LESSON 9. MODELLING PASTE, FABRIC AND PAINT

Creating a Semi-Abstract Mixed Media Collage

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Abstract Coastal Artwork by Alison Whateley

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Introduction

In this lesson, you will explore the expressive possibilities of combining modelling paste, fabric collage and acrylic paint to create a richly textured, semi-abstract artwork.

You will learn how to build up a painting’s surface using dimensional materials, incorporating fabric to introduce additional layers, patterns and visual interest. Rather than simply painting a landscape, you will construct it through a combination of raised surfaces, overlapping materials, colour and expressive mark-making.

Modelling paste allows you to create substantial physical texture, from subtle surface variations to dramatic raised relief. Fabric introduces a contrasting material quality, bringing softness, interesting colour prints, woven patterns, irregular edges and a sense of depth to the composition.

The aim is to move beyond conventional painting techniques and approach the artwork as a combination of painting, sculpture and collage. You will experiment with the relationship between solid and soft materials, raised and flat surfaces, and controlled and spontaneous marks.

By the end of the lesson, you should be able to:

• Understand the properties and applications of modelling paste.
• Create high-relief textures using appropriate dimensional materials.
• Incorporate fabric collage into a painted landscape.
• Combine texture, colour and layered materials to establish depth.
• Use movement to guide the viewer’s eye through a semi-abstract composition.

2. Art Principle Focus: Movement

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Landscapes & Seascapes | Jane Wilson Artist 2/4

Frankie Creith Art • Northern Ireland Art Gallery – Frankie Creith Art Gallery

Movement guides the viewer’s eye through a composition, creating a sense of direction, flow and visual energy.

It is often created through:

• Lines: Curved, diagonal, horizontal or intersecting lines that direct the eye.
• Shapes: Repeated or overlapping shapes that establish a visual pathway.
• Repeated forms: Recurring marks, patterns or textures that create rhythm.
• Directional brushwork: Expressive strokes that suggest the movement of water, clouds, wind or vegetation.
• Layering: Overlapping materials and textures that encourage the eye to travel through the composition.

In this lesson, movement can be created through the arrangement of fabric, the direction of palette-knife marks, flowing lines of paint and the placement of raised textural elements.

For example, in a semi-abstract seascape, diagonal fabric strips and curved modelling-paste marks can suggest the movement of waves and currents. In a landscape, horizontal and diagonal forms can lead the viewer through the foreground towards the distant horizon. Remember: Movement should guide the viewer through the artwork rather than allow the eye to become trapped in one area. Consider how the direction and placement of your materials contribute to the overall flow of the composition.

3. Understanding High-Relief Texture in Mixed Media Art

Текстурна паста – KAMENSKAYA Україна

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Texture in mixed media art can be both visual and physical.

Visual texture creates the illusion of a textured surface, while physical texture can actually be felt and experienced through its raised or recessed qualities.

High-relief texture refers to raised elements that project noticeably from the surface of the artwork. Unlike ordinary brush-applied paint, which generally creates a relatively thin layer, dimensional materials can be applied in thicker quantities to create sculptural effects.

High-relief texture can be used to represent:

• Rocks, cliffs and rugged coastal formations.
• Breaking waves and sea foam.
• Tree bark, foliage and rough vegetation.
• Weathered walls, stone and architectural surfaces.
• Abstract shapes and expressive sculptural forms.

The intention is not necessarily to reproduce these objects realistically, but to use texture to communicate their physical character and visual qualities.

What is modelling paste?

Modelling paste, also known as texture paste or dimensional paste, is a thick, usually white, acrylic-based medium containing solid fillers that give it a dense consistency. It is designed to be applied in thicker layers than ordinary acrylic paint. Once dry, it forms an opaque, raised surface that can be painted over, glazed, sanded or further developed.

Depending on the formulation, modelling paste dries to a firm, relatively rigid or slightly flexible finish. Always check the manufacturer’s specifications, particularly when working on flexible canvas.

Modelling paste is available in different consistencies, including smooth, coarse and heavy-bodied formulations.

