Texturline Creates Lifestyle Tdf Volume 1, Issue 1 Newsletter Date May 2011

Official newsletter from Texturline Canada Texturline creates lifestyle tdf Volume 1, Issue 1 Newsletter Date May 2011

Faux the four letter word in decoration Inside this issue:

Sedona magic Page 2. sedona Due to the economic downturn, construction has probable suffered more than the GM‟s in America, the difference being it consists1000‟s of small and medium sized privately owned com- Lustra impact Page 3. panies. The overall losses surpass GM‟s losses, got no bailout lustra from the government and were left to go belly up or downsize. Moiré the metallic Page 4. Texturline like many companies had to seek an alliance to keep phenomena moiré in business, hence our association with Randall Roger group of companies. Randall bought Texturline in 2009 and we started to Moire other appli- Page 5. rebuild ourselves back into the market. Barry Affleck one of the cation methods Moiré- original owners of Texturline was chosen to revitalize the brand putting it back on top of the great innovators in the decorative industry. Metaltech the two Page 6. Getting down to business quickly revealed that the market had coat metal paint Metal lost ground to the current trends. As budgets in residential and commercial projects have been cut making decoration projects Stucco Italiano Page 7. fall into the luxury category. The enormous investments made Plasters of Italy Stucco by US and Multinational paint companies to promote color as Page 8. the new decorative platform, they almost destroyed demand for Stucco textures and decorative plaster. The main reason is of course price, decorative finishes are al least 3 times or more per foot Writers bio Page 9. than straight paint. Ask any decorative finisher the percentage of writers straight painting it will be over 50% of the income stream. As we know profits are at least 50% lower also, so what is the answer.

Texturline who was one of the first to remove the work FAUX from its vocabulary has decided to revive that four letter word Special points of inter- giving it new meaning. By taking a page from the Italian work- est: book we are introducing economic faux finishing products with  Don‟t miss out on Sedona L'italiano flair. See: Sedona - Lustra - Moiré read more…………..  Find out about classes  Read Drew Beninati pro- file Texturline introduces a taste of Venice  Find out how to get free samples  Get a free class on Stucco Stucco Italiano Italy – Stucco Italiano is the culmination of master Venetian plaster applicator and manufacturer, Giovanni Polistena‟s, life‟s work. Widely Italiano well sort of! known and respected throughout the Veneto region as one of a handful of  Texturline on the buy on important innovators behind the modern re-birth of Venetian plaster, Giovanni‟s line sites like Faux like a manufacturing facility is one of the few throughout the entire country that is authorized by the Venetian Architectural Board to produce materials for histori- Pro. cal restoration.  Plaster center goes live Texturline now distributes Stucco Italiano through its dealer network in Canada with buy on line. and the Untied States. Read more………..

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Sedona the one coat that adds a sparkle to walls The finish for less than 50 cents a square foot material and less than a dollar labor

Available in a wide color range, two-base system Silver or Gold. Available in quarts and gallons. Gold base & Silver Base is easily tinted to custom colors. Soap and water clean up. Earth Friendly Low VOC wall coating. Coverage: 200 to 300 sq. ft. per gallon in one coat. Easy to apply, easy to maintain. Sedona metallic plaster finish is GREAT for hiding surface imperfections.

Sedona leaves a background pearlescent film while at the same time a soft texture on top which when fully dry leaves a spangled reflective look. When colored, the two parts separate causing the underlying coat to be lighter and shinny the texture above darker and flat. This unique coating makes it possible to offer a very economic option where both material and installation cost can offer a competitive alternative to paint.

Sedona is a luxurious new coating that complements any décor. This Faux finish is the answer for any low budget project providing a sophisticated option to flat painting.

Application Methods

Three Really Easy Steps…

Prep: Mask, protect areas not to be coated. Spot repair if needed. Read directions on paint can for further directions. Substrate must be stable.

Step 1: Apply an eggshell finish acrylic paint or Texturline Sharktooth primer of a similar tone. Apply one to two coats to achieve a premium quality paint job. Allow painted surface to dry overnight.

Step 2: Apply with 3” or 4” natural hair chip brush in cross-hatch fashion. Cross hatch should be approximately 6” to 8” in length. Allow to dry. Dries in approximately 4 hours. This is a one coat finish creating a pearl base and textured overlay with spangles all in one application.

Alternative: The use of a Magic trowel used after two coats cross hatched Sedona to lightly flatten the surface will produce a denser more compact finish, while retaining its other qualities.

