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JAIC 1998, Volume 37, Number 1, Article 3 (pp.

23 to 34)




ABSTRACT—Commercial vinyl and acrylic fillers offer a convenient

alternative to traditional and conservator-prepared fillers. Composition,
working properties, and advantages and disadvantages for conservation
applications are reviewed and compared. As with all commercial
products, the discussion of composition is limited by secret trade
ingredients and changing formulations. The aim is to present information
to aid in choosing fill materials used in conservation treatments, rather
than recommending any specific commercial product or promoting their
use over other available materials.
TITRE—Matériaux de retauration commerciaux de vinyle et d'acrilique.
RÉSUMÉ—Les matériaux de charge de vynile et d'acrilique vendus dans
le commerce offrent une alternative commode aux matériaux de charge
traditionnels ou à ceux préparés par le restaurateur. La composition, les
propriétés actives, ainsi que les avantages et inconvénients de leur
emploi dans la restauration sont passés en revue et comparés. Comme il
arrive souvent dans l'étude des produits commerciaux, la discussion sur
la composition est limitée par les secrets de fabrication et les
changements de formule. Le but du présent article n'est pas de
recommander un produit commercial particulier ou d'encourager son
usage par rapport à d'autres matériaux disponibles mais plutôt d'offrir
des informations qui aideront à choisir les matériaux de charge pour les
traitements de restauration.
TITULO—Materiales comerciales vinílicos y acrílicos para reposición de
faltantes. RESUMEN—Los rellenos comerciales vinílicos y acrílicos
ofrecen una alternativa conveniente a los tradicionales, y a los
preparados por los conservadores. En este trabajo se revisan y
comparan, composición, propiedades, ventajas y desventajas para su
aplicación en conservación. Como con todos los productos comerciales,
la discusión sobre la composición esta limitada por los secretos de oficio
sobre los ingredientes y a los cambios en las fórmulas. El propósito de
este trabajo es presentar la información y colaborar en la elección de los
materiales de reposición que se utilizan en tratamientos de
conservación, más que recomendar cualquier producto comercial
específico o promover su uso sobre otros materiales disposibles.


Conservators have adopted commercially available products into their

repertoire of treatment materials for filling nonstructural small losses in
selected objects made of ceramics, wood, and mixed media; sculpture;
and paintings. This category of fill material has not received the same
scrutiny and testing that traditional fillers, varnishes, paints, and
adhesives have. The following information has been gathered primarily
from the Material Safety Data Sheets (MSDS) listed in Further Reading,
the manufacturers' technical representatives, and, when available,
conservation literature. Review of the information is intended to aid the
conservator in selecting a fill material.
The general advantages and disadvantages of commercial vinyl and
acrylic fillers versus traditional fillers are compared. Discussions of
acrylic modeling pastes and vinyl-based fillers are accompanied by
working characteristics of specific products. A chart has been compiled
listing composition, pH, odor, and specific gravity from the MSDS and
working properties such as gloss, color, texture, and the ability to sand,
solvent finish, or burnish, gathered from the authors' practical experience
and manufacturers' directions. Myriad products are available through the
construction and the arts and crafts industries; no attempt is made to be
exhaustive. The products were selected by availability from conservation
supply companies, by references in recent books on repair of ceramics,
and by familiarity to the authors.
Commercial vinyl and acrylic fill materials offer greater convenience and
flexibility in application than traditional gap-filling materials, including
plaster, gesso, and oil-based putties. These ready-mixed fillers consist of
vehicles or binders, bulking agents, and additional agents, such as
thickeners, foaming agents, emulsifiers, pigments, and biocides. The
vinyl-based products, which are intended for patching or spackling
plaster or wallboard, have been adopted from the construction industry,
while the acrylic products were developed for artist and craft uses. None
of the commercial products commonly used in treatments was developed
specifically for conservation usage, with the exception of the new BEVA
Gessoes, which were introduced in January 1997. Full disclosure of
contents and consistency in composition over time cannot be assured.
Many of the ingredients are trade secrets, and formulations change
repeatedly without notice.



