Framed, texture touches in light parts and thin, transparent layers in darkness create fantastical effects. And in these moments brown touching of grisaille starts to perform its role, creating additional deepness and material structure of the objects. When these upper painting layers are dried completely, we put new semi-transparent retouching, which makes real feeling that our painting has been created many decades and centuries ago. When the work is finished, we try to imitate the author's varnish out-look. We can put lightly yellowed layer of varnish upon texture whiting parts or to the contrary, can make the painting's surface quite dead, if the masterpiece has been done by the painter this way.
Every painting demands an individual approach.
And every stage in this preparation work is not repeated twice. These stages are absolutely individual and correspond exactly the concrete master's painting. And seldom in the first moments members of the committee cannot distinguish the original and the replica made by us. Only slight obligatory differences in their sizes and absence of signatures on the face side shows the distinction. We think that rapturous eyes and enthusiastic conclusions of the committee's members are the best rewards for complicated but very interesting work over reconstruction of the Great Master' masterpieces.