Course: Inpainting & Loss Compensation on Paper (2017)


 Golden supports this course Escoda brushes supports this course

Can you match the colour but not the surface texture? Can you match the surface sheen but not the colour? Do you struggle with both? Do you never know what dyes to use? If you want to acquire a wider range of inpainting techniques, this is your course. Held by knowledgeable professionals, it goes deeper into the tools, materials, techniques and tricks. The goal is to infill and in-paint the most challenging losses with confidence and success. Download the brochure here.

Inpainting and Loss Compensation on Paper Conservation


The workshop will be held in the conservation laboratory:
C. Sant Pere, 24. 08330 – Premià de Mar (Barcelona, SPAIN).
Contact person: Rita Udina;; +34 649 694 899

CERTIFICATE: A certificate of attendance will be given after completing at least 80% of the course workload.

LANGUAGE: English.

TEACHERS: Amparo Escolano, Rita Udina.

 December, 18-20th, 2017 (20 hours). Application deadline: October 20th.

FEE: 490 € (meals, accommodation and transport not included).

TARGET AUDIENCE: Tailored for Paper Conservators with emphasis on those working in the private practice area or conservation studios where inpainting is very much demanded. International character of the course is encouraged. An e-mail with the accepted participants will be sent not later than November 10th.

NUMBER OF PARTICIPANTS:  10 participants.

APPLICATION FORM: Submit here (only waiting list places available).

Accommodation and transport: Find here all information regarding accommodation and transport.

CONTENTS of the course:


– Ethical considerations.
– Private practice vs. Museums and Institutions.


– Chromatic Selection and Chromatic abstraction.
– Rigatino/ tratteggio: Fiorentino vs. Romano
– Underleveled.
– Neutral color field.
– Mimetic.


– Light and color phenomena.
– Brushes.
– Filling losses and fillers: powdered cellulose, paper pulp, Japanese paper,  modifying the appearance and texture of Japanese paper, adhesives.
– Inpainting media and toning systems: synthetic resins, watercolor/gouache, pencils/pastels, dry pigments, dyes and other colouring agents.
– Modifiers : glossing, matting, polishing agents.


December, 18 (Mon.) Loss compensation: filling.

  • 9:00    – 10:30     Welcome and introduction to the course (handouts, conservation lab, tools…). Filling: Ethics and Criteria. Colour matching with micro & macro cellulose pulp.
  • 10:30  – 10:50     Coffee break.
  • 10:50  – 13:00      Filling: Materials and techniques. Samples preparation practice.
  • 13:00  – 14:00      Lunch break.
  • 14:00  – 17:00      Filling workshop with cellulose.

December, 19 (Tue.) Loss compensation: inpainting.

  • 9:00    – 10:30     Inpainting: Ethics and Criteria. Pigments & dyes (types, techniques).
  • 10:30  – 10:50     Coffee break.
  • 10:50  – 13:00     Inpainting: Samples practice.
  • 13:00  – 14:00     Lunch break.
  • 14:00  – 17:00     Inpainting workshop

December, 20 (Wed.) Practice.

  • 9:00    – 10:30     Practice on originals with prepared samples.
  • 10:30  – 10:50     Coffee break.
  • 10:50  – 13:00     workshop.
  • 13:00  – 14:00     Lunch break.
  • 14:00  – 16:00     Inpainting workshop

Although both tools and practising samples/documents will be supplied at the workshops, participants are welcome to bring their own tools, in case they want to achieve a much similar experience to their workspace.
Participants are also encouraged to bring samples and/or documents* they would like to practice with.

First edition (2016)Daniel Gillberg, Chanaka Perera and Amparo Escolano Solka-Floc (microcristalline cellulose powder)  Orsolya Zelenák (Hungarian National Gallery), Nina Hesselberg-Wang (National Library of Norway). moulding textures Kate Chan (Hong Kong), Chiara Fornaciari (Vatican Museum). matting agents the class moulding the texture of a cloth binding. Arantxa Blat (Museum of Islamic Art, Qatar); Küllike Pihkva (National Archive of Estonia); Orsolya Zelenák (Hungarian National Gallery); Kate Chan (Hong Kong). Pulp samples for leafcasting infilling Kate Chan and Alexandra Nederlof (Rijksmuseum)
 Daniel Gillberg (Oslo Conservation Studio, Norway). Daniel Gillberg (Oslo Conservation Studio, Norway) and Chanaka Perera (Qatar National Library).

*  The practice will be guided and supervised, but the exercises on original documents will be under the participants’ responsibility.


Posters Conservation: Virtual inpaint vs virtuous inpaint. The diplomatic neutral colorDürer: From old Europe to Palm BeachSFLAC post Facebook album 2016