Working characteristics of commercial fillers offer some advantages over

those of plaster and conservator-prepared fillers. Most obviously, the
fillers are conveniently premixed and ready for use. The time-saving
feature of ready-mixed products must be balanced with the ability to
adjust the formulation for each object when making one's own fillers.
Timing is not critical when using ready-mixed fillers for gap filling since
drying occurs slowly by evaporation rather than by the rapid chemical
setting reaction of plaster. No heat is generated during the drying of
commercial fillers. Multiple or adjacent applications of commercial fillers
create a uniform surface, while with plaster it is difficult to control
hardness and uniformity in more than one pour.
Vehicles or binders in the fillers increase adhesion to the artifact being
treated. Plaster remains in place primarily by physical fit or interlock.
Adhesion to the substrate may or may not be desirable depending on the
specific treatment project. Filling of small cracks or chips in low-fire
ceramics is made easier by the adhesive qualities of the commercial
fillers. The vinyl and acrylic fillers generally do not adhere well to
nonporous surfaces including porcelain, glass, and metal. An exception
is BEVA Gesso, which sticks well to metal surfaces.
Due to the inclusion of the vehicle or binder, the vinyl and acrylic fillers
are generally softer than plaster, making finishing and carving easier.
The fillers are also resoluble in water or organic solvents such as
acetone, depending on the product used, adding another method of
shaping or finishing beyond abrasion and carving.
The major disadvantage is shrinkage caused by evaporation of water or
solvents. Shrinkage ranges from a few percent up to 50%. On the other
hand, plaster expands slightly (up to 0.5%), depending on the grade of
plaster selected. Shrinkage prohibits the vinyl and acrylic fillers from
being used to fill large losses without added structural support. Multiple
applications are recommended to produce a uniform surface and to avoid
shrinkage in deep losses. Applying large quantities in a single pass
results in major cracks and unevenness. Casting into closed molds is not
practical since drying is retarded or prevented. Therefore, the
commercial fillers are relegated to filling small losses or to surfacing
other structural fillers, such as bulked epoxies, polyesters, AJK or BJK
dough strips, or plaster.
The commercial fillers are all opaque and range in color from pale cream
to cold bluish white to light brown. Pigmented acrylic emulsion gessoes
are also available. None of the fillers examined are suitable for use on
transparent or translucent objects. If used on ceramics with a transparent
glaze, the commercial fillers must be slightly recessed in the loss to
permit application of overlying transparent varnishes or coatings.
As is true with plaster or conservator-prepared fillers, commercial fillers
can cause ghosting on porous materials, especially low-fire ceramics and
wood. Ghosting appears as a white haze surrounding a fill and is usually
very difficult to remove. Ghosting results from the entrapment of the
particulates or bulking agents (such as calcium carbonate or kaolin) in
the pores, cracks, or recesses on the object surface. To prevent
ghosting, coating the edges of the loss and adjacent surface to isolate
the object is recommended. Plaster can introduce sulfate salts to porous
bodies, but this concern is not as great with commercial fillers. Moisture
will be absorbed by porous object materials unless a barrier is
introduced. Dilute Paraloid B-72 in acetone is one effective barrier.