Two methods to Tips: Try using a wallcovering brush for a textile look. Rotate alternate applications coun- apply Sedona over terclockwise holding stipple brush flat to wall surface for a strié

primed or latex YouTube key words: Sedona paint surface Volume 1, Issue 1 Page 3 tdf

“Lustra” Metallic Plaster a Beautiful Shimmering Stone Finish For less

Lustra wall finish can be produced in three easy to do steps. Highly durable, this finish was developed to cover walls with minor multiple imperfections. The reflective na- ture of Lustra makes it very desirable yet economical for medium priced projects. The fact it has a very desirable look makes it an ideal candidate for feature walls, kitchens and bathrooms.

Working from dark to light, select a deeper tone to serve as your base coat. Select a similar color acrylic eggshell finish paint or tinted Texturline Sharktooth primer. See 1. Sharktooth primer allows for better grip and hide. The alternative works equally well that is going from light to dark which will produce a deeper dimensional look.

The fact Lustra retains it texture makes it possible to create structured forms that 1. stand alone or can be profiled by a second tightly pulled coat see 2.

Application Method

Supplies and Tools: Drop cloth, water for clean-up, painter‟s tape, Texturline Shark- tooth Primer, two colors Lustra Metallic Plaster, 2 ½” polyester paint brush, 9” roller handle and ½” nap roller cover, paint tray, flexible Venetian Plaster trowel. Prep: Mask, protect areas not to be coated. Spot repair if needed. Read directions on paint can for further directions. Substrate must be stable. Step One: Apply a solid coat of Texturline Sharktooth Primer colored close to Lustra. Allow to completely dry, 1 to 4 hours. Step Two: Apply an organic, random smear coat of Lustra to the wall surface. Using a traditional Venetian plaster trowel held flat to the wall surface, smear material in even thickness using a random fashion. Lustra plaster should be applied no thicker than a dime. Work 2. small 3‟ x 3‟ sections. There is no need to maintain a “wet” product edge. Allow to dry overnight. Step 3: Apply fill coat. Using a traditional Venetian plaster trowel, apply the top coat holding trowel at a low angle and work the second layer to completely cover coat one. Easy to apply with a putty knife or trowel

Highly reflective pearls and golds tdf Page 4 Texturline creates lifestyle

Moire the silk plaster the phenomena

ABOUT MOIRÉ Available in 105 Designer Colors from fan deck in many stores. Custom tinting available from Texturline and specialty stores Available in Iridescent gold or pearl bases. Quart - 0.850kg, Gallon - 3.4kg. Earth-friendly, low VOC coating. Decorative wall finish that can be applied by trowel, spatula, brush or roller. Soap and water clean-up. Dries to a durable, washable and easily maintained finish. Easily repaired. Spread rate of approx. 240 sq. ft., two coats per 3.4kg/gal container. Available Quarts - 60 sq. ft., Gallons 240 sq. ft.

Now available in 1000 Benjamin Moore Colors.

6 oz. wet samples and color deck are available for purchase www.texturline.com www.plastercenter.com www.finishfx.com www.centurapaint.com

TRADITIONAL APPLICATION STEPS Prep: Mask, protect areas not to be coated. Spot repair if needed. Read directions on paint can for further directions. Substrate must be stable.

STEP 1: Apply Sharktooth undercoat of a similar color. Two coats may be desired for drastic color changes. Allow to completely dry. It is best to allow the paint to dry overnight before proceeding to Step 2.

STEP 2: Using a 6” Stainless Steel rounded corner flat blade or Venetian plaster trowel, load a small amount, 1 to 2 Tablespoons, of Moiré to the outside edge of the blade. Do not overload the blade. Using a low angle, apply a paper- thin coat of Moiré in 8” to 12” passes. Using a random pattern, apply Moiré, going up, down and side to side. This random pattern will cause light to reflect in a soft silk fabric-like appearance. IMPORTANT: Moiré should be applied the thickness a sheet of paper. Prevent over coating by limiting the amount of product applied to your blade. CAUTION: Blades become razor sharp during application. With Moiré there is no need to maintain a wet edge during application, simply start and stop as needed. Work smaller sections 4‟x 4‟ at a time, join sections by slightly overlapping edges of each section. This patch-work look will all pull together with the application of the finish coat. Moiré usually dries in less than one hour. Allow this coat of Moiré to dry completely, 1 to 4 hours depending atmos- pheric conditions and thickness of film.

