Alchemist's office. Miracles from structural paste. Cozy corner Technique for applying texture paste to glass

And today I’m not coming to you with a review of the work or even with a master class... Today we’ll just talk to you))) about texture paste. And about the most common and most affordable - Sonnet texture paste. She is the heroine of our conversation:

It would seem, what can I say about her that is so new?

Pasta, being pasta, is not the best, to be completely honest. It’s a bit runny in my opinion, and doesn’t handle high temperatures very well, starting... so to speak... to boil...

I bought it at an art store, just this one simply because they didn’t have anything else on sale at that time, and I really, really needed the paste.

Of course, we all want to have good quality materials, especially since the modern market for creative products is constantly updated with various new products with interesting effects. The range of texture pastes is also growing. The only question is finances...

So that's what I'm talking about. If you don’t have a lot of these same finances, but want new effects in your works, then take your regular texture paste and let’s experiment together.

So what do we have?

As I already said, I have the Sonnet texture paste, regular, 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 is visible. This, by the way, is another significant drawback.

Now let's get to the fun part! Directly to the experiment. I mixed different art materials with the paste one by one and will share the result and my impressions with you.

Here is an approximate mixing ratio:

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

The result is quite successful; the design and black background no longer show through the paste.

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

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

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

Next I tried to get a colored texture paste.

3. Paste + artistic 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 Decoru Factory "Indigo":

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

- Spray chameleon from Decor Factory "Aventurine":

The result is that all the beauty of the chameleon is lost, the effect is the same as from an aqua spray. Therefore, it makes no sense to use a chameleon spray to obtain a colored paste.

Spray without a name, unfortunately:

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

Conclusion on sprays - if you need a paste with a bright, rich color, then sprays are not an option. But for calm watercolor shades they are very suitable. Aqua spray worked best.

5. Paste + acrylic paints

- Acrylic paint "Sonnet", color Burnt umber:

Wonderful result! The paste has a good thick consistency, and most importantly the color is bright and rich, no different from the paint itself!

- acrylic paint "Olympic gold":

There was no golden shine.... The paste only acquired a bright sandy tint.

The variety of creative materials is amazing. With the development of handicrafts, all kinds of goods began to appear on store shelves - just have time to put them into practice. Some really deserve attention, because with their help you can transform your work and make it original. Let's talk about texture paste and how to use it.

Texture paste is a thick mixture, with which you can form a volumetric (relief) coating. After drying, it forms a durable relief that cannot be washed off with water, which can then be painted with acrylic, gouache, tempera, and oil paints. Most often, this paste is used in decoupage.

1

Let's look at some options for using available tools to help achieve the desired effect.

Using a stencil.

Place the stencil on the surface to be decorated and secure it with masking tape. Using a palette knife or other suitable tool, such as a flat knife, apply the texture paste in an even layer to the stencil. We can tint the finished image if desired. The surface to be decorated can be a wall, a piece of furniture, thick cardboard, plywood, etc.

2

Using a milk carton.

First, use a pencil to create a drawing. Then put the paste into a soft milk bag or pastry bag, make a small hole and squeeze out the composition starting from the outline. You can leave only the outline, or you can apply the paste to the entire image. Using a toothpick or brush, add relief if necessary. Thanks to the thin stream, you can not only draw an outline, but also make, for example, a frame.

3

Using a stamp.

We apply a layer of texture paste to the surface and place a stamp on top. Correcting the image. Using the same stamp with the remaining paste, you can make another impression in a different place.

4

Using a syringe.

We dilute the paste with a small amount of water. This is necessary so that the composition can be more easily drawn into the syringe and distributed. Squeeze the mixture onto the surface, forming the desired pattern. You really need to add a little water, otherwise the paste will lose its properties.

5

You can make your own texture paste.

First way.
We take putty (preferably finely dispersed acrylic), sifted sand in a 1:1 ratio and add enough PVA glue to make a mass as thick as sour cream.

Second way.
Pour 1/4 cup of talc into a container and add a tablespoon of paint and PVA glue, mix. Then add a little water (half a tablespoon), stir thoroughly until smooth.