The vehicles for modeling pastes are acrylic polymer emulsions. The
exact identification of the emulsions or dispersions in commercial fillers is
generally a trade secret and is only generically listed by the
manufacturers. The polymers are often combinations of methyl, ethyl,
butyl acrylates, and methacrylates. The bulking agents are frequently
forms of calcium carbonate, but calcium sulfate, barium sulfate, talc
(French chalk), kaolin, and other clays may be present. Additional
ingredients may be ammonia or ammoniated compounds, ethylene
glycols, pigments, and emulsifying or foaming agents. The ammonia or
ammoniated compounds present in most acrylic fillers may serve a role
as biocides. The ammonia or ammoniated compounds, which may cause
corrosion on some metals, are present in extremely small quantities. No
problems of corrosion related to the fillers have been located in
conservation publications.
A few commonly used modeling pastes available in the United States
are: Liquitex Modeling Paste, Golden Molding Pastes, and Utrecht
Modeling Paste. Introduced in 1958, Liquitex Modeling Paste probably
finds the most widespread use in objects conservation in the United
States. Modeling pastes have been extensively used for gap filling on
ceramics, especially low-fire earthenware, plaster sculpture or gesso,
and, to a lesser extent, on wood and metal artifacts. Flexibility of the
dried films varies considerably. The lesser flexibility of some, especially
Liquitex Modeling Paste, limits potential use on checks or cracks in wood
or on hygroscopic materials, such as ivory. Modeling pastes are intended
for indoor applications only.
The pastes are available in many grades, labeled light, heavy, or hard.
The manufacturers' instructions recommend building forms or creating
textures with the modeling pastes. Only Liquitex Modeling Paste is
recommend as carvable. Golden Light Molding Paste is intended to help
build depth without adding weight. Many of the modeling or molding
pastes form very flexible and soft films which may not be suitable for gap
filling on rigid materials, objects that will be handled or displayed in the
The pastes are suitable for application with spatulas. Multiple thin
applications are preferred to avoid shrinkage or evaporation cracks.
Evaporation cracks are formed by the varying rate of escaping water
from the thick and thin areas of the fill. The cracks can be avoided by
applying thin layers and slow drying. The cracks can be filled with no
effect on the final strength and bond of the filler (Wall 1997). The
modeling pastes can be thinned with water to be made brushable or
modified with compatible media supplied by the manufacturers.
Extenders, retarders, gels, and acrylic paints are available. Tools can be
cleaned with water before drying. Once opened, the container should be
tightly closed to prevent drying out. The manufacturers recommend
working above 50° F. The products must be kept at temperatures above
freezing during shipment and storage.
When dry, the acrylic fills can be sanded or rubbed down with solvent.
Acetone (ketone) or toluene (aromatic hydrocarbon) are suitable solvents
for removing excess filler or smoothing the surface. Liquitex Modeling
Paste is the most easily sanded of the acrylic products mentioned. The
others feel more plastic, elastic, or “rubbery,” tend to grab abrasives, and
peel up. The fillers are thermoplastic and can be slightly modified using
heat. Acrylic emulsion paints, resin-based paints, watercolor, and
gouache are suitable for inpainting.
There are limited conservation references regarding acrylic fillers.
Reports of testing (Barov and Lambert 1984) indicate that the thermal
expansion of Liquitex Modeling Paste, and by inference the other acrylic
fillers, makes it compatible with ceramic objects under extreme thermal
fluctuations possibly experienced during transport. No major problems of
incompatibility, rapid deterioration, decrease in reversibility over time, or
other conservation problems regarding acrylic fillers are noted in the
literature. Recently, however, turbidity and the formation of crystals of
poly(ethylene glycol) compounds in Liquitex acrylic emulsion paint films
have been documented (Whitmore et al. 1996), but no extension of the
phenomena or problem has been made yet in regard to the modeling



