I form sheets with the same pulp by placing a piece of cloth on the mould to eliminate couching. It takes five minutes or longer to drain before I can move it. I let it sit longer before I begin painting. If I lightly press the base sheet, I can apply the painting pulps with a brush. To make my paints, I pigment the abaca pulp and mix it with PEO formation aid and water. I make a very thick stock solution of PEO formation aid so I can keep a small container in my studio refrigerator for a long time. When I am ready to use it, I put some in a container that has a lid that I can close to cut off the flow of formation aid as I pour it out. Because it is so thick, I add very little to the pulp. I add water to adjust the consistency and to control the amount of pulp I apply at one time. When I pulp paint, I build up very thin layers of color. I work wet or dry for varying effect. Flooding an area of a slightly pressed base sheet with ultra-thin washes of cotton rag will cause the fibers to separate, resulting in an articulated surface. A mixture of water and PEO formation aid (without pulp) also encourages this effect. I have only done this with cotton rag pulp, but I imagine it would work with other pulps as well. Sometimes I work with stencils from clear or frosted Mylar. Since my way of working requires long stretches of time in between applications of pulp, I work on two or more base sheets at a time. After pressing, I either dry the paper in a restraint dryer to slow down the drying and limit shrinking, or I attach it to wood or a stretched canvas.