PROFICIENCY IN GRAPHIC TECHNIQUES AS A RESTORER’S PREROGATIVE IN CHOOSING RESTORATION METHODOLOGIES FOR GRAPHIC WORKS AND FORMULATING RECOMMENDATIONS FOR THEIR PRESERVATION

Abstract

The research focuses on exploring critical issues in restoration education, such as analyzing the curriculum of practical training for future restorers, incorporating competencies provided by graphic cycle disciplines, and focusing on the study of recommended storage and exhibition conditions for historical and cultural monuments. The author substantiates that the quality of graphic art restoration directly depends on the restorer’s profound knowledge of material characteristics and graphic techniques, emphasizing that material science analysis, alongside art historical research, is the foundation of the entire restoration process, allowing for the prediction of intervention outcomes and ensuring the preservation of the monument's authenticity. The article examines the experience of the scientific and restoration center at the Kamianets-Podilskyi Ivan Ohiienko National University in training artist-restorers and establishing cooperation with the Kamianets-Podilskyi State Historical Museum-Reserve to expand services for the restoration of museum collections. Special attention is given to specific printmaking techniques, which enable a more accurate “reading” of the artistic intent behind graphic works by regional artists. The paper details a comprehensive approach to preserving graphic art monuments, including the analysis of the paper base (determination of pH and fiber type), identification of pigments, and diagnostics of the causes of degradation. Methodologies for acidity neutralization, paper strengthening, and modern dry-cleaning methods are listed. A separate section highlights the role of digitalization as a tool for reconstructing lost elements and a means of preserving information under martial law conditions. Recommendations for the preventive conservation of graphics are formulated, covering the maintenance of temperature and humidity regimes, illumination limits, and the use of acid-free archival materials for storage. The article underscores that only the synthesis of traditional artistic skills, a scientific approach, and cutting-edge technologies ensures the high-quality preservation of cultural heritage.