Liquitex Modeling Paste—Shrinkage of Liquitex Modeling Paste is about

20% upon drying. Of the acrylic modeling pastes examined, Liquitex
Modeling Paste is the hardest, least plastic, and most easily worked
when dry. 2-Amino-2-methyl-1-propanol (AMP, isobutanolamine), which
is used in industry as an emulsifying agent, is listed as a hazardous
component, but no Threshold Limit Value (TLV) has been set. The
quantity present is extremely small trace amounts. No corrosion on metal
due to its presence is reported in the literature or by the manufacturer's
representative. Bonding to smooth surfaces may be problematic (Wall
Golden Molding Pastes—Golden produces a series of molding pastes:
Extra Heavy/Molding Paste 03110, Molding Paste 13570, Hard Molding
Paste 03571, and Light Molding Paste 03575. As far as can be
determined, the ingredients are similar. All are softer, more plastic, and
more flexible than Liquitex Modeling Paste. None are easily sanded.
Golden Hard Molding Paste comes the closest to Liquitex in terms of
handling and the final surface. The Light Molding Paste does not shrink
as much as the others. When the dried film is held up to light, numerous
small air bubbles are visible, suggesting the use of foaming agents.
Attempts to finish the surface of the Light Molding Paste expose air
bubbles resulting in a rough and uneven surface.
Utrecht Modeling Paste—The MSDS for Utrecht Modeling Paste
provides little information, claiming no hazardous materials. The pH of
the undried paste is approximately 9. The solid material is partially
soluble and effervesces in dilute mineral acid, indicating some
carbonate-containing bulking agent. The color is a cold opaque white,
suggesting that a pigment has been added, probably titanium dioxide.
The dried film or fill is soft, rubbery, and picks up dirt easily. Carving and
abrasion are difficult and not successful. Comparing the weights of an
equal volume of Utrecht to Liquitex Modeling Paste, the Utrecht is much
lighter, suggesting that less bulking agent may be present in the
Liquitex Acrylic Gesso—The Liquitex Acrylic Gesso has lower viscosity
and will not hold peaks or forms without additional support or additives.
The shrinkage rate is approximately 40%. It is highly recommended that
thin layers be applied to avoid formation of cracks. The evaporation
cracks do not weaken the bond or strength of the final fill. For an equal
volume, its drying time is one of the longest of all the commercial
products discussed. The dried fills can be sanded.
Golden Acrylic Gesso—The Golden Acrylic Gesso is also a lower
viscosity liquid that is not self-supporting. The dried fills can be sanded.
Liquitex Acrylic Colored Gessoes—The Liquitex Acrylic Colored Gessoes
were introduced in 1990. The colored gessoes offer a rich, matte surface.
The factory-prepared gesso cannot be duplicated by mixing of other
available media, pigments, or agents. The gesso has low viscosity and
will not hold peaks or forms without additional support. The shrinkage
rate is 50% (Wall 1997). For an equal volume, the drying time was the
longest of all the commercial products tested. The specific gravity is
approximately the same as the white-colored gesso. The black pigment
has a very small and uniform particle size. The fill is rubbery and difficult
to finish by sanding. A smooth surface can be obtained by wiping with
acetone or ethanol. Ghosting is hard to avoid, even with isolating
Golden Acrylic Black Gesso—The Golden Acrylic Black Gesso has low
viscosity, but not as low as Liquitex Black Gesso. It still will not hold
sharp peaks or forms without additional support or additives. The filler
dries faster than Liquitex Black Gesso. The fill is also rubbery and difficult
to finish by sanding. A smooth surface can be obtained by wiping with
acetone. Ghosting tends to be a problem, as the pigment size is very


Many vinyl-based fillers are available in the building supply and hardware
markets. Three commonly mentioned for use in objects conservation
include DAP Vinyl Spackling, Polyfix, and Polyfilla Fine Surface (from
England). Another, Perma-fill Ready Mixed Spackle, was unavailable at
the time of writing. In January 1997, CPC began to offer BEVA Gesso-P
and BEVA Gesso-V as part of its product line. BEVA Gessoes are the
first fillers designed specifically for conservation use. These gessoes,
which vary from the other vinyl commercial fillers, are based on resins
rather than emulsions or dispersions.
The vinyl emulsion fillers contain a polyvinylacetate dispersion or
emulsion as the vehicle or binder. The bulking agent is usually calcium
carbonate in the form of marble flour or ground limestone. Other
ingredients may include biocides and thickeners. Pigments are not added
to the vinyl-based fillers as frequently as in acrylic modeling pastes.
The vinyl emulsion fillers can be applied with a spatula as supplied. A
drop of water can be added to make the mix softer or creamier. They
cannot be easily or successfully thinned with water enough to be brushed
on. The addition of adequate water to permit brush application results in
a very weak and powdery layer. Tools and surfaces can be cleaned with
water. Unlike acrylic-based fillers, vinyl emulsion fillers remain readily
water-soluble after drying. The products contain sufficient filler or bulking
agents relative to the quantity of vehicle to make sanding or abrasion
easy. The resultant films or fills are less flexible and elastic than the
modeling pastes. The appearance of the fills is matte but gentle
burnishing can slightly increase the gloss and density of the surface.
The BEVA Gessoes are the first commercial vinyl resin fillers designed
solely for conservation use. The products have not been available long
enough for an adequate evaluation for use on objects, but they appear to
have great potential. The setting occurs by evaporation of organic
solvents from the bulked resin mixture rather than water from emulsions
or dispersions. While the use of resins makes the products toxic to
handle when wet, it also makes them indefinitely resoluble and
reworkable. The vehicle or binder is based on hydrogenated hydrocarbon
resins and ethylene-vinylacetate copolymer (EVA). Adhesive tests have
shown that BEVA 371, a comparable vinyl adhesive to those used in
BEVA Gesso, is stable (Down et al. 1996). The gesso shares solubility
characteristics with BEVA 371; it is soluble in petroleum distillates,
ketones, and aromatic hydrocarbons but insoluble in water.



