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Archive for the ‘Paint products’ Category

Painting Questions, Quotes, and Quips – Part 1

QUESTIONS:

1. What constitutes a “source” that must be credited in any future use?

Answer: According to U.S. Trademark, Patent, and Copyright Law, the original source of a concept, design, prototype, photograph, imprint, illustration, artwork, literary work, etc. must be listed whenever and wherever the item is used. That includes when the re-user has written permission from the originator, or legal representative, to use the material.

2. How should the original source be credited?

Answer: The originator’s required, usually brief, format must be used.
Example: Name of person, name of studio/company/publication, title of work, copyright date/year.

3. How necessary is it for any re-user of an original work to get written permission to use the work or material?

Answer: It is essential, especially whereas we live in a period of widespread misuse, pirating, fraud, plagiarism, identity theft, etc. Whenever, wherever, and how you use someone else’s material for “personal and/or financial gain…”

QUOTES:

I was checking on possible LinkedIn connections to specific persons connected to the technical services of a leading paint products manufacturer. Sure enough. At least two were there. Then, I checked on the manufacturer’s informational website for painting contractors. There, I found the same persons credited as the writers and/or editors of articles.

Immediately, I noticed that many of the articles’ topics and titles, organization, contents, and both wordage and phraseology were very familiar. Say, from this “Painting with Bob” blog. “All posts “copyright” protected. “All rights reserved.” Meaning no re-use, reproduction, reprinting, etc. without written permission of the author, or his/her legal representative.

QUIPS:

A first year journalism student landed an entry-level, Friday night job on The Indiana Daily Student, Indiana University’s newspaper.

Assignment 1: Pick up the reporters’ wads of yellow printer’s paper laying around their desks.

Assignment 2: Grab a chair next to any working reporter. Then read each page of copy as it comes out of the typewriter.

Assignment 3: Check that WHO, WHAT, WHEN, WHERE, and HOW – and even WHY – have been covered within the first two paragraphs of the reporter’s story.

Assignment 4: “Red-pen” circle every error in punctuation, spelling, grammar, word use, word order, typing, etc.

Assignment 5: Check all quotes for accuracy, and that the following match those written in the reporter’s notebook: interviewee’s full name, title and affiliation; exact words stated and in order, beginning and ending quotation marks, date, place and occasion of interview.

Assignment 6: Warning: “No mistakes allowed,” said Dr. F.A., dean of the School of Journalism, Indiana University. “If you can’t cut it on the floor, you can’t cut it at the desk.”

Closing observation: The paint manufacturer’s writers and editors did a good job on those painting tips articles for the contractors’ publication. They got the facts straight. And, their paraphrasing was reasonably accurate.

So… I let two area Sherwin-Williams friends treat me to lunch, and compare notes about an experimental coating for exterior surfaces such as high-exposure steel fencing.

CLOSING TIP:
Always give credit where credit is due!

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Trademark, Patent and Copyright Laws are here to protect everyone – including painters!
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Thanks to all visible or hidden readers, followers, and paraphrasers of “Painting with Bob.”

Copyright 2017. Robert D. Hajtovik. All rights reserved.

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Four Unusual Guest Rooms in Un-ordinary Locations

1. FOCAL POINT: Red iridescent 1967 Mustang life-size mural. Air-brushed and hand-painted on 42-foot north wall.

Lodging type: Private inn with 8 bedrooms and 5 bathrooms.
Structure: Former Amish farm house.
Location: Northeast Indiana.
Room’s description: Third floor attic suite. Dimensions: 24-feet wide by 42 feet long.
Light source: Two dormers on front and back sides, one on each end.
Floor: Smooth-planed, tongue and groove hardwood. Note: more than 130 years old.
Walls: Drywall. Finish: White Snowfall, Color No. SW 6000 semi-gloss latex.
Ceiling: Drywall. Finish: Two layers of clear faux glaze over white flat base coat.
Paint products manufacturers: Sherwin-Williams; also Liquitex Acrylic Artist Paints.

2. FOCAL POINT: Panoramic re-creation of rare books reading room in Newberry Collectors Library, Chicago. Custom wallpaper mural wraps around 32-feet north and 22-feet east walls.

