What is astounding is how much demand there is for modeling pastes of different varieties that is asked for. At one time we used to sell the big five gallon tubs of paste for faux-finishing professionals from a company called Textureline out of Toronto. Then, later, Linda Lock began experimenting with paste on canvas in her altered art period. She would use a stencil and get relief with the paste. There was company out in western Canada that had a wonderful product called Frescolina which was a paste that cracked when the artist would pass a hair dryer over it. Anyway, Linda flipped out over it and Frescolina became a big hit. There were a few other artists who jumped on it and pastes were de rigeur.
Eventually, we came up with a smoother version of paste and this seems to be the most popular. When we began selling Liquitex we were exposed to a whole new treasure load, a motherlode of paste. I thought the light modeling paste was great idea. The container weighs as much as a small bag of marshmallows. It seems ideal. The artists seem to apply it pretty heavily which puts a lot of wight on the cotton canvas. The light paste seems like a solution. However, what has been adopted as the favorite is something called flexible modeling paste. Hard to understand, except it supposedly will never crack, which is doubtful. All it takes is for the product to appear in a couple magazines, some books and popular pattern packets and its off to the races.
DecoArt had the brilliant idea several years ago to come out with an extensive line called Textures which has three different types of paste in about six or seven colors each with mediums to go with them. Its been very popular. Their metallic series called Fierro has some serious issues with off-gases that in the past made the product pop- a small explosion- on our warehouse shelves. I think two or three colors have been off the market; they are having trouble ironing out the kinks.
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