What is texture paste for? Texture pastes and their uses

Oh, and I suffered with molds !!! ((

What I didn’t try, I tried 5-6 recipes on the advice of Internet users (mostly decoupagers) - I tried putty, and mixed PVA with starch and bulk gel, etc .....

But something constantly didn’t suit me - basically, all the blanks turned out to be fragile, they broke even when they were taken out of the mold (of course, I tried very carefully), even if by a miracle the blank was taken out whole - I didn’t risk using it in my work, because 100% would have cracked.

I more or less liked working with structural gel (I will write a separate review later, with a photo of course), but firstly it is too expensive, secondly, the volume is lost and the figures turn out to be flat like rubber lace, but strong, stretch a little, do not break.

Pasta "Sonnet" I did not have, because. I did great volumes in decoupage with construction latex putty (the company "Tex" is a great thing). Several times I met advice - to use Sonnet paste for molds, and finally I bought it)

I immediately decided to try it on molds, because. I bought it especially for them.

The consistency is similar to liquid sour cream - it’s not very convenient to work, it would be necessary thicker and denser, of course, but the PASTE is called TEXTURE, it’s not paint. I applied it with a palette knife, repeatedly applied it and smeared it (we smear it like butter on bread), remove the excess and smear it again, voids constantly come out somewhere later, and you need to fill everything completely clearly, so I applied 2-3 minutes to each mold. On openwork, of course, you need to be more careful - the lines are thin, you will miss somewhere and then this branch will break.

What I didn't like was that it took a long time to dry! I started checking after 12 hours - no, raw, then transferred it to the battery. .. As a result, thin openwork "reached" almost a day later!!! Those that are thicker and more voluminous - even longer!

Of course significant disadvantage, because you rarely get by with one element, usually you need at least 4 of them (if only we make corners) and up to 8-15 things! Well, you won’t sculpt figures for 1-2 weeks just for decoration, for example, caskets! (((You can’t buy a lot of identical molds - and it’s expensive, and you won’t make the same figures every time.

IMPORTANT to me plus- the figures are the most durable of all the methods that I have tried! I do not consider liquid plastic, because. I don't want to be associated with him.

Here is an example of an openwork monogram, which I had never been able to make without loss before (but it dried for a day before I could take it out!). In the photo - only from the form, small "smudges" are cleaned off.

Of course, we take it out very carefully, slowly, from the edges to the middle, arching the mold a little.

In general, for use in molds, the Sonnet paste has so far suited me best, but I have doubts about using it in volumetric decor (I haven’t tried it myself yet) - it’s very watery, and it takes a long time to dry.

After drying, it can be sanded and painted in the desired colors with acrylic or oil paints.

I wish good luck and creative success to decoupage masters!!!

PS.... If suddenly you have experience working with molds - I will be grateful if you share your secrets or tips! Thank you for your attention)

Hi all!

Today we want to tell you what texture pastes are used for and how to work with them.

Texture paste is a fairly thick mass, which, when dried, forms a voluminous, indelible coating.

In today's work, we use Sonnet texture paste from the manufacturer Nevskaya Palitra.

In addition to the paste itself, we need a stencil (mask) and, if desired, paint or to give color to our paste.

If you decide to tint the paste, then first you need to mix a small amount of paste with the coloring composition - sprays are ideal for this purpose. They do not affect the texture of the paste and its properties. We recommend diluting the paste with dye in plastic or silicone dishes. If the dishes are not disposable, do not allow the paste to dry in it - after hardening, the paste is not washed off!

When the paste is ready to use, put the stencil on the material to be decorated and, if necessary, fix it on the surface (paper or masking tape is ideal).

After applying a layer, wait about half a minute and carefully remove the mask. The duration of complete drying of the paste on the surface depends on the thickness of the applied layer and averages about 20-30 minutes.

After complete drying, you will get a voluminous, indelible drawing, which you can also continue to decorate - with ink, with hot technique ... Yes, with anything - it all depends on your imagination! :)

With the help of texture paste, you can apply a pattern on cardboard, thick paper, fabric, leather (including eco-leather) and other materials.

