Restoration of gouaches
 

Nobody tells you where in Moscow, you can find experts on the restoration of gouache?

I think the staff will not need to look for the restoration of gouache, and those who work with paper. In the restoration of the most important is to work with the foundation, which caused a layer of paint. surface will be able to correct any artist. It should be noted that in most cases the restoration of the paper harder to other materials.

Do not tell me!

Gouache is very difficult for the restoration of the material, because
when dry somewhat lighter (and, incidentally, and acrylic).
For the restoration of realistic gouache work (I think) requires high-class skill.

Some loss of the paint layer gouache I'd myself calm restored, but the truth, where to find a specialist in paper conservation?
Or restorer charts the normal level should it be able to?

Absolutely!

Ika-Ika, some of the "wallet", even highly qualified work only with printed material (books, neraskrash. Prints, posters, etc.). This is different specialties. But the "Countess" certainly work with the foundation. Seek to "Countess" for wallets without qualification on schedule gouache is a problem. Wallets can be involved only for the edges of fields, specifying the entire process, so you do not encounter surprises by colorful layer. And not all the "Countess" are qualified to tint. It's all needed to know. Which, sorry, the category of the selected restorer and for some materials. But it depends on the understanding and the client's request. The museum's restoration and commercial - are diametrically opposed, sometimes, things. And it executes sometimes one and the same person. Your contributions in Moscow?

Yes, in Moskve.Ponyal that we should start preparing for an exhibition of his father.

Ika-Ika, a large amount of work is based on? In what state things? What a colorful layer - wear or extensive loss? How would you like to make up for the loss, if they are figurative, and not just tone? Just tinted or mimic the author's picture? That's all you need to decide. In general, the normally accepted culture of restoration - the restoration advice - at least two or three opinions. Discussion of restoration jobs, all activities and materials. Then she can work assignment and a less experienced restorer. A client-side preferably a clear understanding of the problem. Ie you want to be "as new", or against a certain "patina"?
 And, most importantly, what format? Because this is the most important thing in the technical sense - if things are very big, it needs a big press (very large :(), which can only be in a museum. This house can not keep.

And to restore the paper has a job, and colorful sloyu.Ya think it should be and not a museum restoration, and not commercial, but something in between, for exhibition, and recreate the patina is not necessary, t.k.ee not. The works are large enough, but more than five feet on the large side net.Eto very big for the press?

 
Ika-Ika, I meant "patina of time." Natural. It is something I think is, if there are tears and abrasions, for example. "As new" - the opposite of my understanding "patina". I did not mean artificial aging. And had the following in mind: if compensated the loss of base (hole) in an important place, and not on the edge or in the corners, what you choose - just tonirovku or restore the image. You understand that this restoration of the frescoes in the face of total loss does not paint again. Ie "As new" does not work, alas. Or washing bases. For example, the paper should be white as a sterile bowl, or yellowing of the natural need to leave? Here's the problem, which should be solved with every thing.
As for size - the largest known to me press 1 m 30 - was Grabar.
Available now (called and asked) 1 x 1. If the lower side is less than 1 meter, they can take. But the guarantee of gouache to give difficult because It flows. And it is most important. Therefore, even the most experienced conservators there is a risk. The truth may be experienced as to eliminate the consequences that will not be noticeable. :)
In general, if you dare, write to the PM.

Thanks so much for such a detailed otvet.Ya very grateful to you.
But the most awful question: I expect prices are terrible?
Works an awful lot of awful and terrible start this delo.Vse awful.

Ika-Ika, :) :) "well, nothing terrible there. Because it is first necessary to understand where (footage), then part of the exhibition - ie away. So they have become smaller. No?
Half of the horror go away by itself. Prices depend on how I understand the state of safety and jobs. It must look and calculate. Here I am not special. Just worked for many years with the restoration of graphics as a customer. Therefore there is a wizard.
A selection - the harder the better show, it is known.

Ika-Ika, in my opinion.
it all depends on the type (kachestva. species) damage ..

Add. And on whether to eliminate it.
Loss and zateki in watercolors and gushah not восстанавливаются.Потертости advisable not to touch because 99%of the product loses its authenticity or even destroyed forever.
 Part of the loss or damage on the edges of hiding mat.
Gaps eliminated flatten the edges, determining the sequence of their overlap and gluing on paper appropriate density and thickness (about half the thickness of the original-and maximum-minimum parchment, otherwise they would see the outline of "patches") and glue. Clay should not be water-based, in no event stationery or universal-type "Moment" on epokidnoy osnove.Skotch can not be used because it eventually dries up and rasslaevaetsya and Sticking component impregnating paper leaves traces in the form of dark bands.
 Fit very well with pencils glue on silicone osnove.Tolko fresh. Adhesive applied only to the patch. Before gluing carefully smooth out the edge of a warm iron over a clean sheet of paper.
 After fitting and pasting restored by putting a sheet or cardboard under the weight of dry warm place, paving the thin film on both sides to avoid damage from sticking. Allowed retouching traces of a broken whisker haraktera.Legkaya retouching is a soft colored pencil. Watercolor and Gouache are not suitable because the patched after drying, they change color.
 Cardboard pasted on the same technology, but then must be under the glass and the backdrop of thin hardboard. If this operation is performed for the first time must be trained.
Should always be remembered - inept restoration brings irreparable harm.
Restorers of books, documents, in this case, suitable as performers, taking into account prior obgovarivaniya nyuansov.Vprochem all about it here already mentioned.
The exposure of gouache and watercolors are drawn under the glass, regardless of size.

I would have (only) problem is the choice of gelatin (animal) or cherry (plant) origin, tk can adjust it (glue) of interest. (Castle) .. (One hundred and then I do not understand this synthetic ..- especially. When it comes to restoration) I would leave "as is" .. (Fully agrees with the tandem!)