STEP 3: Apply finish coat of Moiré in same fashion as Step Two, again, a thin coat is best. Overlap small sections at a time.

Supplies and Tools: Drop cloth, water for clean-up, paint, Moiré, painter‟s tape, ½” nap roller covers, paint tray, roller handle, 2½” polyester paint brush, 6” rounded edge stainless steel blade or Venetian plaster trowel.

Tips: Prevent overlapping meeting points. A kitchen rubber spatula works GREAT for loading Moiré onto your tools/blades. Change it UP! Use a lighter tone on Step Three as an easy two-tone! Moiré is self-sealing and does not require a top coat. Moiré is great in dining rooms, kitchens, bath rooms and Master suites…any room in your home! For a spectacular touch, Moiré is beautiful on ceilings. YouTube key words: Texturline Moiré tdf Page 5 Texturline creates lifestyle

Moire the silk plaster the phenomena

ROLL ON APPLICATION STEPS

The simplest way! This method creates a softer look excellent for problematic walls and commercial applications.

Prep: Mask, protect areas not to be coated. Spot repair if needed.. Substrate must be stable. Step 1: Apply good quality acrylic eggshell paint or Texturline Sharktooth primer of a similar color. Allow to completely dry, minimum 4 hours. Step 2: Thin Moiré with 20% Texturline Basic Glaze. Blend completely, a paint squirrel, mud mixer or wire whisk works well. Using a 4” to 6” short nap roller, apply thin layer of Moiré. Using a consistent, random fashion, rolling passes 8”, 10”, 12”. Be sure to apply material in multiple directions in small patches, joining sections together. There is no need to maintain a wet edge. Use a polyester brush to work small spots, ceiling lines, feather out brush marks. Moiré should lay down like a traditional paint film. Allow to dry overnight. Step 3: Repeat Step Two. Again, a thin coat is best. Dry rolling is also a good option. A lighter shade of Moiré can also be used for a two-tone effect. Moiré is dry to the touch in one hour, washable in 4 days.

Supplies and Tools: Moiré, drop cloth, water for clean-up, paint tray, roller handle and cover, 2 ½” polyester paint brush, 4” to 6” short nap roller covers. Tips: A Kitchen whisk works GREAT for thinning Moiré. A whizz roller works EXCEL- LENT for this technique. The velour pink cover is my choice. Try a roller-applied geometric pattern to add a sophisticated feel.

YouTube key words: Roll on Texturline Moiré DRAGGING METHOD OF APPLICATION

Prep: Mask, protect areas not to be coated. Spot repair if needed. Read directions on paint can for further directions. Substrate must be stable. Step 1: Apply good quality satin/eggshell finish acrylic paint a shade or two darker than the desired shade of Moiré. Prepare walls and apply a tradition paint application. Follow good painting practices and apply one to two coats of base paint as needed. Allow paint to dry overnight. Step 2: Thin Moiré with 20% Texturline Basic Glaze, completely blend until smooth. Roll on a thin layer of thinned Moiré using a 9” roller, 100% coverage works best. Mask ceiling wide using 2” painter‟s tape. Use a brush at ceiling and trim lines. Do not do more than 12” to 18” wide sections at a time. Work from base up and ceiling down. Alternate meeting points to blend below eye level. Allow to completely dry.

Supplies and Tools: Drop cloth, water for clean-up, painter‟s tape, wallcovering brush, 9” roller handle, 3/8” to ½” nap roller cover. Tips: Change it UP!!! Try Moiré using a darker paint tone base coat with a lighter shade Moiré topcoat. Add a hint of Iridescent Wall Wax, try a metallic tone of Moiré over black paint. Options are unlimited!

YouTube key words: DraggingROLL ON APPLICATION STEPS

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METALTECH THE REVOLUTION IN METAL DECOR Metaltech is a revolution in both artistic and conventional metal coating, for all surfaces. This low VOC coating (15g.per liter) is a corrosion inhibiting direct to metal water based metal paint. 3 tintable bases and 40 standard Colortrend formulas Metaltech can be custom tinted with universal colours Does not need protective UV clear protection for exteriors

Applies with a conventional rollers and brushes on with no roller lines in two or three coats depending on tone.

Environmentally friendly formula uses the latest acrylic polymer resin technology. Rust inhibited technology when applied to unprimed steel.