Important distinction: Modelling paste is primarily used to create volume and relief. It is not the same as acrylic gel or glaze medium, which is generally more flexible and is often used for bonding collage materials and extending acrylic paint.

Products suitable for creating high-relief texture

Not all texture products behave in the same way. Some are designed to create substantial sculptural relief, while others are better suited to fine surface texture.

For this lesson, we will be using two products to create dimensional texture and raised relief: Zelcraft Dimensional Medium and Zellen White Modelling Paste.

Both products can be used to build up textured surfaces, but they offer slightly different application possibilities.

– Zelcraft Dimensional Medium: Suitable for creating raised, dimensional effects and sculptural textures. It can be applied using palette knives, spatulas and other texturing tools to create ridges, peaks and expressive surface details.

– Zellen White Modelling Paste: A thick, opaque white paste that can be applied to create raised relief and substantial textural areas. Its white finish provides an excellent surface for subsequent applications of acrylic paint, allowing you to develop colour and tonal variations while retaining the underlying texture.

Useful tip: Experiment with applying both products at different thicknesses and with different tools. Explore scraping, dragging, stippling and layering to create a variety of surface effects. Always allow sufficient drying time before applying additional layers or paint, and follow the manufacturer’s recommendations.

Other useful products include:

• Coarse Modelling Paste: Creates a granular, sandy surface, ideal for rocks, sand and weathered textures.
• Pumice Gel: Produces a gritty, stone-like surface.
• Heavy Gel Medium: Useful for building transparent or semi-transparent raised marks, and for combining with modelling paste.

Technical considerations when creating high relief

1. Apply modelling paste with a palette knife, spatula or other texturing tool.
2. Build substantial relief in stages rather than applying one excessively thick layer.
3. Allow each layer to dry thoroughly before adding another.
4. Avoid excessive thickness, as shrinkage during drying can cause cracking in some mediums.
5. Allow sufficient drying time before painting. Deep applications may require 24–48 hours or longer, depending on the product and conditions.
6. Use a rigid or well-supported surface for substantial relief. Ordinary stretched canvas can flex, increasing the risk of cracking.

Always follow the manufacturer’s application and drying recommendations.

Incorporating Fabric Collage into Mixed Media Landscapes

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Layered seascape collage – Flourish

False Dawn: Nazanin Noroozi on Creating Emotional and Psychic Space — IMPULSE Magazine

Fabric collage introduces another dimension to mixed media painting. Unlike paper, which generally has a relatively flat surface, fabric has a physical structure, weave and flexibility that can become an integral part of the composition.

It can be used to suggest natural forms, establish layers within a landscape, introduce patterns and create interesting contrasts between smooth and rough surfaces.

Choosing suitable fabrics

Different fabrics produce different visual effects:

• Muslin: Lightweight cotton with a loose weave, ideal for subtle layering.
• Cheesecloth: Particularly useful for suggesting sea foam, clouds, mist and flowing water.
• Linen: Has a distinctive woven texture and works well for rocky landscapes, weathered surfaces and earthy compositions.
• Cotton fabric: Available in many colours and patterns, making it useful for creating contrasting shapes and layers.
• Hessian: Its coarse weave is particularly effective for suggesting sand, rough ground, vegetation and rugged surfaces.
• Gauze: Useful for creating translucent layers, atmospheric effects and soft transitions.

Preparing and applying fabric

Fabric can be cut, torn, folded, frayed or layered to create different shapes and textures.

Consider the following:

• Tear fabric rather than cutting every piece neatly. Irregular edges often integrate more naturally into a semi-abstract composition.
• Use different weights and weaves to create contrast.
• Experiment with overlapping and partially transparent layers.
• Introduce fabric selectively rather than covering the entire surface.
• Allow some fabric edges to remain visible, creating an interesting relationship between the collage and painted areas.

How to adhere fabric to the painting

Acrylic matte medium or gloss gel medium is particularly suitable for bonding fabric to a primed surface.

Application method:

1. Apply a thin layer of acrylic medium to the area where the fabric will be placed.
2. Position the fabric and gently press it into the medium.
3. Apply another thin layer of medium over the fabric, working from the centre towards the edges.
4. Smooth out unwanted air pockets and wrinkles, while retaining intentional folds and irregularities.
5. Allow the collage to dry thoroughly before continuing with additional layers.

