A mould and deckle is the fundamental tool of Western hand papermaking. The mould is a rigid frame covered with a fine mesh through which water drains during sheet formation. The deckle is an identical (or close to identical) open frame that sits on top of the mould to contain the pulp while water drains. The two together define the size and edges of each sheet of paper.
For botanical inclusion work — embedding oak leaves or other substantial plant material — the construction of the mould and deckle requires attention to a few specific factors that differ from standard sheet forming.
Frame Construction
Materials
The frame is traditionally built from hardwood to resist warping from repeated water exposure. In Polish conditions, locally available hardwood options include:
- Oak (dąb) — appropriate weight and water resistance; available from woodworking suppliers and some hardware stores
- Ash (jesion) — strong and flexible; slightly lighter than oak
- Beech (buk) — hard and durable; widely available in Poland
Softwoods (pine, spruce) can be used for a first mould but warp more readily with repeated wetting and drying cycles. Plywood is not suitable — the layers separate with prolonged water exposure.
Dimensions
A common starting size for botanical inclusion work is A5 (148 × 210mm) or slightly larger to give working room around the leaf. The mould frame's interior dimension determines the sheet size. For Quercus robur leaves of medium size, an interior dimension of approximately 180 × 250mm provides adequate room to position a leaf with clear paper around it.
The frame members should be at least 25mm wide and 15mm deep to provide enough structural rigidity to resist twisting under the weight of wet pulp.
Joints
Simple butt joints glued with waterproof (PVA or epoxy) adhesive and reinforced with corner dowels or small metal brackets work adequately for studio use. Halved or mortise-and-tenon joints produce a more durable frame if woodworking skills allow. All exposed wood should be sealed with a waterproof finish — boiled linseed oil, tung oil, or a waterproof wood varnish — before use, and allowed to cure fully.
Mesh Selection
The mesh stretched over the mould frame is the most consequential material decision for botanical inclusion work. Two main types are used in Western hand papermaking:
Wove Mesh
Wove mesh (maille tissée) is the standard for most contemporary hand papermaking. It is a plain-weave fabric mesh — similar in structure to window screen material — that produces a uniform, smooth paper surface without visible wire marks. For botanical inclusion work, wove mesh is generally preferable because it distributes the pulp fibres evenly around the inclusion material without the directional pattern that laid mesh produces.
Mesh count (the number of threads per centimetre) affects sheet thickness and fibre retention. For standard Western hand papermaking, a mesh of approximately 10–16 threads per centimetre is typical. Finer mesh produces thinner sheets and retains shorter fibres more effectively.
Laid Mesh
Laid mesh (grille posée) — the traditional European mesh of closely-spaced parallel laid wires crossed by more widely-spaced chain lines — produces paper with characteristic laid and chain line patterns visible when held to light. This texture can complement or compete with botanical inclusions depending on the aesthetic intent.
Sourcing in Poland
Fine polyester or nylon mesh suitable for papermaking can be sourced from textile screen printing suppliers (sita drukarskie) or conservation material suppliers. Metal mesh (traditional phosphor bronze or brass) is available from specialist papermaking equipment suppliers, some of which ship to Poland from Germany, the Netherlands, and the UK.
Attaching the Mesh
Stretch the mesh taut over the mould frame on a flat surface, ensuring no wrinkles or sags. Attach along one long edge first, then the opposite long edge under tension, then the two short edges. Use a staple gun with stainless steel or galvanised staples (standard staples will rust and stain the paper). Space staples at approximately 15–20mm intervals.
After stapling, trim excess mesh flush with the outer edge of the frame. Apply a strip of waterproof tape (self-adhesive PTFE tape or waterproof gummed tape) over the stapled edge to prevent the mesh edges from snagging sheets during couching.
The Deckle
The deckle is the simpler of the two frames — it is the same exterior dimensions as the mould but has no mesh. It sits flat on top of the mould during the pull, containing the pulp within the mould's interior. The quality of the deckle's fit against the mould determines the evenness of the sheet edges.
For botanical inclusion work, the deckle must be lifted off the mould carefully after the pull to avoid disturbing the wet sheet — particularly important when a leaf is positioned asymmetrically and the pulp distribution is not fully uniform.
Vat Size and Material
The vat — the container holding the diluted pulp slurry — should be somewhat larger than the mould in all dimensions to allow the mould to be dipped and pulled in a horizontal plane without catching the edges. A plastic storage tub or a purpose-built wooden vat lined with waterproof material works well. For an A5 mould, a vat of approximately 40 × 60 × 20cm depth is adequate.