We hope that this review was useful to you. We will be happy to answer all your questions and comments! :)

Materials used in the work:

Texture paste Sonnet from Nevskaya Palitra
Self-healing from American Craft, art. 368103
No. 10, art 46220
BRUSHED PEWTER by Ranger art TSS42198

And today I'm not here with a review of the work and not even with a master class ... Today we'll just talk))) about texture paste. And about the very, most common and most accessible - texture paste "Sonnet". It is she who is the heroine of our conversation:

It would seem that such a new thing I can say about her?

Pasta, like pasta, is not the best, to be completely honest. A bit watery in my opinion, and not very good at high temperatures, starting ... so to speak ... to boil ...

I bought it in an art store, just because they didn’t have another one on sale at that time, and the paste was needed very, very much.

Of course, we all want to have good quality materials, especially since the modern market for creative goods is constantly updated with various new products with interesting effects. The range of texture pastes is also growing. It's just a matter of finance...

So here's what I'm talking about. If you don’t have that much money, but you want new effects in your work, then take your usual texture paste and let’s experiment together.

So what do we have.

As I said, I have a Sonnet texture paste, plain, white.
This is how it looks on different backgrounds:

You probably noticed that when it dries, it becomes not white, but grayish due to the fact that the background on which it was applied shines through. This, by the way, is another of its significant shortcomings.

And now let's get to the fun part! Directly - to the experiment. I alternately mixed different art materials with the paste and will share with you the result and my impressions.

Here's what the approximate mixing ratios are:

1. Paste + white acrylic paint
My goal is to eliminate the transparency of the paste, make it absolutely white against any background color:

The result is quite successful, the drawing and the black background no longer shine through the paste.

2. Paste + black primer
Goal: get black texture paste

The result, it can be seen from the photo, is not very good. The texture paste became even more liquid (I already wrote above that Sonnet paste suffers from this even before the additions) and in some places flowed under the stencil, creating a fuzzy and sloppy look of the picture.

Here the reason may also be that the soil "Sonnet" is also quite liquid.

Next, I tried to get a colored texture paste.

3. Paste + art ink:

The color of the paste turned out to be almost as bright as the mascara itself, but again very liquid...

4. Paste + sprays

- aqua-spray from Factory Decoru "Indigo":

Great result though! the color of the paste turned out to be paler than the spray itself.

- Spray-chameleon from Factory Decoru "Aventurine":

The result - all the beauty of the chameleon is lost, the effect is the same as from the aqua spray. Therefore, it does not make sense to use a chameleon spray to obtain a colored paste.

Spray without a name, unfortunately:

The effect is not very... The texture paste has flowed under the stencil. A possible way out is to slightly dry the paste mixed with the spray before applying.

Conclusion on sprays - if you need a paste of bright saturated color, then sprays are not an option. But for calm watercolor shades, they are very suitable. Best of all proved to be aqua-spray.

5. Paste + acrylic paints

- Acrylic paint "Sonnet", color Burnt umber:

Great result! The paste has a good thick consistency, and most importantly, the color is bright and saturated, it does not differ from the paint itself!

- acrylic paint "Olympic gold":

The golden sheen did not work out .... The paste only acquired a bright sandy hue.

I am often asked about the properties of these products, their differences, what they are for, and whether they are worth buying. I decided to answer all the questions in one post. Perhaps this will be relevant and useful information for you too.

All three products are designed to create texture and relief on the surface of your work (this can be paper, canvas, cardboard, wood, plastic, fabric, etc.). The method is essentially the same, but the results are slightly different.

Let's start with the look and feel.

In the line of each product there is a paste / gel of basic white color, and there are already immediately colored ones. My favorites to work with are the white ones because I almost always use sprays later on, but I have a few colored pastes, regular and sandy, and colored gels that I enjoy using.

It is best to remove the spray from the usual texture paste with a napkin, leaving the paste practically uncolored.

Texture paste with sand actively absorbs the color of the spray. Most of all, it is these particles of sand in the paste that acquire color. In the last photo of the collage, you can also see that the pearly particles of the effect spray are located closer to the relief of the paste.

The gel absorbs the paint a little if it is immediately wiped with a tissue, but the resist effect is quite obvious.

This was the basic information about these products. And now I will show you my little experiments. In fact, you can experiment a lot by mixing different products of TM "Factory Decoru". I will show just a few. And I will call you never regret pasta from a cherished and long-awaited jar, and be sure to sit down and try something of your own on small samples !! You can even feel a little like a chemist, mixing one with the other and achieving new effects :)

Experiment #1

I mixed these three products with pearlescent black powder. I took approximately the same amount of each product and the same amount of powder. And what different shades!