Modelling paste can then be applied around the fabric, partially overlapping its edges or creating raised forms alongside it. This helps integrate the different materials into one composition.

Important: Do not rely on modelling paste alone to bond lightweight fabric. Use an appropriate acrylic adhesive medium to secure the fabric first.

5. Step-by-Step Process: Creating a Modelling Paste and Fabric Collage Artwork

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Layered seascape collage – Flourish

Ocean Collage | JosephineFroelich

14

The following process introduces the different materials gradually, allowing each layer to contribute to the final composition.

Materials required

Support and preparation

• Stretched canvas, canvas panel or primed wooden board.
• Acrylic gesso.
• Pencil or charcoal for preliminary composition.

Modelling and texturing

• Acrylic modelling paste.
• Coarse modelling paste or pumice gel (optional).
• Palette knives and spatulas.
• Old brushes, scrapers and texturing tools.

Fabric collage

• Selection of cotton, muslin, linen, gauze or cheesecloth.
• Acrylic matte medium or gloss gel medium.
• Scissors.
• Brushes for applying medium.

Painting

• Selection of acrylic paints.
• Acrylic glazing medium (optional).
• Brushes, palette knives and sponges.
• Water container and mixing palette.

Practical procedure

Step 1: Establish your composition

Begin by deciding whether you will create a semi-abstract seascape or landscape.

Consider the major compositional areas:

• Foreground.
• Middle ground.
• Background.
• Horizon or focal area.

Sketch a loose arrangement using pencil or charcoal. Avoid excessive detail. Think in terms of large shapes, directional lines and areas of contrasting texture.

Plan where you intend to introduce fabric and where the modelling paste will create raised surfaces.

Step 2: Establish the background

Apply a thin layer of acrylic gesso if necessary to prepare the surface.

Begin establishing your background colours with acrylic paint. Work loosely, using broad brushstrokes, washes and palette-knife applications.

For a seascape, you might introduce muted blues, turquoise, grey and warm sand colours. For a landscape, consider earthy ochres, greens, browns and atmospheric blues.

Allow some of the initial colour to remain visible beneath subsequent layers.

Step 3: Introduce the fabric collage

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Tear or cut your chosen fabrics into shapes that correspond with the different areas of your composition.

For example:

• Use horizontal fabric strips to suggest layers of water or distant land.
• Use loosely arranged gauze to represent clouds, mist or sea foam.
• Introduce coarse linen or hessian to suggest rocky outcrops, sand or rugged terrain.
• Use overlapping fabric shapes to create depth and directional movement.

Attach the fabric using acrylic matte medium or gel medium.

Allow the collage to dry before continuing.

Step 4: Build the high-relief texture

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Using a palette knife, begin applying modelling paste to selected areas of your composition.

Think about the physical character of the landscape you are creating.

For a seascape:

• Create raised, irregular marks to suggest breaking waves.
• Use sweeping, curved movements to suggest water currents.
• Build thicker areas to represent rocks and coastal formations.
• Introduce smaller raised marks to suggest sea foam.

For a landscape:

• Use rough, irregular applications to suggest rocky terrain.
• Build layered ridges to suggest mountains or hills.
• Use smaller textural marks to suggest vegetation and ground surfaces.

Experiment with different tools and techniques. Scrape, drag, stipple and press into the wet paste to create varied surface qualities.

Allow the paste to dry thoroughly.

Step 5: Integrate the textures and collage

Once the modelling paste has dried, examine the relationship between the raised surfaces and the fabric.

Some areas may need additional modelling paste to connect the different elements. Other areas may require further fabric layers or painted transitions.

Avoid covering everything. Allow some of the original fabric weave, irregular edges and raised paste marks to remain exposed.

The contrast between these materials is what makes the surface interesting.

Step 6: Apply the acrylic paint

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Begin applying acrylic paint over the dry modelling paste and selected fabric areas.

