There are steps more as important as that work processes in fine art restoration. That is, when it first receives a damaged artwork, it will first have to figure out where it was damaged and how to restore it. The degree of 'any method of damage' could be roughly be defined. However, there could be always a challenge because no any data show beforehand how much that should be going on, what kind of color does it have to use and where to extract color in order to match up colors with that original.
You can see much more of it in these videos: The Metropolitan Museum of Art’s paper conservator Marjorie Shelley, above, had the nerve-wracking task of tackling the latter, in preparation for last year’s Michelangelo: Divine Draftsman and Designer exhibition. Like many restoration experts, Shelley exhibits extraordinary patience and nerves of steel. Identifying the damage and its cause is just the beginning.
Please watch a video showing the conservation of a Michelangelo drawing on loan from Christ Church Picture Gallery, Oxford, in preparation for the exhibition Michelangelo: Divine Draftsman and Designer.
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