So I bought the January issue of “Do It Yourself”, where my review article on structural pastes (from Lara’s message) was supposed to come out.... it’s out! Only it, of course, was shortened (this is understandable, I wrote without being attached to anything, but here is still the layout and location, its limitations), but it’s still nice :)

Structural pastes- These are thick compositions on a water acrylic basis, which allow you to achieve various textured and relief effects. Thanks to their acrylic base, they fit well on any surface (wood, cardboard, metal, fabric, concrete, glass, etc.), have virtually no odor, are diluted and therefore washed with water, although before they dry. After drying, they become water resistant. Structural pastes can be used as an additive to acrylic and other water-based paints to give thickness and texture to the stroke, or they can (and should) be used independently to create relief surfaces, imitating various materials: stone, iron, terracotta, sand, snow, glass and etc.

Spatulas (plastic, rubber, metal), palette knives, and 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 there is a ready-made volumetric element. Although, of course, these pastes can be painted or mixed with acrylic paints to shade and enrich the original color.

There are pastes that are designed to achieve additional image volume, the so-called volume and swelling. Such pastes can be transparent, which allows them to be used not only as a basis for volumetric elements, but also for application on top of an image, for example, in volumetric 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 techniques, using gilding techniques, etc. Such pastes often contain more or less coarse inclusions: particles of pumice 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 PASTE RELIEF (thin), Tair. Refers to universal pastes. Can be mixed with paints (acrylic, tempera, gouache). Absorbs paint perfectly even after drying. It has a fairly smooth texture and is light in weight (does not burden the work). May crack a little when drying, especially if you use a hairdryer to dry. If you add acrylic varnish, the paste becomes more flexible and dries more slowly, which allows you to work with the relief longer. Drying time is from 1 to 5 hours depending on the thickness of the layer (using a hair dryer can reduce the drying time to 10-20 minutes). The dried paste has a matte porous surface, sands well, is waterproof, but has some fragility. Another advantage of this paste is its low cost.

In addition to fine relief paste, there is also a coarse one; it has a more pronounced rough texture, but also greater weight, so it is more suitable for wall work.

MODELING PASTE, Marabu (white). This universal acrylic paste can also be classified as a decorative paste, because... it has a glossy surface after drying and, in addition to white, it is already painted gold and black. In texture it is very similar to the Tair relief paste (discussed above), but it is more plastic and not so porous after drying. Using palette knives and spatulas, it is easy to create a relief surface. After drying, it is very stable, tinted well, and very light. Drying time is 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 coarse. 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 coarse paste from this manufacturer is not at all as heavy as the rough textured Tair paste. Well suited for creating the effect of an old wall, sand, snow (also depending on the grain size, coarse is a rougher texture, fine is a slight roughness). Drying time is from 2 to 24 hours depending on the thickness of the layer. After drying, it tints well.

STRUCTURAL PASTE “SOLO GOYA”. There are also coarse and fine. This paste has a pronounced rough-grained texture, which allows it to imitate a sandy surface well. At the same time it is quite light. Mixes well with acrylic paints and paints well after drying. Also, after drying, it has a matte surface and is waterproof. Drying time is from 2 to 24 hours depending on the thickness of the layer.

CRACKING PASTE MEDIUM, Maimeri. A very thick viscous paste, on the surface of which cracks form after drying. The size 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 cracks; it should be applied paste-wise, without getting carried away with the relief. Drying time depends on the thickness of the layer. After drying, it has a slightly beige matte surface, sands and tints well. One of the disadvantages is probably high consumption, because... To obtain a pronounced effect, a fairly thick layer is required.

GRANITE PASTE MEDIUM, Maimeri. A medium-thick paste with small, hard granules reminiscent of 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 inclusions and is well tinted. This paste takes longer to dry than universal pastes, but after drying it is very stable and practically cannot be sanded.

To sum up I must say that the drying time of all pastes can be reduced with the help of a hot hair dryer, but the fastest, under equal conditions, is ACRYLIC RELIEF PASTE Tair, which dries the fastest, 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. There are also many more texture and color options among pastes from foreign manufacturers.

A few 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 snow effect is achieved well with fine pastes when applied with a sponge. You can also imitate the surface of limestone using a sponge and sandpaper. When creating collages or simply a complex decorative background, you can make a relief on a layer of universal pastes by making imprints 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 instruments well 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 techniques for working with them, and maybe discover new interesting effects.