You can use several approaches:

• Dry brushing: Lightly drag a relatively dry brush across the raised surfaces, allowing the paint to catch the high points.
• Glazing: Apply thin, transparent layers of colour to build depth without completely concealing the underlying texture.
• Palette-knife painting: Apply thicker paint directly to the raised areas to emphasise their physical qualities.
• Washing: Introduce diluted acrylic colour that settles into recessed areas and creates variations in tone.
• Scumbling: Apply broken, semi-opaque layers of colour to create atmospheric and textured effects.

Consider how your colours interact with the different materials. Fabric may absorb paint differently from the surrounding modelling paste, creating interesting variations.

Step 7: Develop movement and visual interest

This is where you bring the composition together.

Look at the overall direction of your forms and textures.

Introduce additional lines, marks, colour accents and repeated shapes to guide the viewer’s eye through the artwork.

For example, a series of diagonal palette-knife marks might lead towards the horizon, while curved lines and overlapping fabric shapes could suggest the movement of water.

Consider leaving some quieter, relatively untextured areas to provide visual relief.

Step 8: Final adjustments

Stand back and assess the artwork as a whole.

Ask yourself:

• Is the composition visually balanced?
• Does the eye move naturally through the artwork?
• Are the different materials working together?
• Is there sufficient contrast between raised and flat areas?
• Have you retained enough of the original fabric texture?

Make any final adjustments using paint, glazing medium or small additional textural details.

Allow the artwork to dry completely before applying a suitable protective varnish, if required and compatible with the materials used.

6. Three Contemporary Artists to Explore

The following artists offer three different approaches to working with fabric, texture, layering and the relationship between painting and collage. Their work provides useful inspiration for this lesson, although they do not all use modelling paste specifically.

Morning Glow by Anna Perlin at Lime Tree Gallery

1. Anna Perlin

Fabric collage and landscape

Anna Perlin combines mixed media painting with fabric collage to create richly layered interpretations of the natural landscape. Her work explores the relationship between colour, texture and material, using fabric to introduce depth and visual complexity.

What to observe: How she combines painted areas with fabric, using different materials to suggest natural forms, atmosphere and landscape features.

Artist profile and work

Fifty Sounds — KICHE

2. Gabrielle Kruger

Sculptural acrylic painting

Cape Town-based artist Gabrielle Kruger pushes the boundaries between painting and sculpture. She develops her own process of manipulating acrylic paint, allowing it to dry before cutting, weaving, folding and assembling it into intricate sculptural compositions.

Her work draws inspiration from natural environments, landscapes and gardens.

What to observe: How she transforms an ordinary painting material into a three-dimensional, tactile surface and uses repetition, layering and interwoven forms.

Artist website and portfolio

Creative Spotlight – Ana Buzzalino — Fine art and design by Shell Rummel

3. Ana Buzzalino

Textile collage and layered surfaces

Ana Buzzalino combines fabric painting, collage, monoprinting, stitching and other surface-design techniques. Her work is particularly interesting for its use of multiple layers, patterns and textures.

She often works with cotton fabric, acrylic paint, tissue paper and other materials to develop complex surfaces.

What to observe: How different fabrics, printed patterns and overlapping materials create depth, rhythm and visual movement.

Artist profile and techniques

7. Useful Tips and Technical Considerations

Working with modelling paste

• Experiment with the paste before applying it to your final artwork.
• Use a palette knife to create ridges, peaks, grooves and irregular surfaces.
• Try applying the paste through stencils to create repeated patterns.
• Avoid making every area equally textured. Contrast creates visual interest.
• Remember that modelling paste dries white and will significantly affect the colours applied over it.
• Do not add excessive quantities of acrylic paint to the paste, as this can alter its structural properties.

Working with fabric

• Experiment with tearing rather than cutting fabric to create more organic edges.
• Use contrasting fabric weights and weaves.
• Avoid placing fabric randomly. Consider its contribution to the overall composition.
• Use acrylic medium generously enough to secure the fabric, but avoid flooding the surface.
• Allow fabric and adhesive layers to dry before applying further materials.

Combining the materials

• Allow the fabric to remain visible in selected areas.
• Use modelling paste to create transitions between different materials.
• Introduce paint to unify the composition without concealing every textural detail.
• Consider the relationship between colour, texture and directional movement.
• Work from larger shapes towards smaller details.