DAP Vinyl Spackling Compound—DAP Vinyl Spackling Compound has

been available for about 20 years. However, during that time the
formulation has changed many times, according to a technical
representative from DAP, Inc. Volatiles by volume equal about 24%. The
dried product is not plastic or flexible, but hard and brittle relative to most
of the acrylic modeling pastes.
DAP Fast N' Final—DAP Fast N' Final is a relatively new product.
Volatiles by volume equal about 25–30%. The dried fill is lightweight; air
bubbles are present beneath the skin. The dried fill is lighter than and
floats in water. Finishing the surfaces exposes the voids, making a very
smooth surface difficult to achieve. The filler is incompatible with strong
oxidizers and caustics.
Polyfix—The MSDS reveals very little information. Practically, the dried
fill is much coarser in texture and whiter than Polyfilla. The Polyfix is
more comparable to DAP Spackling Compound but is still slightly coarser
in texture. It is easily wet or dry sanded to yield a level surface.
Polyfilla Fine Surface, tub—Polyfilla Fine Surface in a tub, manufactured
by the Polycell Corporation, has been reported on more than any of the
other fillers. The information is still very generic, exemplifying the need
for scientific analysis of the commercial products. Caley (1993) lists the
basic formulation and the following explanation:
A complete formula was not divulged, but the basis of the
material can be summarized:

Fine powder fillers including: ground limestone, ground


Binder: acrylic VeoVa-PVA copolymer, internally plasticized

Additives: cellulose thickeners, boracide preservative,

higher alcohols, glycol ethers, amine to raise pH

The “mystery ingredient,” assumed by some to be oil, is

VeoVa 10, a product of Shell Resins, described by the
company as the vinyl ester of Versatic 10, a synthetic
saturated monocarboxylic acid mixture of highly branched
C10 isomers, its structure is represented as:

R1, R2, and R3 are alkyl groups (of general formula Cn H2n+1
{univalent}) of which one or more is methyl… . Amongst its
notable properties are excellent adhesion and wetting, affording
the necessary high CPCV (critical pigment/volume

A recipe for a similar conservator-prepared fine surface filler and further

references for VeoVa are also included in Caley's article, which is not
readily available in the United States. Qualitatively, Polyfilla Fine Surface
in a tub has the smoothest dried surface and finest particle size of the
vinyl fillers. The matte surface is a creamier color than the other vinyl
spackles, not including the BEVA Gessoes. Polyfilla Fine Surface is not
sold in the United States. There is confusion regarding the name. British
manufactured Polyfilla is supplied in two different forms: in a tub and in a
tube. A completely different plaster and cellulose fiber filler, which is
purchased as a dry powder, is distributed also under the name Polyfilla
and is manufactured in Canada and supplied by Conservator's
Emporium, Reno, Nevada.
Polyfilla Fine Surface, tube—The only ingredients listed on the MSDS
are biocides, which are toxic, corrosive, and harmful to the environment.
Other ingredients are not listed. The filler, which is supplied in a tube, is
more plastic than the tub version.
BEVA Gesso-P, fine-grained and BEVA Gesso-V, medium-grained—
Fine-grained BEVA Gesso-P is grayish when applied but dries white in
color. BEVA Gesso-V is coarse, sandy in texture, and beige to brown in
color when dry. The gessoes adhere well to most surfaces, better than
any of the other products. The bulking agent is identified as a chemically
inert compressible mineral powder, a crystalline material having high
porosity, large volume, and low density. Both BEVA Gesso-V and BEVA
Gesso-P effervesce in dilute mineral acid and seem to contain a
carbonate compound, which is not listed as a specific ingredient in the
manufacturers' literature. The BEVA Gesso-V contains a reflective
particle that appears to be micalike.
Drying occurs more rapidly than with the fillers containing water. The
odor of toluene and/or xylenes is strong when working with the wet fillers.
Protection from solvent vapors during working is absolutely necessary.
Although volatiles are lost and some cracking and distortion of the filler
occur during drying, the actual change in volume or shrinkage is small
due to the high percentage of bulking agent to vehicle.
The final surfaces are initially matte but can be burnished to a very high
gloss. The thermoplastic gesso is easily shaped using heat (65–70°C =
149–158°F). Impasto can be mimicked by shaping with a hot needle
microtool (Tomkiewicz 1997). Patterns and textures are readily
impressed using heat, pressure, or molds. The impressions are fully
retained, and the gesso seems to have little plastic memory. The fills can
be finished by sanding, carving, or solvent smoothing.
Fills should be isolated with an alcohol-based coating prior to inpainting,
if using a solvent-based system. Inpainting can be executed in acrylic
emulsions, synthetic resins including polyvinyl acetates and Paraloids,
and natural resins, such as dammar or shellac. Watercolor and gouache
are not recommended (Chludzinski 1997; Conservator's Products
Company 1997a; Tomkiewicz 1997).
The manufacturer's instructions for use advise kneading plaster of paris
into the gesso to create a “claylike” mass for filling. After the addition of
just a small amount of plaster, the gesso began to crumble when worked.
A drop of BEVA 371 needed to be added to improve cohesiveness.


