Inpainting and loss compensation on paper conservation (Paris, 2018)

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Particpants, teachers translator and organizers of the inpainting course in Paris

From left to right (top): Valérie Tixier (independent paper conservator); Camille Lallemand (paper conservator at Palais Galliera); Marjorie Williams (paper conservator); Roxane Moine (paper conservator at the Bibliothèque National de France); Amparo Escolano (Paper & Paintings conservator at SFLAC); Silvia Brunetti (Independent paper conservator); Claudine Bértrand (bookbinder); Michelle Navarre (paper conservator at Musée Carnavalet); Corinne Cheng (paper conservator at the Centre des Archives du Ministère des Affaires Étrangères) and Lucile Dessennes (conservator at the Bibliothèque National de France). Bottom: Elisa Le Bellec (conservator at the Archive Départamental du Finisterre); Cécile Huguet (paper conservator); Electre Totolidis (Bibliothèque Royale de Bélgique); Rita Udina (Paper & Books conservator) and Nathalie Le Dantec (conservator and conservator and adjointe au dirécteur des études du Département des restaurateurs à l’INP).

Preparing cellulose layers for infilling purposesBookbinding leather samples, casted on a silicone moldMaterials and tools: Escoda brushesToning powdered cellulose (paper conservation)Infilling on paper practiceRinsing powdered cellulose (paper conservation).Infilling on paper, practice sessionPaper pulp colour matchingPractice sessionsMold casting for (bookbinding) leather imitationPaper pulp: making samples to test colour matchingCreating micro powdered cellulose layers to inpaint on paperhttps://wp.me/a4zghb-1a8

 

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