A note on flexibility: Heavy modelling paste is generally more suitable for rigid panels than flexible stretched canvas. For substantial high-relief work, use a well-supported surface or a suitable lightweight, flexible formulation. Avoid excessive paste thickness on ordinary canvas.

8. Application Exercise: Semi-Abstract Seascape or Landscape

Semi-Abstract Seascape Textile Art

Landscapes & Seascapes | Jane Wilson Artist

Jean Lurssen mixed media artist

16

Objective

Create an original semi-abstract landscape or seascape using modelling paste, fabric collage and acrylic paint.

Your objective is to explore how different materials can be combined to create a richly textured surface while using the art principle of Movement to establish visual direction and flow.

Requirements

Your artwork should incorporate:

1. Modelling paste: Use dimensional paste to create raised, physical textures.
2. Fabric collage: Incorporate at least two different types of fabric.
3. Acrylic paint: Use colour to integrate the different materials and develop the composition.
4. Layering: Create a combination of raised, flat, overlapping and partially concealed surfaces.
5. Movement: Establish a clear visual pathway through the composition using directional lines, shapes, repeated forms and textures.

Creative direction

You may choose one of the following themes:

Option A: Semi-Abstract Seascape

Explore the movement and physical qualities of the ocean. Consider waves, currents, foam, rocky shorelines and distant horizons. Use fabric to suggest flowing water, sea foam or coastal formations, and modelling paste to create raised, sculptural textures.

Option B: Semi-Abstract Landscape

Explore the textures and forms of the natural environment. Consider mountains, rocky outcrops, vegetation, earth and atmospheric skies. Use fabric to introduce layered landforms and modelling paste to create rugged surfaces and raised details.

Creative freedom

You are encouraged to experiment with colour, composition and materials rather than reproduce a photographic reference.

Your finished artwork should communicate the atmosphere and character of the chosen environment through abstraction, texture, colour and material.

The emphasis is on developing an expressive, cohesive composition in which the different materials work together rather than appearing as separate decorative elements.

9. Critique and Reflection Questions

Once you have completed your artwork, take some time to evaluate the results.

1. How successfully have you combined modelling paste, fabric and acrylic paint?
2. Have you created a sufficient variety of textures, both raised and relatively flat?
3. How has the fabric collage contributed to the composition?
4. Have you considered the weight, weave and visual character of the different fabrics?
5. Does the modelling paste contribute meaningfully to the subject matter?
6. How effectively have you used the principle of Movement to guide the viewer’s eye?
7. Are there areas where the composition feels too busy or overly textured?
8. Have you achieved a satisfactory balance between abstraction and recognisable landscape elements?
9. Which combination of materials or techniques produced the most interesting results?
10. What would you approach differently if you were to repeat the exercise?

10. Conclusion

Modelling paste, fabric collage and acrylic paint offer exciting opportunities to move beyond conventional painting techniques and explore the physical qualities of an artwork.

By combining dimensional relief with layered textiles and expressive painting, you can create surfaces that are visually complex, tactile and full of character.

The most successful mixed media compositions are not necessarily those containing the most materials or the greatest amount of texture. Rather, they are those in which each material has a purpose and contributes to the overall visual language of the artwork.

Continue experimenting with different materials, application methods and combinations of texture. Allow the process to be exploratory, but remain conscious of composition, colour and movement.

The ultimate objective is to create an artwork in which texture becomes an integral part of the visual expression rather than simply an added decorative feature.

See Textured art by Henri Hagelberg – textuuri

Technique:

Three-dimensional mixed media.

Introduction

Artists combine sculptural surfaces with painting.

Definitions

Relief: Raised artwork surface.

Tactile Quality: The physical sensation of a surface.

Artists

• Louise Nevelson
• Alberto Burri

Art Principle Focus:

Movement

• Guides the viewer’s eye through the composition.
• Often created using lines, shapes, or repeated forms.

Exercise:

Create an expressive landscape using:

• Fabric.
• Paste.
• Acrylic / oil paint.