That same summer, we received an inquiry regarding the possibility of making a full sheet watermark as part of a book design. We asked Elliot to cut a few experimental marks so we could begin making trial sheets. We followed procedures similar to the method Elliot used to mount the vinyl. After the cutting, we peeled and removed unwanted vinyl from the typographic image. We then covered the portion of the vinyl to be used for the watermark with a low-stick adhesive tape made especially for the transfer of the vinyl material onto another surface. Initial experiments worked very well on a 40 mesh wove mold surface. After correct placement on the mold, we used a burnishing tool to adhere the vinyl onto the screen surface so that we could remove the transfer tape. This we removed slowly, at a sharp angle, to prevent thin lines or serifs of the design from lifting. We then applied heat from a hair dryer to the vinyl, which softened it, and at the same time used a stencil brush to gently tap the vinyl into the recessed areas of the screen. We had to take care not to overheat the vinyl. The heat and the force of the brush made the vinyl conform to the screen. We could then dip and hose down the mold without the watermark becoming detached. To remove the watermark from the mold, we simply peeled the pieces off with tweezers. We found no adhesive residue on the screen after use. Additionally, although the vinyl watermark itself cannot be reused, we saved the design electronically on computer disk, so we could easily recut it. The low relief of the vinyl watermark allows us to make a text weight sheet without a pronounced paper surface indentation, as is often found with thicker wire and magnesium watermarks. For thicker sheets, or to adhere a mark on a laid surface, we can use a heavier, rubber resist material, made for use as a mask in sand blasting signs. We can also laminate the thin vinyl sheeting in multiple layers, to make watermarks of various thicknesses. On full sheet watermarks with complicated designs or bits, the ease of applying the vinyl eliminates endless hours of sewing. We have a large font selection available and scanned artwork and calligraphic marks can be successfully transferred into the cutting program. Images can be reversed on the computer and then cut backwards, should the papermaker desire a reversed image on the mold. As with all papermaking, one needs to develop techniques which best suit the material being used. We had to keep line thicknesses under [3/8] inch to maintain a watermark that would not be distorted or left with interior holes. When couching, if the felts are too wet, holes can open up in the watermark. After the curve has been established on a post, we have found that rolled couching transfers the watermark with the best result. Other applications of this process allow for multiple-couched sheets, resulting in an overlapping of typographic images. When making cotton rag text weight sheets, we have made successful watermarked images without compromising design, length of pulp fiber, or the strength of the sheet. Papermakers who use long-fibered pulps or make heavier weight sheets with this watermarking process may find the clarity of the watermark image affected. We think this technique offers endless possibilities in watermarking to papermakers who have access to sign makers with this technology.
