 laid wires per inch. It took me quite a while (years in fact) to realize that this loom can easily make laid facings with an even number of wires per inch. At first I used a limited number of counting wheels and the spacings were all odd fractions (except for 26 wires per inch, easily made by giving the crank 1/2 turn).

My most used laid facing had 18.57 wires per inch (10 pins x 7 clicks). Others included 20.8 (8 pins x 5 clicks), 21.67 (5 pins x 3 clicks), 7.8 which I use for wove backing (3 pins x 5 clicks), and 5.77 (4 pins x 9 clicks) for laid backing.

When provided with a large set of counting wheels the loom is capable of a vast number of intervals, most of which will never be used. Of course there’s no reason that the spacing of laid wires SHOULD come out even but it was interesting to be able to compare my facings to standard Amies facings. As near as I can tell the loom that was used there since 1889 (now used by Serge Pirard) was designed to make ‘even-inch’ facings.

All that is needed for the wires to come out even is a counting wheel with the same number of pins as the desired number of laid wires per inch. Since the twin lead screws have 13 threads per inch simply counting 13 ‘clicks’ will lower the twisting head the precise amount to make the that ‘even number’ spacing. This must be done over and over; once before each laid wire is inserted in the wire trough. But it’s easy to count to thirteen (almost without thinking) if you break the number into smaller units. Very soon you get used to hearing the pattern of clicks even if it’s fairly rapid:

“onetwothreefourfive”….”onetwothreefourfive”…”onetwothree”. Or:

! ! ! ! ! ……… ! ! ! ! ! ……… ! ! !

Together these three easily recognizable audible patterns add up to 13. It would take much more concentration (and more time, with a greater chance of error) to count the clicks one at a time.

Above, the 22 pin counting wheel in place on the loom. As the disc rotates the pawl slips off of the pins creating audible clicks that can be counted to produce a desired laid wire spacing.

See Post #20 “Making Laid Facings” and Post #21 “Making a Laid Backing on the Loom” for more details.

#46 Investigating an Amies Wove Mould

In which some interesting variations (and a couple of mysteries) are discovered.

This pair of wove moulds was given to Cathleen Baker by the late Larry Lou Foster of Tuscaloosa, Alabama who acquired them in 1968 while traveling in England. Cathy loaned me this pair and another laid pair to examine.

The moulds are small, 11″ x 12″, and of fairly standard construction but with a few puzzling features. The bottoms are fitted with boxwood rub strips and these curious, roughly shaped ‘minimal’ cast brass corners. These moulds, being so small, are naturally very stout. In this case at least, brass corners must have been added to take wear rather than to brace the structure; that there are only two screws each and that the corners are so small supports this idea.

The moulds have been altered and/or re-conditioned. They seem to have started out (as many small moulds do) plain, without rub strips and brass corners. This is indicated by the remains of a miter partly hidden beneath each of the eight brass corners. A miter (combined with the regular joint) is a traditional way to neatly finish the bottom corner of a plain, unbraced mould. Corner braces and rub strips were added later, possibly because the mould was wearing badly on its bottom edges. The narrow copper strips that protect the edges of the wire facing were originally folded down over the ends and nailed. The current edge strips stop just shy of the corners. You can see the two holes left when the nails were removed and also an area which was carved out of the wood to accept the thickness of the original strips. The joints seem to be nailed and countersunk; filled holes appear on both faces of each corner. Also interesting is this variation of the double dovetail joint in which the top ‘pin’ (this refers to the part that overlaps the ‘tails’ in dovetail joints) is offset by about 3/32″. My guess is that this was intended to add strength to the end of the frame. Gripping the mould to the deckle during formation might tend to pull the bottom edge out, thus torquing the top edge inward; in this case the inward thrust would be stopped by the narrow ‘ledge’ cut into the adjoining (long) side of the frame. (This is illustrated more clearly at the bottom of this post).

One of the moulds has a decided twist, though the mahogany sides are all very straight (as is the grain of the wood). Both moulds are slightly concave; the metal screen sags by about 1/16″ in the middle. This may be a result of the long term stresses of couching. The photo shows the back side of the mould where the pegs of the ribs are visible. These moulds have ‘through holes’ and the pegs formed on the rib ends pass all the way through the frame. The entire front of each mould is sheathed. The sheathing ends right at the two front corners and is not folded around the sides. You can see this in the previous photo.

Mystery #1: Why are all of the holes that the rib pegs rest in uniformly ‘lemon shaped’? And why are they oriented the same way? I can imagine that a file or a sort of broach must have been used to shape the holes. If anyone has any insights please share!