Exclusive easy flow technology for fast application. Easy clean up with water. Qualifies for LEED as low VOC formula. Can be sprayed with airless systems Packed : 0.875 liter quart & 3.5 liter gallon Bases : GOLD - SILVER - PEARL

tdf Page 7 Texturline creates lifestyle Story of Stucco Italiano, Italian natural lime plasters at their finest

Stucco Italiano is the culmination of master Venetian plaster applicator and manufacturer, Giovanni Polistena‟s After earning his diploma in restoration at the European School for Preservation of historical buildings in Venice and at the Academy of Art of Verona In the 1970‟s, Giovanni‟s mission has been to research and rekindle the ancient art of lime plastering used throughout the Veneto region and reaching its apex in the work of Andreas Palladio and his contemporaries in the late 16th century. Through tireless research and experimentation, Giovanni became one of the first innovators able to bring the ancient, lost formulas and techniques for Marmorino into the modern age. His expertise lead Giovanni to become a consultant and manufacturing specialist for some of the largest Venetian plaster manufacturers in the world during the 1980‟s. In the 1990‟s Giovanni established Stucco Italiano and began manufacturing his own materials. Now Stucco Italiano is sold in dozens of countries throughout the world through other professional plaster specialists approved by Giovanni and Stucco Italiano. As well as being a specialist in the creation and the chemistry of the historical Italian lime plasters, Giovanni is an applicator with 30+ years of installation experience. He and his crews have been in high demand throughout the world for many years and have completed countless projects in the United States, Denmark, Norway, France, England, Germany Belgium, Swit- zerland... as well as throughout Italy. He has trained thousands of applicators in the proper use of the traditional Italian Stuccos and their historical application techniques. Stucco Italiano materials are created with the respect for the history of the materials and the traditional craftsmanship combined with a deep understanding of the artisans‟ needs. With zero-VOC‟s, Stucco Italiano is manufactured to meet the most rigorous environmental standards. Sourcing recycled wood for the fuel used in baking the lime used to create the materials, Stucco Italiano is a most responsible partner to the essential environmental movement. Stucco Italiano, continues to innovate. Giovanni is currently in the process of building a new manufacturing plant to keep pace with ever-increasing worldwide demand. With one foot firmly planted in the history of Italian architecture and craftsmanship, and the other in the modern, practical concerns of the 21st century, Stucco Italiano will continue to play an important role in the future of the natural plaster industry throughout the world.

Marmorino well known as classic Venetian plaster; however, its origins are much older, dating to ancient Roman times. We can see evidence of it today in the villas of Pompeii and in various Roman structures. In addition, it was written about in Vitruvius's "De Architectura", a 1st Century B.C. history of Rome. Marmorino was rediscovered centuries later after the discovery of Vitruvius's ancient treatise in the 15th century. This 'new' plaster conformed to the aesthetic requirements dictated by the classical ideals in the 15th century that had become the fashion in the Venetian area of Italy.

The first recorded work done with Marmorino is a building contract with the nuns of Santa Chiara of Murano near Venice in 1473. In this document, it‟s recorded that before the Marmorino could be applied, the wall had to be prepared with a mortar made of lime and "coccio pesto" (ground terra cotta). This "coccio pesto" was then excavated from tailings of bricks or recycled from old roof tiles. At this point, to better understand the popularity of Marmorino in Venetian life two facts need to be considered. The first is that in a city that extends over water, the transport of sand for making plaster and the disposal of tailings was, and still is, a huge problem. So, the use of Marmorino was successful not only because the substrate was prepared using terra cotta scraps, but also the finish, Marmorino, was made with leftover stone and marble, which were in great abundance at that time. These left over discarded waste was recycled and mixed with lime to create Marmorino, the first re- cord of a green environmental movement in the world.

Marmorino and substrates made of "coccio pesto" resisted the ambient dampness of the lagoon better than almost any other plaster, because it is extremely breathable by virtue of the kind of lime used. ( lime sets on exposure to air after loosing excess water) Because it contains terracotta which when added to lime makes the mixture hydraulic, that is, it's effective even in very damp conditions (because it contains silica and aluminum, bases of modern cement and hydraulic lime preparations). The second consideration is that an aesthetically pleasing result could be achieved, in an era dominated by the return of a classical Greco-Roman style buildings, allowing less weight to be transmitted to the foundation when compared to the habit of covering facades with slabs of stone. Usually, Marmorino was white to imitate the stone of Istria now part of Croatia, which was most often used in Venetian construction, but was occasionally decorated with frescoes to imitate the marble, which Venetian merchants brought home from their voyages. (In this fascinating period of the Republic of Venice, merchants felt obliged to return home bearing precious, exotic marble as a tribute to the beauty of their own city.)

