Conservation Portfolio Home

Test for pulp filling using different methods of application and different sizes of loss

Reverse of test object

Practice toning and infilling newsprint

Above toned fill paper

Below final fill set in 

Test object for filling

Lower left corner torn edge slightly beveled to make smoother transition for fill paper. 

Upper right corner the fill paper has been carved into a step that overlaps the verso of the primary support

The upper left corner is the verso of the beveled fill. The fill paper was not exactly the same thickness as the primary support. I used this opportunity to try an overlay with Japanese paper. 

Filling exercise during WUDPAC paintings seminar. Image shows fills before cleaning/ burnishing. The fills are Modustuc with dry pigments for toning. 

Same filled area after cleaning/ burnishing

Cleaning up fills on an easel painting at West Lake Conservators. 

Woman with a pear, artist unknown

oil on canvas

c.1780

Image after filling by Emily Wroczynski at West Lake Conservators. Fills toned to match red ground with dry pigments in Mowiol/whiting/gesso putty. 

Assisted Treatment of Convex Photograph, Summer 2013

Shown here overall recto before treatment

Completed at Heugh-Edmondson Conservation Services for private client, conservation number 13-01-003

Loss compensation:

paper fills at edges

vinyl DAP spackling fill in crack

Built up layers of arches paper

Adhered using Elvace-75 PVA in 3.5% methyl cellulose

Tapered joint edges with fiberglass pen

(Upper half) Traced crack on mylar and cut out to make mask for filling

(Lower half) Traced losses on mylar and traced onto arches fill paper scoring with etching stylus 

Fill material in place after using mylar mask and small Casselli spatula to smooth out

Paper fill and spackling fill

Mid-treatment convex photo overall after fills in place before trimming edges