Lodging type: Hostel catering to travelers ages 60 and over; 8 bedrooms, each sleeping 7-8.
Structure: Abandoned industrial warehouse.
Location: West side of Chicago.
Room’s description: Second floor. Dimensions: 32-feet by 22-feet.
Light sources: 4 large, 18-paned steel-framed swing-hinged windows.
Floors: Wall-to-wall commercial grade carpeting over hardwood. Pattern: Salt-n-Pepper-neutrals.
Walls: 3 – Bare concrete block, smooth floated. Finish: Stain: Softer Tan, Color no. SW 6141.
Mural wall: Drywall installed, then white latex base coat rolled on two weeks before mural hung.
Ceiling: Dropped 18-inch frosted tiles, grid frames.
Furniture: Twin-sized bed foundations made from shortened oblong library tables; small reading tables became bedside/night stands.
Paint products manufacturer: H&C/S-W (concrete block walls); Drywall base coat.

Personal note: At age twelve, I visited the Newberry Library for the first time. Six years younger than the required minimum age of eighteen. I filled out a form requesting a book to read, I was seated at a table. A library concierge brought the volume, and placed it on a small table-top easel in front of me. She showed me how to turn the pages by using a special wand with felt tips. Note: All works had to be read there.

3. FOCAL POINT: Two Brown bear cubs in Wisconsin north woods scene. Life-size mural covers 24-feet long wall.

Lodging Type: Extended-stay family motel, that accommodates traumatic brain injured children.
Structure: Former two-story elementary school.
Location: North Appalachian Mountains.
Room description: First floor. Dimensions: 24-feet by 32-feet, part of 3-room suite plus bath.
Light source: Skylights.
Floors: Wall-to-wall commercial carpeting. Pattern: Houndstooth. Colors: Med-to-forest greens.
Walls: Smooth-floated plaster. Three walls painted Emerald Line: Cotton White, Color no: SW 7104, tinted with Byte Blue, Color no. SW 6498.
Ceilings: Dropped white pearl frosted acoustical tile squares set into flat white grid frames.
Paint product manufacturers: Sherwin-Williams; Liquitex Acrylic Artist Paints.

The Process: I installed the custom woodland mural onto the 18-feet by 32-feet wall facing south. Then I hand-painted and air-brushed both cubs into the foreground, using the designer’s template. By the way, the woods scene was a reproduction of a photo taken by the property owner. He was a freelance nature photographer for The National Geographic Society.

4. FOCAL POINT: View from the top of Jack’s Beanstalk. Hand and air-brush painted.

Lodging type: City inn.
Structure: Former 23-room luxury apartment.
Location: West Central Park, New York City
Room Dimensions: 15-feet by 26 feet
Light source: 2 tall adjacent windows overlooking the park.
Walls: Drywall. Painted white semi-gloss latex base coat; then two layers of faux stippling glaze: 1 part White Mint, color no: SW 6441, 3 parts Cotton White, color no. SW 7104, semi-gloss latex.
Ceilings: Popcorn texture, pin-dot effect. Paint: Cotton White, color no. SW 7104.
Paint products manufacturers: Behr’s; Grumbacher Acrylic Artist Paints.

The Process: A graphic designer sketched the Jack’s Beanstalk design on paper first. Then, a projector shot the image onto the wall. The same designer used colored chalk pencils to “trace” that image. Next, she used an air-brush spray system to paint the design. The painted mural was allowed to dry and settle for two days. Last, the artist sprayed on a fine coat of clear glaze mist.
THE EFFECT: Like looking through the clouds.
Paint products manufacturers: Glidden’s; Liquitex Low-Gloss acrylics.

Most painters and decorators envision the unusual and unique projects they’d like to have a hand in creating.

A Few Tips for Getting Started in Design-Mural Painting

1. Explore these outlets during your off days, and hours.
2. Decide which type of creative project really interests you.
3. Practice the special techniques required. If you can afford it, take a high-rated class at your local art school. Opt for a professional artist-instructor. Check out background, credits, awards.
4. Study recognized designers-muralists. Their backgrounds, styles, methods, paint selections.
5. To start out, you may want to work under an experienced creative painter/artist on one of his or her projects. Recommended: Help on your off time. Keep the day job.
6. When ready to “solo,” work on these special projects on the side. Start with simpler designs.
7. Leave your regular painting job behind only if and when you have a solid potential client and project base established. And, if and when you want to make that career change.

My view: Hand-painted murals are a gift to the surface… the atmosphere… the viewer!

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Thanks for being here on this planet. And, thanks for visiting “Painting with Bob.”

Copyright 2017. Robert D. Hajtovik. All rights reserved.

Paintshop: Decorative Painting Brushes and Tools

 

 

 

 

 

 

 

DECORATIVE PAINTING TOOLS in PHOTO ABOVE.*

 

No. 1. Steel combs. Uses: Dragging, wood graining.

