The Use of TRI-Funori® as a Binding Medium for Chromatic Reintegration in Contemporary Unvarnished Paintings
Keywords:chromatic reintegration, TRI-Funori, unvarnished paintings, contemporary painting, color matching, organic pigments
Each material is suited to the different paint material characteristics and pictorial techniques of various artworks by contributing to the pictorial surface’s stability and visual unity, and the ability to display it without interruption. For this article, the polysaccharide TRI-Funori was tested and used as a binding medium for chromatic reintegration in three oil and acrylic mockups of the artwork by Portuguese artist Jorge Martins. This choice was based on characteristics such as compatibility, low toxicity, water-based properties, and good visual properties for color matching. Advantages such as transparency and less tendency to yellow, capacity to dry matte, and ease of removal were observed. It presents good dispersion of inorganic pigments, good visual properties, and good adhesion to oil and acrylic surfaces with or without preparation. However, it also presents disadvantages such as weak dispersion of organic pigments, for example [PB15] Phthalocyanine Blue or [PR83] Carmine Rose, and the tendency to become powdery. During the drying process, it tends to lighten, making the color adjustment process difficult.
The mimetic method, achieved with small dots, was used for retouching. The medium was applied with Ferrario® pigmenti puri and Winsor & Newton® powdered pigments, and chromatic reintegration was carried out with a fine brush Winsor & Newton® Finest Sable no1.