The testurnaya paste with sand absorbed all the mother-of-pearl from the powder, and became just gray matte. Inside the usual texture paste there are small particles of mother-of-pearl. But in a duet with deco-gel, the powder shines even more, you can see all the mother-of-pearl, but it does not remain on the fingers;)

With the rest of these mixtures, I tried to make an ombre effect. It turned out interesting, although it is better to do such manipulations with one paste or gel, making several shades. Just add less or more powder.

Experiment #2

The most standard, simple and familiar to everyone. Mixing pastes and gel with acrylic paint. I chose the color Coral.

I mixed approximately the same amount of acrylic and pastes / gel. The colors are almost the same, the shades are slightly different. Pasta with sand turned out the lightest of all.

I was also interested in the fact that if gloss gel is mixed with acrylic paint, it does not become matte and does not lose its gloss. What a big plus :) By the way .. pastes and gel with acrylic paint dry faster than without it (it seemed to me, I didn’t time it).

Experiment #3

I wondered what would happen to white deco gel if mixed with... glitter drops. I chose a rather dark and saturated color - Shimmering Emerald. When mixed, I got a very pleasant mint color of the substance (mint! Isn't this happiness?).

I really liked the drying effect. Glossy, translucent relief with glitter inside! I think that I will do this more than once;) And yes! Dries in the air all together almost at lightning speed!

Experiment #4

Through the stencil, I applied a lilac deco gel, and without waiting for it to dry, sprinkled it with mini crystal topping, and then slightly and gently pressed it into the gel with my fingers.

It turned out sugar leaves :) You can safely cut it out and use it as a decor.

I did similar manipulations with white deco gel, another mask and Silver glitter, sprinkled the relief of shells partially, not entirely.

And a little hack from me:
If your masks have become very ugly from dried pastes, then simply wipe them with a cotton pad dipped in regular nail polish remover containing acetone. This is especially true if a colored paste remains on the mask, and you want to apply a white one, and it is important for you that it does not stain.

And now a few examples of how pastes and gels look in the works!

Deco gels

Yuliana's work

Job

So I bought the January issue of "Do It Yourself", where my review article on structural pastes was supposed to be published (from Lara's message) .... it came out! Only it, of course, has shrunk (this is understandable, I wrote it without being attached to anything, but here it’s still the layout and place, its limitations), but it’s still nice :)

Structural pastes- These are thick, water-based acrylic compositions that allow you to achieve various textured and embossed effects. Thanks to their acrylic base, they fit well on any surface (wood, cardboard, metal, fabric, concrete, glass, etc.), practically do not smell, are diluted and therefore washed with water, though before they dry. After drying, they acquire water resistance. Structural pastes can be used as an additive to acrylic and other water-based paints to give density and texture to the stroke, or you can (and should) use them on their own to create relief surfaces, imitating various materials: stone, iron, terracotta, sand, snow, glass, etc. etc.

Spatulas (plastic, rubber, metal), palette knives, flat synthetic brushes are suitable for applying structural pastes. The choice of tool depends on what kind of relief you want to get. By the way, items such as forks, combs, sticks and toothpicks can also be useful for working out the relief.

Structural pastes can be divided into several groups.

There are pastes that are better suited for creating decorative effects and look good on their own without additional tinting. These are gold and silver structural pastes, gels and pastes with glitters and sparkles. It is enough to apply them to the surface to be decorated through a stencil and now a ready-made three-dimensional element. Although, of course, these pastes can also be colored or mixed with acrylic paints to shade and enrich the original color.

There are pastes that are designed to achieve additional volume of the image, the so-called bulk (volume) and swelling. Such pastes can be transparent, which allows them to be used not only as a basis for three-dimensional elements, but also for application over an image, for example, in three-dimensional decoupage techniques.

And finally, there are pastes that are ideal for creating a textured surface - the basis for further decoration. After drying, they can be tinted with various water-based paints from acrylic to watercolor, patinated, decorated using decoupage technique, using gilding techniques, etc. Such pastes often contain more or less coarse inclusions: pumice particles of various grain sizes, glass beads, mica. In addition to their consistency, they can vary in color and weight. These pastes are also great for creating decorative collages and murals. Let's take a closer look at some of them and try to understand their features.