This is truly weird for me to see. The holes have little points at 10 o’clock and 4 o’clock. This uniform orientation seems to argue that a jig or mechanical device was used to make the holes.

The brace rods are hammered flat at the ends and set into oblong mortises. The ribs are made of wood with a very uniform grain; not resembling any coniferous wood that I have worked with. They may be made of a species called Parana Pine. I have a couple of samples given me by Serge Pirard and I fancy there is a resemblance. (I will at some point make a mould using this wood for ribs.) The wire structure that supports the wove facing is a variation that I haven’t seen before. There are two ‘grid’ wires between each pair of ribs; this is not unusual but what IS unusual is that only one of them is stitched in place. (See post #26) The other ‘floats’, giving support to the facing but not held in place by stitching. ‘Floating’ grid wires are pretty standard but usually they are flanked by a two sewn grid wires, one on each side.

In each space between ribs you can see the two grid wires; in the usual repeating pattern a sewing wire passes under three (backing) laid wires and passes up and over two wires of the mesh and back down, taking a spiral path and binding the layers together. But this is true only for the grid wires on the right in this photo; the ones on the left are not sewn at all.

I was gratified to see that the stitches are carefully placed to ‘lie low’ by crossing the mesh wires at the low points as they spiral around the backing wires. (Gratified because I sometimes wonder if I imagined this detail; it seems such a fine point and may or may not be a common feature). The sewing wire is unusually small at .006″ diameter and the mesh wire is relatively coarse at .011″ diameter. The mesh is fairly coarse at 36 wires per inch by 40 wires per inch. The 4 stitches visible in this close-up are indicated by blue arrows. The path of a floating grid wire is shown by the yellow arrows. Ideally this grid wire is held in a sort of ‘trough’ formed by a pair of zig-zagging mesh wires; here you can see that this wire wanders off to the right a bit.

When I first studied moulds in the early 1980s I noticed an inward slant on their sides but with time came to doubt my first impression. This feature would make it easier to place and remove the deckle. I started out making moulds this way but soon switched to making them with no slant at all. These moulds show an inward slant (actually more of a slight curve) that was probably shaped with a plane after the mould frame was assembled. This slant is on the short end of the mould, parallel to the ribs.

This shows the slant on the long side, at right angles to the ribs.

Mystery #2: Is it possible that grooves were actually carved out for the backing laid wires to rest in? It sure looks like that here, along with a transverse groove to hold the chain wire. Usually there is what I call a ‘ledge’ here but there’s no sign of that on this mould. It seems unlikely that the laid wires could have been pressed into the wood. When wet the wood would tend to return to its original shape, pushing the wires back up. The copper nails in old paper moulds are often remarkably loose; I was able to pull these out with my fingernail so I could peek under the facing. I would have loved to examine this more thoroughly but couldn’t ‘dig any deeper’ without damaging the mould.

These deckle joints were made in the fashion that I prefer with joints fitting together in a rotating ‘pinwheel’ pattern. This eliminates the necessity of cutting opposite forms of the complicated joint. Notice the single inset wear plate of brass at lower right.

The left front corner of the deckle has a brass plate inset into the vertical inner edge. It is bent at a right angle and nailed into a shallow mortise. There was also an “L” shaped flat brass plate that was set down into the groove behind the deckle rim. Now it is missing. Both front corners also have bent brass plates along the very narrow vertical face of the rim. These ‘wear plates’ are standard features on most British moulds I’ve seen.

The left front corner viewed from a different angle. The extra reinforcement (I believe) reduces wear on the part of the deckle that first hits the edge of the mould as the deckle is quickly placed on it (over and over and over…).

This is a pretty deckle. It is very ‘curvy’ and the relatively thin sheathing (.008″) is nicely fitted.

The front and back edges are shaped to a very narrow edge; less than 1/8″.

I have not carefully examined a lot of moulds and deckles. I thought I should get organized to make it easier to note features and variations. The survey that I devised ended up describing about 75 features that I am interested in recording for comparison. I first print blank versions with only the questions to complete by hand. Then I enter the information for a digital record. Pictured is a completed survey of this pair of moulds.

More about the offset in the corner joint

I’ve altered and annotated the above photo to show how the offset part of the joint adds an extra strengthening feature to the completed joint.

The red lines show what the edges would look like if the facing and edge strips were removed. The yellow arrow shows the offset and the black arrows point to the extra joining surface that is created on the right hand part of the mould frame. This little ledge would keep the mould frame (on the left) from being pushed in at the top. That’s the theory I’ve come up with to explain the function of the extra feature. There must be some reason to do it this way since it makes cutting the joints a little more difficult.