While commercial fillers have been used successfully in gap filling in the
treatment of a variety of different media, little scientific analysis has been
published to assist the conservator in making informed choices.
Information is incomplete and generic. Additional testing and analysis are
needed, especially to reveal their composition.
Commercial fillers broaden treatment options for gap filling. Incomplete
knowledge of the contents and the possibility of changing formulations
present the greatest disadvantages in recommending their use. Several
of the products, especially DAP Spackling Compound, Liquitex Modeling
Paste, and Polyfilla, have been used for many years in ceramic and
sculpture treatment without reports of any resultant conservation
problems. The newer products require additional testing and observation
to determine safety and effectiveness in specific treatment situations.

Many thanks to Ellen Pearlstein, Brooklyn Museum, and Donna Strahan,

Walters Art Gallery, for their encouragment; to Carolyn Tomkiewicz,
Brooklyn Museum, and Sarah Fisher, National Gallery of Art, for
providing information; and to Alexis Miller and Lauren Smith,
conservation students at the University of Delaware/Winterthur Museum
Art Conservation Program for helping collect information.


Barov, Z., and F.Lambert. 1984. Mechanical properties of some fill

materials for ceramic conservation. ICOM preprints, 7th Triennial
Meeting, Copenhagen. Rome: ICOM. 84.20.1–84.20.4.
Caley, T.1993. A note on Polyfilla. Picture Restorer4:4.
Chludzinski, G.1997. Personal communication. Conservator's Products
Co., P.O. Box 411, Chatham, N.J. 07928.
Conservator's Products Company. 1997a. BEVA Gesso—Description
and instructions for use.
Down, J., M. A.MacDonald, J.Tetreault, and R. S.Williams. 1996.
Adhesives testing at the Canadian Conservation Institute: An evaluation
of selected poly vinylacetate and acrylic adhesives. Studies in
Tomkiewicz, C.1997. Personal communication. Paintings conservator,
Brooklyn Museum, 200 Eastern Pkwy., Brooklyn, N.Y. 11238.
Wall, B.1997. Personal communication. Technical representative,
Liquitex products, Binney and Smith, Inc. 1-800-CRAYOLA.
Whitmore, P. M., V. G.Colaluca, and E.Farrell. 1996. A note on the origin
of turbidity in films of an artists' acrylic paint medium. Studies in

Binney and Smith, Inc.1997. Material safety data sheets.

