One of the final stages of conservation treatment after an artwork has been structurally stabilized is inpainting. The procedure involves the use of pigments suspended in a binder to color damaged areas of the paint layer, thereby visually integrating them into the rest of the painting. Inpainting is always restricted to the parameters of the damage and describes the application of color with "in" areas of paint loss. (This contrasts with overpainting, which describes painting "over" the original paint applied by the artist.) Depending on the degree of damage to the painted image, inpainting may encompass very small paint losses, such as minor abrasions, or entail the reconstruction of major elements of the composition. Once the artist’s technique is identified, the conservator must duplicate both the color and texture of the paint surrounding the damaged area. Various methods of retouching, as inpainting is sometimes referred to, are used. Materials also will vary, depending on the media of the original artwork. In the case of an oil painting, color is applied over an isolating varnish that separates the original paint layer from the restoration layer. Synthetic binding agents such as mineral spirit acrylic resins are used. These agents are easily reversible with solvents that will not harm the original paint layer. A conservator will often consult with the owner of an artwork to determine the extent of inpainting desired. Areas of inpainting will not be recognizable under normal examination but are visible under ultraviolet light. A well integrated area of inpainting is the result of the last stage of conservation treatment before the final varnish (if varnish is intended). It is the stage in the process that eliminates any noticeable signs of damage to the naked eye.