Cuni sunt culori encaustice reci (cold encaustics), care se lucreaza si se fizeaxa la rece, fara a necesita incalzirea sau topirea pe o placa de metal incinsa asa cum sunt culorile encaustice la cald (hot encaustics). Acest lucru le da o versatilitate rar intalnita. Formula culorilor Cuni permite crearea unui impasto extrem de stabil, pelicula de culoare creata de acestea fiind stabila. Nu oxideaza, nu sunt toxice, se dilueaza cu apa si se pot folosi in special pentru pictura murala pe tencuiala umeda. Culorile encaustice Cuni au la baza o mixtura de ceara de albine si pigment pur, cu un rating extrem de rificat de rezistenta la lumina (minim 6 pe o scara de la 1 la 8). Studiile chimice indica faptul ca culorile encaustice reci au fost folosite inca din vremea Greciei Antice si a Imperiului Roman, artistii folosindu-le pe pereti, lemn, panza si ceramica.

Caracteristici:

Flexibilitate: pelicula de culoare permite rularea panzei fara a se deteriora pictura.
Pictura pe mortar umed/tencuiala umeda: spre deosebire de majoritatea culorilor, care necesita sa fie aplicate pe un strat de tencuiala uscata, culorile encaustice Cuni pot fi aplicate pe tencuiala sau mortarul umed. Culorile Cuni in contact cu tencuiala umeda incepe sa se usuce si devine insolubila in apa.
Compatibilitatea cu culorile encaustice la cald: culorile Cuni pot fi folosite peste si sub straturile de culoare encaustice la cald, si pot fi incalzite. Deoarece punctul de topire al culorilor encaustice pe baza de apa este mai mare decat al culorilor encaustice la cald, pot aparea efecte necontrolabile daca stratul de dedesubt este o culoare encaustica la cald si stratul de deasupra este o culoare encaustica Cuni.
Compatibilitatea cu alte medii si culori: culorile Cuni pot fi amestecate cu acrilice, culori de ulei (traditionale si pe baza de apa), acuarela, tempera pe baza de caseina si de ou, adeziv, guasa. Cuni pot fi aplicate peste pictura terminata in oricare din acestea. In anumite cazuri cand culorile Cuni aplicate sunt foarte diluate, pot aluneca peste acestea, fiind necesara aplicarea unui strat mai vascos. Acrilicele, culorile de ulei, tempera pe baza de caseina si ou pot fi aplicate peste culorile encaustice Cuni.
Conservarea: datorita sensibilitatii la caldura, este recomandabil sa se pastreze intr-un mediu rece, evitand supraexpunerea la caldura pe timpul verii. Stocate astfel, culorile Cuni se pot conserva ani de zile. Culorile Cuni nu contin agenti de conservare si nici stabilizatori.
Toxicitate: Culorile Cuni sunt formulate din compusi netoxici, din cosmetica si alimente. Nu contin solventi.
Diluare: se dilueaza cu apa, nu cu solvent si nici cu terebentina.
Durabilitate: asa cum au demonstrat-o picturile conservate ale Romanilor, dar si picturile lui Jose' Cuni din urma cu 50 de ani, culorile encaustice au o foarte mare durabilitate in timp.
Vernisarea si Finisarea: Culorile Cuni nu au nevoie de vernisare in mod uzual, dar pot fi vernisate cu vernis pentru pictura in ulei sau acrilic sau fixate prin incalzire cu feonul si periate pana la luciu. Culorile au o rezistenta scazuta la zgariere, deoarece ceara din componenta lor este o materie prima moale.
Suporturi: pot fi aplicate pe perete uscat, tencuiala umeda, panza, hartie, ceramica, metal, plastic, sticla.
Primer /gesso: culorile encaustice pe baza de apa se pot folosi gesso-uri pentru ulei si acrilic.
Uscarea: se face in doua stagii diferite. In prima faza, culoarea se usuca rapid fara formarea peliculei pe masura ce apa se evapora, facand filmul de culoare sa para uscat la atingere. Dupa aceasta faza, stratul de culoare poate fi redeschis prin frecarea lui cu o pensula umeda sau prin turnarea sau pulverizarea apei si amestecand cu un cutit de pictura. In tipmul celei de-a doua faze a uscarii, apare intarirea colurii datorilta reactilor interne intre componente. Acesta este un proces lung ce dureaza cateva saptamani chiar ani pentru straturile groase de culoare. Dupa uscare, culoarea nu se mai poate lucra.



