As a demonstration, he used the method to repair a highly damaged 15th-century oil painting he owned. Next, Kachkine used software he developed to create a map of regions on the original painting that require infilling, along with the exact colors needed. This map was then translated into a physical, two-layer mask printed onto polymer-based films. Then he overlaid them by hand onto the original painting and adhered them with a thin spray of conventional varnish. “There is a lot of damaged art in storage that might never be seen,” he says.