#45 Sheathing a Deckle

I start with paper patterns. First I determine the width of brass needed to wrap over the sides of the deckle. Then I lay out with pencil and rule an “L” shaped pattern for each side.

These are cut out and fixed in place with a few pieces of tape.

A sharp pencil is used to mark the corner cuts.

The corners look like this.

Each pattern is fixed to a piece of soft brass sheet. This brass is .017″ thick.

A sharp utility knife cuts through the paper, marking the brass in the process.

The result looks like this.

The sheet is carefully cut to shape. The edges are smoothed with an abrasive pad.

Getting this part out is a trick. If the two cuts travel a short distance along the same line the waste piece will come out cleanly. I think I try too hard to make the edges meet exactly when the brass is formed to the deckle. It might be better to cut both sides back just a little, showing a bit of wood along the edge.

A propane torch softens the brass. When annealed it droops of its own weight.

Vinegar, salt and an abrasive pad restore the brightness.

I try to pre-form the sheathing so it doesn’t work against the nails to spring back.

A few nails (#19 brass escutcheon pins here) tack the top edge in place.

More nails along the outside edges. I space them every 5/8″.

After nailing I burnish the edges down. I file off the domed nail heads a little and polish everything with an abrasive pad.

This is how it looks from the bottom.

At the front the brass traditionally wraps around each corner a bit. This probably indicated the front of the deckle as well as adding a little strength.

The wood of the back corners is usually carved out more abruptly because excess pulp was ‘tossed off’ the back. Running the brass sheathing straight over the back leaves room for these tight curves.

It looks nice but is it really necessary? Probably not most of the time. With very heavy use wood becomes fuzzy with rubbling against the vat person’s hands. And I have had one report of some amazing callouses developed from that rubbing. Perhaps the brass made it easier on the hands and also ‘washed off’ better, preventing stray fibers being rubbed into ‘knots’, unwelcome flaws in most paper.

#44 Preparing a Deckle for Sheathing

One of the moulds being made has some experimental features. It and its deckle are made of larch; an early effort of mine to start looking for alternatives to tropical hardwoods. I sheathed the mould in brass, mainly to demonstrate sheathing on the blog. The larch deckle will also be sheathed. This gives me an opportunity to try, for the first time, using traditional copper staples at the corners.

Here the deckle is being drilled for the staples. It is easiest to do this while the deckle still has square edges. One could easily do this free-hand. This is the same drill press set-up I used to drill for the acetal pins that were used in place of staples for the other deckles.

Pictured is another method of shaping the inward sloping bevels of a deckle using a rasp and file. This deckle is receiving small inward curves along the short sides. A rasp makes quick work roughing these areas. It will be followed by a file to remove the rough rasped surfaces prior to scraping and sanding. Traditionally flat areas were left where the deckle is gripped to the mould during sheet formation. You can see this in the middle of both short sides above. Perhaps the gently tapered areas were designed to encourage fibers to wash off the deckle during use.

Here a file is being used to smooth the rasped surfaces. Note the ‘stair step’ device at the back. It enables the deckle to be tilted at various angles so the file and rasp handles can ride on the bench surface to guide them in shaping the inner edges of the deckle.

One of the long sides set up for shaping with rasp and file.

A wire-width groove has been chiseled between the holes for the staple. If this step is skipped splinters of wood are likely to pop up as the staple is hammered down. This wire is .050″ diameter.

The soft copper wire readily conforms as it is tapped into place.

Small recesses are chiseled for the staple ends. I copied the orientation of the recesses from the old deckle I took apart.

The way the staple ends are clinched makes sense. They end up parallel to the contours of the deckle so they can lie flat, leaving a smooth surface to be covered with brass sheathing. I hesitate to leave these ends exposed, fearing that they would catch fibers (or flesh) in use if the deckle was left unsheathed. Perhaps it would be OK after all as they are fairly unobtrusive.

The stapled deckle atop a drawing I made of the old deckle as I dismantled it.

#43 Adjusting a Deckle

(Another advantage of the ‘pinwheel’ joint)

This mould and deckle were intended to be an A4 size. In converting from metric I made an error and ended up with a deckle that was too loose in one direction. (It fit fine the other way). Since the deckle was made with joints in a ‘pinwheel’ orientation it was possible to correct this. If the joints had been ‘opposing’ it could be adjusted only one way. (About half the time you’d be out of luck).

Adjusting the deckle requires re-working the joints of the tenon side; making the tenons longer by cutting back some wood at their bases. Often, only two of the joints (at opposite corners of the deckle, diagonally) will need to be altered. That was the case here since the deckle fit fine the other way.