[EN]
Flexibility: Paint flexibility allows to roll paintings on canvas for transport and storage.
Painting on wet mortar: Unlike most organic paint media, which require to be applied on completely cured mortar, water soluble encaustic can be used on wet or uncured lime or cement mortar. The paint layer in contact with the wet mortar becomes quickly cured and water insoluble.
Compatibility with warm encaustics: Cun� colours can be used on and under warm encaustic paintings, and they can also be heated. As the melting point of water soluble encaustic colours is higher than of the warm encaustics, uncontrolled effects can arise when heating Cun� colours applied on top of conventional encaustic colours, as the base can melt while the top layer is still unfused.
Compatibility with other media: Cun� colours can be blended with acrylic, oil (both conventional and water-mixable), watercolour, casein and egg, glue and gum tempera colours and media. They can be applied on paintings done in any of these materials. In some cases when the water soluble encaustic stroke applied is very diluted, it can slip on the other material, thus requiring the application of a higher viscosity layer. Acrylics, oils, egg temperas and caseins can be applied on water soluble encaustic paintings.
Conservation: Due to the paint�s heat sensitivity, it is advisable to store tube colors in a cool place, avoiding overexposure to heat during summer. Stored in this way, under optimal conditions, closed paint containers can be conserved for years. No conserving agents or stabilizers are used in the paint formulation.
Toxicity: The paint medium is composed of nontoxic products, accepted in cosmetics and food. No hazardous solvents are required.
Cleaning of brushes and equipment: Brushes and equipment can be cleaned up with soap and water only.
Durability: Water-soluble encaustic paint demonstrates high durability, as evidenced by the state of conservation of Roman artworks painted with this technique, as well as by paintings completed by Jos� Cun� more than fifty years ago.
Varnishing: Paintings can be varnished with varnishes suitable for oil and acrylic colours.
Surface hardness: Wax is a soft material. Therefore, water-soluble encaustic has low scratch resistance, and works require special care when handling, packing, and storing. It is advisable to place a soft protective layer between works during storage. Works should not be piled in order to avoid impasto flattening. When high resistance to scratching is required, it is necessary to varnish the painting.
Finishing: Finish by brushing is especially appropriate, to highlight the extraordinary quality of the beeswax, providing a soft sheen and a waxy luster extremely pleasing to the contemplation of the painting. Brushing also increases water resistance of the paint surface.
Supports: Wall, board, canvas, and paper. Can also be applied on other materials such as ceramic, metal, plastic or glass.
Primers: Water-soluble encaustic is a multi-support paint, with great performance on both oil primers and acrylic or glue gesso.
Uniformity of finish: Great homogeneity of brightness and luster between thick and diluted brush strokes can be reached, allowing uniformity of finish without need of varnishing.
Foam: Despite its content of emulsifiers, paint does not contain anti-foaming agents, allowing the occurrence of suggestive crater formations characteristic of ancient encaustics. Such formations occur when the paint is applied in quick and energetic strokes and are part of the ample repertoire of visual effects open to water-soluble encaustic.
Glaze: Paint can be diluted with larger amounts of water to obtain brush strokes that are very transparent but with great intensity and body. Clean tones are achievable, comparable only to watercolor.
Impasto: It is possible to create thick impastos without noticeable change in shape or volume during drying. The paint surface faithfully maintains the trace of the stroke.
Versatility: Exceptional response to impasto and glaze, providing maximum control over the art work and enabling the artist to achieve new plastic effects.
Heat setting: Uncured paint has limited wet scrub resistance, especially in thick impastos. This resistance increases when heat is applied to dry paint. Heat can be applied with an air gun or a hair dryer, taking care not to leave the heat source too close to the work, in order to avoid color melting. When painting on lower layers is required, heat can be applied to the underpainting to increase its scrub resistance. This application can also be done on fresh paint, without having to wait until complete water evaporation. Underpainting wet scrub resistance also increases when brushed with a soft brush.
Drying: The drying of Cun� paints occurs in two different stages. In the first stage the paint dries rapidly without skin formation as their water content evaporates, making the paint film touch-dry. After this first drying, the paint layer can be reopened by rubbing it with a wet brush or pouring or spraying water and mixing it with a palette knife. During the second stage of drying occurs the paint curing due to internal reactions between its components. This is a long process that will take several weeks for thin films and even years for thick paint films. Once the paint is cured, it is no longer reworkable.
Thinner: Cuni colours are thinned with water. The paint comes out of the tube thick and at fullcolor strength but can be thinned all the way to the consistency of water colors. The exceptional water solubility of the paint allows easy handling and cleaning, providing intense diluted brushstrokes and clean tones.
Optical qualities: Colours offer high strength and depth due to the outstanding optical qualities of the beeswax. The lack of oxidation in wax allows colours to maintain their chromatic characteristics over time.

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