No. 2. Palette knife. Uses: Mixing artist’s acrylics or oils; scraping away paint, glaze in areas.

No. 3. Dragging Brush/overgrainer. Features: natural bristles one side, thick nylon bristles other.

No. 4. Badger-hair Brush. Uses: Smoothing oil glaze.

No. 5. Long-haired Spalter. Size 80. Uses: Smoothing oil glaze.

No. 6. Short-haired Spalter. Size 100. Uses Applying oil glaze, then smoothing it.

Nos. 7-8. Small Spalter/Mottlers. Sizes 40, 50. Uses: Wood graining, smoothing oil glaze.

Nos. 9-10. Toothed Spalters. Special oil brushes. Uses: Wood graining.

Nos. 11-12. Small, flat Brush/white nylon. Uses:Marbling, touch-ups, freehand painting acrylics.

No. 13. Small pointed round Brush/white bristles. Uses: Touch-ups, thicker veining marbling techniques with acrylics.

No. 14. Flat long-haired Brush/nylon. Uses: Marbling, fine detailing in acrylics.

No. 15. Long-haired Brush/nylon. Uses: Marbling with acrylics.

No. 16. Small pointed Brush/nylon. Uses Fine veining when marbling with acrylics.

No. 17. Long-haired Ox-Hair Brush. Uses: Marbling, woodgraining, freehand script and ornamentation (lines of varying thicknesses). TIP: Best with oils.

Nos. 18-19. Flat, White Bristle Brush. Uses: Marbling, woodgraining, corner touch-ups with oil-or-water-based paints.

No. 20. Flat long-haired Badget Lettering Brush. Uses: Marblig, freehand painting. TIP: Oils.

No. 21. Ox-hair Sign Painter’s Brush. Features: Long-hair cut flat at end. Uses: Marbling, freehand (for clean edges) in oils or acrylics.

Nos. 22-24. Stencil Brush. Feature: White bristles, slightly softer. Uses: With oils or acrylics.

No. 25. Round/oval thick nylon Brush. Uses: Spattering; coating thin, curved surfaces.

No. 26. Flat nylon Brush. Uses: Paint latex base coat, also acrylic glazes; baseboards, chiseling.

No. 27. Angled nylon Brush/nylon. A better quality brush. “Pre-used” in factory, leaves fewer marks. Uses: Latex painting, cutting in lines, hard-to-reach surfaces.

No. 28. Small flat, long-haired Brush/white bristles Uses: Oil paints.

No. 29. Flat 2 1/2–inch Brush/white bristles. Uses: Oil-base coating; squared-off ends; general purpose; precision edges,/trims.

Nos. 30-32. Round Bristles/white. Uses: Oil glazing; oil-based painting. TIP: Use separate brushes for separate functions.

No. 33. Well-worn round Brush. Uses: Stirring paints.

 


Decorative painting can create warm, personal spaces from bland, contemporary walls. It can create focal points out of any surface such as doors, trim, woodwork, even ceilings. It can create masterful heirlooms from worn, discarded furniture. It can transform jeweled and gold-leafed treasures from thrift shop and yard sale finds.

 

Decorative painting – creating the “right surfaces” – can make a room, area or piece come alive.

 

  1. Underscore or downplay its assets, and camouflage its drawbacks.
  2. Add new life, a new feel.
  3. Blend the old with the new – family antiques with store bargains.
  4. Make newer surfaces appear very aged, hundred-to-centuries old.
  5. Create a special, and different, touch with every applications, every tool on every surface.

 

With decorative painting, you can create a signature piece from every piece.

Decorative painting differs from standard interior painting in three distinct ways:

 

  1. Paints used. On top of two layers of interior paint, you apply two thin coats of transparent paint – “Glaze” – that you mix, then tint to the desired hue.
  2. Colors. At the heart of decorative painting, especially when carefully chosen and properly mixed. Produced by blending wet paints on palette, then placing translucent layers atop an opague base/ Result: Resonance, depth, a subtle glow as mixing.
  3. Pattern. The way you apply glaze contributes to uniqueness of each application. Using a wide array of tools, multiple shapes and sizes. You manipulate the glaze while wet to form patterns or different broken-color effects (eg. ragging, combing, sponging, flogging).

 

Decorative painting calls for creativity, skill, and patience. It alls for paint and finishing products that suit the surface and areas. It calls for the appropriate tools to achieve the desired pattern, texture, finish, and effect.

 

IS DECORATIVE PAINTING A GOOD OPTION FOR A SURFACE WHERE YOU PAINT?