The joints are glued in the usual fashion and the overhanging wood is cut away.

I’ve only had to adjust a deckle in this way twice. It is extra work and best avoided. The main advantage of pinwheel joints is saving labor when cutting them, but here is another small advantage.

#22-1/2 Fitting the Laid Facing to a Single Faced Mould

This fills a gap in this sequence of posts. These few photos should provide enough information since the differences between this and the other two types of mould are covered elsewhere in the blog.

The facing is taped in place just like the double faced laid but directly above the ribs without any backing wire below.

The top edge of the ribs have been made a little narrower than those of the double faced and wove moulds.

This mould started out as my first and only attempt at making a laid facing the original way; on the mould, one laid wire at a time. This is the explanation for the extra holes, scars and divots along the top edge. This attempt was not successful and the unfinished hand made laid facing was replaced with this one made on my loom.

The chain wire still needs to be moved back to fit into the ‘trap groove’. More tape will be added at the ends to cover the wire edges before the mould is sewn.

Directory of Paper Mould Making Posts

With a few exceptions these posts appear in reverse order in the blog. Check out the categories and tags at the main blog post for links to these posts.

Construction of Moulds and Deckles

  • #1 Season and Prepare Wood for Moulds, Deckles and Ribs
  • #2 Sharpen Tools
  • #3 Prepare Frame Stock for Paper Moulds
  • #4 Shaping Rib Stock
  • #5 Mould Frame Joinery
  • #6 Rib Spacing Layout
  • #7 Shaping the Rib Pegs
  • #8 Drilling Holes in the Frame to Support the Ribs
  • #9 Finishing the Ribs
  • #10 Assembling the Mould Frame and Ribs
  • #11 Fitting Waterbars and Brace Rods
  • #12 Gluing Moulds
  • #13 Making Corner Braces
  • #14 Fitting Corner Braces
  • #15 Pinning Ribs, Corners and Brace Rods
  • #16 Leveling the Ribs
  • #17 Finishing the Mould Frame
  • #18 Definitions of some Unfamiliar Terms
  • #19 Straightening Paper Mould Laid Wires
  • #20 Making Laid Facings
  • #21 Making a Backing on the Loom
  • #22 Fitting Backing and Facing to a Double Faced Laid Mould
  • #22-1/2 Fitting the Laid Facing to a Single Faced Mould
  • #23 Sewing a Double Faced Laid Mould
  • #24 The Functions of Backing Wires
  • #25 Wove Backing
  • #26 Making the Grid for Wove Backing
  • #27 Mould Brass Sheathing
  • #28 Fit Wove Facing and Sew
  • #29 Copper Edge Strips and a few more details
  • #30 Getting Ready to make Deckles
  • #31 Tool Kit for Deckle Joinery
  • #32 Deckle Joinery: the Mortise Side
  • #33 Deckle Joinery: Tenon End Part 1
  • #34 Deckle Joinery: Tenon End Part 2
  • #35 Deckle Joinery: Tenon End Part 3
  • #36 Deckle Joint Dimensions
  • #37 Fitting the Deckle to the Mould
  • #38 Deckle Rim Curvature
  • #39 Gluing the Deckle
  • #40 More Deckle Details
  • #41 Shaping the Deckle Part 1
  • #42 Final Shaping of the Deckle
  • #43 Adjusting a Deckle: (another advantage of the ‘pinwheel’ joint)
  • #44 Preparing a Deckle for Sheathing
  • #45 Sheathing a Deckle
  • #46 Investigating an Amies Wove Mould
  • #47 Making a 24″ x 36″ Laid Facing
  • #48 Mould Maker’s Loom Part 1
  • #49 Mould Maker’s Loom Part 2, The Frame
  • #50 Mould Maker’s Loom Part 3, The Indexing Mechanism
  • #51 Mould Maker’s Loom Part 4, The Lift Mechanism
  • #52 Mould Maker’s Loom Part 5, The Wire Twisting Mechanism
  • #53 Mould Maker’s Loom Part 6, More on The Wire Twisting Mechanism
  • #54 Mould Maker’s Loom Part 7, Other Important Parts
  • #55 Mould Maker’s Loom Part 8, Configurations of Laid Wire
  • #56 Mould Maker’s Loom Part 9, Working With Wire
  • #57 Investigating a pair of 19″ x 22-1/2″ Double Faced Laid Moulds from Wookey Hole

Miscellaneous Paper Mould Posts

  • Further Thoughts on Mould Construction
  • Repairing a Broken Paper Mould