Lining techniques such as nap bonding and mist lining were developed in the late 20th century and have gained popularity alongside with the increased use of acrylic emulsions as adhesives. The ability of the adhesive to create a nap bond to the canvases without penetrating the fibers has shown advantages regarding reversibility. In addition, the use of moisture, heat and pressure is reduced, which can be advantageous for more sensitive paintings. These lining techniques have been included in several studies where reversibility, minimal intervention and respect for the individual requirements and problems of each object have been the focus. The adaptability of the methods has been confirmed and to further explore the adaptability, this study consists of three simpler application techniques with the adhesive Lascaux 303 HV on mockups.

Works on transparent paper, also commonly known as tracing paper, have been described as ephemeral or temporary working documents and they usually number large quantities in archival and museum collections. They have therefore previously been considered of lower priority and can be found in poor condition due to a lack of treatment or suitable storage prospects. In addition, transparent paper can be very sensitive to moisture and reacts by deformation or loss of transparency. Due to the volume of these works and the necessity of treatment, there is a call for simple and efficient conservation methods. A common solution in archives for the treatment of water-sensitive works on paper has been the use of heat-activated tissues as they can be applied without the introduction of solvents. There is little published about the use of heat-activated tissues on transparent paper and is mentioned only briefly in existing literature.