Decorator Natalya Zhukova.

By the way, for those who read both versions: it’s interesting to know your opinion, how much did the article lose after the reduction, or did I make such a big deal in vain?

Texture paste is a simple step to a masterpiece!

Modern technologies stepped far simplifying the task for a person so much,that today everyone can easily master various arts and crafts techniques without leaving home. Decoupage, patination, brushing, waxing, imitation, gilding - these are just some of the techniques with which even a beginner can create a real masterpiece! Working in these techniques involves the use of various materials, such as:paints, primers, patinas, waxes, stains, craquelurevarnishes, compositions for gilding And many others. Almost every technique uses material that allows it to add elegance and emphasize the individuality of the author. This decorative material is -texture paste.

Structural pastesThey are thick acrylic compositions, water-based, allowing you to create various textures and reliefs on the surface. Due to the presence of acrylic, they fit well on any surface, such as wood, cardboard, metal, fabric, concrete, glass, which makes them universal. A huge advantage of texture pastes is the absence of odor, which makes it possible to work with them in poorly ventilated areas, and also does not limit the creativity of people who have allergic reactions to odors.Texture pastesdiluted with water and, therefore, washed with water, however, until they are completely dry. After drying everythingtexture pastesbecome waterproof.

Almost everything texture pastes, combines the possibility of using them as an additive to acrylic and other paints water based(gouache, tempera), what gives thickness and texture to the stroke. T This technique is often used in modern painting. In addition, texture pastes can be used independently to create relief surfaces, using them to imitate different materials, such asstone, iron, terracotta, sand, snow, glass and so on.

Texture pastesvery easy to use. Because everythingtexture pasteshave a relatively thick consistency and can be applied in a variety of waystools: spatulas (plastic, rubber, metal), palette knives, modeling brushes made of rubber or silicone, and even your own hands. The choice of tool depends on the desired relief.

Currently, different manufacturers like domestic, and foreign ones offer us huge many texture pastes , which can be conditionally divided into 4 groups: universal (smooth),fine-grained, coarse-grained,pastes for creating special effects.

Universal pastes - light, smooth and flexible. They do not contain any inclusions. Such pastes - excellent basefor various decorative and design works, as they can be changed for a specific task. Such texture pastescan be applied either by hand or with special tools.Very often when working with this type texture pastes use stencils or stamps , which greatly facilitate the work of the master, because after drying they can be easily sanded, making it almost impossible to spoil the work.

Fine-grained- heavier, contain small inclusions, sand-like which allows you to create up toquite interesting surfaces, for example, imitation snow.

Coarse pastes - containlarge fractions, due to which these pastes have a more pronounced rough texture and even greater weight, therefore they are more suitable for wall works or as additives to other pastes to enrich the texture.

Pastes for creating special effects - pastes containingmore or less coarse inclusions, such as particles of pumice of different grain sizes,glass balls, mica and many others. These texture pastesA great option for lovers of decorative collages and frescoes. Once dry they can be tinted any colors water based, patina and work on them using technology decoupage or use on top of equipment gilding.

The modern market offers us a huge variety of all kinds texture pastes from different manufacturers:, Ferrario, , VivaDecor, This texture pasteIt is convenient and easy to use because it has a thick consistency, so it does not flow under the stencil.After drying, it forms a durable, elastic, water-resistant relief. The dried surface can be paintedril, tempera, gouache paints. It can be universal with sand, with glass bowls rickami . Texture paste “Sonnet” is available in volumes of 500 and 220 ml.

All these texture and relief pastes You can find them in our online store and retail stores and purchase them at attractive prices.Start creating with Art Quarter!

Hi all!

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

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

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

In addition to the paste itself, we will need a stencil (mask) and, if desired, paint or paint to add 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 or its properties. We recommend diluting the paste with dye in a plastic or silicone container. If the dishes are not disposable, do not allow the paste to dry in them - after hardening, the paste is not washed off!

When the paste is ready to use, place the stencil on the material to be decorated and, if necessary, secure it to 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 on average is about 20-30 minutes.

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

Using texture paste, you can apply a design to cardboard, thick paper, fabric, leather (including eco-leather) and other materials.

We really 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