 

Are guests of your hotel ready for unique surroundings and surface embellishments?

Are the patients and staff of your hospital looking for alternatives to the opague paint colors on the walls and in public areas?

Are your commercial clients seeking a personalized alternative to wallpaper?

Or, does your private customer want something other than the area rug to dress up a wood floor?

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* Photo and descriptions from: Recipe for Surfaces: Decorating Paint Finishes Made Simple. Text by Mindy Drucker and Pierre Finkelstein.** Photographs by Tony Cenicola. Copyright 1993, Quarto Inc., Fireside Books, Simon and Schuster, N.Y., pp. 42-43.

Mindy Drucker is a freelance writer, specializing in design and home decoration topics. Pierre Finkelstein is a master decorative painter. He is recognized worldwide for his skill in applying standard, matching existing and creating custom finishes. Born in Paris, he owns Grand Illusion Decorative Painting, Inc., New York City.

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“Painting with Bob” appreciates that you are following.
Copyright 2017. Robert D. Hajtovik. All rights reserved.

Paintshop: The Truth About Paint

“You get what you pay for” goes for paint and supplies as well.

 

For the painter, it is important to get the best value out of the products chosen. Painting materials must guarantee some degree of durability to retain their worth over time. You look for something else if they don’t.

 

What separates a quality paint product from one at the bottom of the barrel? One is a quality-formulated product; the other pretends to be one, particularly as they try to compete.

 

Typically, you can rely on a paint product which is a high-end brand name. And within that, the most expensive is normally the best. The reason is research and development.

 

When a company focuses on making a better, longer lasting product, the result should be a more durable product. At the same time, the manufacturers of all higher-end products do try to make improvements to even their lower-end, cheaper materials.

 

When it comes to paint, here’s what you should look for:

  1. amount of pigment.
  2. volume of solvent. CAUTION: Some paints have more water than they should.
  3. cost per gallon, versus the cost per five-gallon unit (not more than $15/$130.)
  4. paint is not manufactured by a foreign subsidiary of main brand.
  5. product has UV protection. TIP: If it doesn’t the surface may oxidize faster.
  6. binder percentages in paint are equivalent to similar priced and types of paint.
  7. viscosity test level information. TIP: My opinion: Paint is worthless if the material is too thin.
  8. Paint with primer” added is a misnomer. CAUTION: The chemistry of either cannot be combined to produce the same results as when the primer is applied by itself, then later the finish paint.

 

About Primers. A primer bonds to the surface. It provides a porous anchoring surface that the top coat to which it can bond effectively.

 

“Paint with primer” products skip one critical step. Be careful about this, especially if you’re an experienced painter. The time and money you think you are saving, along with the idea that your work has become easier, diminishes the actual quality of the job itself. You could be painting something twice in a year instead of once.

 

Now, who has the best Paint?

The two central choices are Glidden and Sherwin Williams. They have a long and valued reputation for making high quality, long lasting and moderately priced coatings. For the price, they are also the most diverse in their product types. Sherwin Williams, by far, has the best industrial line.

In its response to the residential market, the Behr paint line is exceptional, as well, although the pricing is somewhat higher than Glidden. For stains, Minwax and Olympic are without real competition. They also have a long history behind them. In the automotive industry, I would rate DuPont as the best option.

 

What are the most durable paints?

 

The three that I select the most are the following:

  1. Elastomeric compounds for exterior commercial masonry surfaces,
  2. Two-part Urethanes for automotive refinishing,
  3. Two-part Epoxy products for commercial/industrial corrosion and abrasion resistance.

 

Within reason and knowledge of these products, they may be purchased and applied by the general public.

 

A True On-Site Story…

 
I once painted a smoke stack with a silicon, heat resistant alkyd paint. The label said the product was resistant up to 600 degrees Farenheit.

After two days of curing, the smoke stack was put back into service. That same day the paint bubbled and peeled off, sending sheets of paint floating to the ground. It had been shown that the temperature of the metal heated to a consistent 625 degrees. Was it the paint product’s fault?
Several days later, I repainted the stack with another heat resistant product. This time it was a high-heat, aluminum fibered material. Once the stack became heated, everything turned out fine, no loose or peeling paint. In this case, I said it was the paint. Go figure.

 

Every experienced painter has a less than favorable on-site story to relate. Hopefully, yours had a positive ending, like mine did. Eventually.

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Best wishes from “Painting with Bob.”

Copyright 2017. Robert  D. Hajtovik. All rights reserved.

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