Ethics
Conserve vs. Restore
I’m fully aware of the difference between conservation and restoration—and that there isn’t one “correct” goal for every poster. Some clients want to preserve the original condition as faithfully as possible, while others prefer a cleaner, more “like-new” appearance. I’m happy to guide you along this spectrum of options, explain what each approach involves, and help you choose the right level of intervention for your poster and your priorities.
Reversibility
I place a strong emphasis on reversibility in every treatment I do. Whether it’s linen backing, microcellulose fills, or carefully inserted paper infills for losses, all additions can be removed later—typically using water or ethanol—without locking the poster into a “one-way” solution. The same applies to any retouching done directly on the original: I always use watercolor, so it remains reversible and visually controllable. If acrylic paints or screen-print inks are needed or more appropriate, I use them only on new replacement inserts—never on the original paper.
Materials
I’m very careful about the materials I use—everything that comes into contact with your poster is chosen for the highest possible quality. This includes canvas, Japanese papers, handmade papers, cellulose, adhesives, solvents and other chemicals, as well as paints, pigments, and fillers. When it comes to chemicals, I prioritize maximum purity; with pigments, I look for strong lightfastness and long-term stability. For paper-based materials, the key factor is a suitable, stable pH to ensure the treatment remains safe and archival over time.
Retouch
Retouching is my favorite part of the work, and I give it a lot of care. A convincing retouch is only possible on a properly prepared surface—so the process starts much earlier, with creating a fill and texture that matches the original paper as closely as possible. Only then can the color reintegration truly blend in.
When retouching directly on the original, I use watercolor—either as paints or watercolor pencils—so the work remains controlled and reversible. I take retouching seriously: you won’t see me “painting in” fine hairline details with a big brush. Retouching appears only where the original ink or color is missing, not over intact areas. I can also adjust matte and gloss using gum arabic or different watercolor mediums. For new replacement inserts, depending on the situation, I may use airbrush, screen printing, or acrylics to achieve the right look.
Cleaning Stains & Bleaching
Stain removal is an important—but also demanding—part of my work. It’s only fair to say upfront that not every stain can be fully removed, and it’s not something I can honestly promise in advance. In many cases, however, stains can be reduced, and what remains can be addressed later through careful retouching that visually integrates the affected areas. Throughout the process, I keep you informed about what is (and isn’t) realistically achievable for your specific poster.
Bleaching is a separate topic. Some clients want the absolute “best-looking” result—something close to a brand-new appearance—and that often leads to bleaching. It’s important to understand that bleaching is not a gentle intervention: it permanently alters the paper and it is not reversible. For that reason, I try to avoid it whenever possible. If a client still insists and it is considered appropriate, I use a controlled bath of stabilized hydrogen peroxide (2% solution, pH 9.0).