ACRYLIC RELIEF PASTE (thin), Tair. Refers to universal pastes. Can be mixed with paints (acrylic, tempera, gouache). Perfectly absorbs paints even after drying. It has a fairly smooth texture and low weight (does not burden the work). May crack a little when dry, especially if you use a hair dryer to dry. If you add acrylic varnish, the paste becomes more plastic and dries more slowly, which allows you to work with the relief longer. Drying time from 1 to 5 hours depending on the thickness of the layer (when using a hair dryer, you can reduce the drying time to 10-20 minutes). The dried paste has a matte porous surface, it is well skinned, waterproof, but has some fragility. Another advantage of this paste is its low cost.

In addition to thin embossed paste, there is also a rough one, it has a more pronounced rough texture, but also more weight, so it is more suitable for wall work.

STYLING PASTE, Marabu (white). This universal acrylic paste can also be attributed to the group of decorative pastes, because. it has a glossy surface after drying and, in addition to white, there are already painted gold and black. In texture, it is very similar to the Tahir relief paste (discussed above), but is more plastic and not as porous after drying. With the help of palette knives and spatulas, it is easy to create a relief surface with it. After drying, it is very stable, well tinted, very light. Drying time from 2 to 24 hours depending on the thickness of the layer.

STRUCTURAL PASTE, Marabu. There are three types of this structural paste: fine, medium and large. Accordingly, in its texture, it has grains (similar to pumice or sand) of various grain sizes. And, of course, the fine paste is the lightest, although the large paste of this manufacturer is not at all as heavy as the coarse embossed Tahir paste. Well suited for creating the effect of an old wall, sand, snow (also depending on the grain size, a large coarser texture, a small one - a slight roughness). Drying time from 2 to 24 hours depending on the thickness of the layer. After drying, it is well tinted.

STRUCTURAL PASTE "SOLO GOYA". It also happens to be coarse and fine. This paste has a pronounced rough-grained texture, which makes it possible to imitate a sandy surface well. At the same time, it is quite light. It mixes well with acrylics and paints well after drying. Also, after drying, it has a matte surface, waterproof. Drying time from 2 to 24 hours depending on the thickness of the layer.

CRACKING PASTE MEDIUM, Maimeri. Very thick viscous paste, on the surface of which cracks form after drying. The magnitude of the cracks depends on the thickness of the paste layer, the thicker the layer, the more pronounced the cracks. Because the main effect of this paste is in the cracks, it should be applied pasty, without being carried away by the relief. Drying time depends on the thickness of the layer. After drying, it has a slightly beige matte surface, it is well skinned and tinted. Of the shortcomings, you can probably indicate a large expense, because. a rather thick layer is required to obtain a pronounced effect.

PASTE GRANITE MEDIUM, Maimeri. Medium thick paste with fine, hard granules resembling gray granite. Well suited for simulating the surface of stone and sand. Can be combined with universal pastes. After drying, it has a slightly glossy surface with dark gray patches, well tinted. This paste dries longer than universal ones, but after drying it is very stable, it is practically not amenable to sanding.

Summing up I must say that the drying time of all pastes can be reduced with a hot hair dryer, but the fastest, under equal conditions, dries ACRYLIC RELIEF PASTE Tair, it is also the most inexpensive. The advantage of imported pastes is very good stability after drying, and less weight, this is especially important for coarse pastes. Also, among the pastes of foreign manufacturers, there are much more options for textures and colors.

Some more tips. To imitate a fresco, I recommend applying pastes with a spatula or palette knife, imitating the movements of a plasterer's trowel. The effect of snow is well obtained with the help of small pastes when applied with a sponge. Also, using a sponge and sandpaper, you can imitate the surface of limestone. When creating collages or just a complex decorative background, you can make a relief on a layer of universal pastes by imprinting with various objects (patterned buttons, stamps, etc.). Sometimes, if the paste is not thick enough to obtain a complex relief, you can wait 5 to 15 minutes before starting work so that the paste acquires the desired consistency.

Rinse all tools thoroughly with water immediately after use.

I am sure that structural pastes will significantly expand the horizons of your creativity, and you will definitely find your own methods of working with them, and maybe discover new interesting effects.

Decorator Natalya Zhukova.

By the way, for those who read both options: it’s interesting to know your opinion, did the article lose a lot after the reduction, or did I swing it in vain?