Binney and Smith, Inc. 1992. The acrylic book—Liquitex—The handbook
of fine art techniques and applications for acrylic paints, mediums, and
varnishes. Brochure. Easton, Pa.: Binney and Smith.
Buys, S., and V.Oakley. 1993. The conservation and restoration of
ceramics. Oxford, England: Butterworth-Heinemann.
Conservator's Products Company. 1997b. Material safety data sheet
BEVA Gesso.
DAP, Inc.1992. Material safety data sheet 10410. October 13, 1992.
Elston, M.1990. Technical and aesthetic considerations in the
conservation of ancient ceramic and terracotta objects in the J. Paul
Getty Museum: Five case studies. Studies in Conservation35:6979.
Golden Artist Colors, Inc.1997. Material safety data sheets (G1A). June
5, 1996.
Golden Artist Colors, Inc.1997. Material safety data sheets (G1B).
August 1, 1996.
Koob, S. P.1987. Detachable plaster restoration for archaeological
ceramics. Recent Advances in the Conservation and Analysis of
Artifacts, ed.V.Todd. Jubilee Conservation Conference, London. London:
United Kingdom Institute of Conservation. 63–66.
Koob, S. P.1986. The use of Paraloid B-72 as an adhesive: Its
applications for archaeological ceramics and other materials. Studies in
Lepage's Ltd.1997. Material safety data sheet. Polyfix. February 28,
Polycell Products Ltd.1997. Material safety data sheet TDS 0023/23A.
August 1994.
Polycell Products Ltd.1997. Material safety data sheet POLYCELL0023.
October 10, 1996.
Polycell Products Ltd.1997. Material safety data sheet
POLYCELL0023A. October 22, 1996.
Utrecht Manufacturing Co.1997. Material safety data sheet New Temp
Acrylic Colors. November 8, 1995.


Liquitex Acrylic Modeling Paste

Liquitex Acrylic Coated Gesso, Binney and Smith, Inc., 1100 Church Ln.,
Easton, Pa. 18044-0431, (800) 272-9652, Available at art supply stores
Perma-fill Ready Mixed Spackling Paste
Bondfast Co., Bridgewater, N.J. 08807, Unavailable in April 1997,
Distributed by Conservation Support Systems
BEVA Gesso-P, BEVA Gesso-V
Conservator's Products Co., P.O. Box 411, Chatham, N.J. 07928, (201)
Fast n' Final Spackling, Interior Spackling Compound, DAP Vinyl Spackling
DAP, Inc., P.O. Box 277, Dayton, Ohio 45401-0277, (888) DAP-TIPS,
Also available at hardware stores
Lascaux Modeling Paste A, Lascaux Modeling Paste B
Diethelm Lascaux Farbenfabrik, CH-8306 Bruttisellen, Zurichstrasse 42,
Switerzland, (041) 1-933-07-86, Also available through New York Central
Art Supply
Molding Paste, Golden, Light, Hard, Extra Heavy and Acrylic Colored Gesso
Golden Artist Colors, Inc., Bell Rd., New Berlin, N.Y. 13411, (800) 959-
6543, Also available at art supply stores
Lepage's Ltd., 50 West Dr., Bramalea, Ont. L67 2J4, Canada
Pollyfilla Fine Surface (in tube and tub)
Polycell Products Ltd., Broadwater Rd., Welwyn Garden City,
Hertfordshire, AL7 3AZ, U.K., (017) 07-328-131, Also available in
hardware stores in England
Acrylic Modeling Paste
Utrecht Manufacturing Corp., 33–35th St., Brooklyn, N.Y. 11232-2207,
(718) 768-2525, Also available at art supply stores


MEG LOEW CRAFT graduated from the University of

Delaware/Winterthur Museum Conservation Program in 1977 with a
specialization in objects conservation. After working at the Walters Art
Gallery and Winterthur Museum, she set up a private practice in 1983 in
Baltimore with Sian Jones, paintings conservator. Address: Art
Conservation & Technical Services (A.C.T.S.), 410 Lyman Ave.,
Baltimore, Md. 21212.
JULIE A. SOLZ completed her undergraduate work at the University of
New Hampshire in 1987. She has worked in museums for 10 years as a
curatorial assistant and registrar. She joined A.C.T.S. in 1995 as an
assistant object conservator, and in August 1997 she began attending
the Winterthur Museum/University of Delaware Art Conservation
Program. Address: 1401 N. Clayton St., Apt. B-6, Wilmington, Del.19806.

Section Index

Copyright © 1998 American Institute for Conservation of Historic and Artistic Works
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