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Marmorino maintained its prestige for centuries until the end of the 1800‟s when interest in it faded and was considered only an economical solution to the use of marble. Only at the end of the 1970‟s, thanks in part to the well known architect, Carlo Scarpa‟s use of Marmorino, (June 2, 1906–1978), who was an influenced, by installing these materials in buildings and landscapes, using the history of Venetian culture, reintroducing this technique used today by the best modern architects. Italian manufacturers were also interested in Marmorino which was only by produced by artisans up to that time. Today ready-to-use Marmorino can be found, often with glue or acrylic resin added to allow them to be applied on non-traditional surfaces such as drywall or wood paneling.

We are a group of Italian plaster artisans, whose business, „Stucco Italiano‟, is located in the middle of the Veneto Region, near Venice, Italy. This area is well-known for being the richest in Italian architectural heritage and artisanship.

When a finish is applied inside, it‟s always good to be sure that you can apply some- thing else over it afterwards. All of our finishes can be painted over, including our natural wax for Marmorino.

A big advantage of using lime-based products on interiors surfaces is that it is breathable which helps regulate indoor humidity. It facilitates the release of excess humidity which, in turn, reduces the risk of mildew.

When you work outside with lime-based products, one of the first things to consider is the pigment‟s resistance to UV rays. The natural pigments are all resistant to the sun‟s rays, but a majority of the modern, synthetic colors are not resistant to sunlight, and will, therefore, alter. Lime-based products are naturally resistant to mildew and molds because of their high PH. But acid rain caused by air pollution will change the natural PH of lime in a few years‟ time, just as it does with cement, allowing for the growth of molds on external plasters. Even in cold climates, lime-based products can be applied, but only if there is an over- hanging roof to protect against the rain. There are, after all, traditional outdoor lime-based plasters which can be found in countries with colder climates.

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About the writer: Barry Affleck resides in Toronto Canada he is a UK national or as they say in Canada an expat. Having been all his life involved in the decorative coatings industry both on the ground and behind the scenes influencing current trends and innovating new ones. Currently working as a consultant and running Texturline, the brand he created in 1993, for Protek Paint Ltd the current owner he sold it to in 2009. His past experience started as an apprentice in 1960 in London England becoming a master builder in 1966 working for himself. After moving to Paris France in 1973 and estab- lishing himself in the historic restoration field working with the Jesuits. After working on projects as grand as the palace in Versailles and a long series of church renovations he came to Canada in 1988. In 1990 he worked with a company in Montreal and created the first acrylic stucco of any note which was baptized Marbelux, combined Canada distribution and consulted on colour creation of Toll-o-fect with Coro- nado Paints in Florida. After letting go of this project in 1993 he worked with Durock Alfacing to create a decorative line of plasters with Margaret Palak. With her he opened Texturline as a brand which he still runs today for the new owners. He is actively still involved in E-Crete Ltd a US company where he is a partner. As a technical recourse by virtue of his long career in formulation and professional consulting he has the unique optic of being able to balance science with practical experience. A quote from Ina Marx, his friend said of him “a reel „gem‟ of a gentleman who has more knowledge than well ever have” and his longtime friend Paul Shivkumar of Artifex Studio says “its like having a guru in my back pocket always ready to help”

Personal note by Barry: I have always tried to help the younger generation fully understand Decorative painting and plastering, as I always say when us old artisans are gone so will the experience we carry with us. The only legacy I have is the satisfaction that I was able to help others catch this incurable disease called decorative finishing, so they too can leave their mark for future generations to admire and cherish. People always ask me at my age pushing 70 why don't I retire, my answer as always when your having so much fun doing what I do why stop, instead of wasting my time on a golf course in Florida. To conclude, the eternal salesman I am is showing through, try my latest creations Sedona and Lustra, for a short time we are giving free samples all you pay is freight. On ordering samples in 16oz jars two Sedona, gold and pearl, 2 Lustra gold and pearl, we will send you a free fan deck of each. I guarantee these will quickly become sales on installations as they are the start of our easy fast low cost finishing system. Its so your clients will no longer be able to say they cannot afford faux, that four letter word I am going to rehabili- tate. Keep in touch with me on Facebook and Twitter see Texturline site for links