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Posts tagged ‘Sherwin-Williams’

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.

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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.

Paint Manufacturer Networking…

 

For over thirty-three years, my father made it a special point to stop by and visit area paint manufacturers’ stores and warehouses. Year-round, the paint shop’s schedule ran bone-tight. And, my father’s schedule allowed little or no time to spare

 

Still, he paid a visit to at least one paint supplier. Every week. He believed in taking a special interest in the persons that operated those stores. The professionals that serviced customers. Like him.

 

He respected them. And, he listened to what they had to say.

 

  1. He picked up special orders, and more products and supplies.
  2. He wanted to ensure that the men had what they needed to do their jobs.
  3. He wanted to ensure that the men could finish current projects as contracted: according to specification, in compliance, and on, or ahead of, schedule.
  4. He helped the on-site and project foremen and crews out.
  5. He requisitioned, purchased, and picked up orders.
  6. He loaded up with valuable stuff, and carried it back to the shop and/or onto our job sites.
  7. Product samples.
  8. Industry news.
  9. Insider notifications about new architectural/construction projects.
  10. Advance announcements of scheduled demonstrations, certification programs, etc.

 

He knew them all. He knew everyone at each store. He knew which company manufactured and sold the better, or best, product for each specific surface, area, and job. Also, the most cost-effective price.

 

He knew who to ask about what. He knew who to trust – who would tell it to him straight. Including both the pros and cons of their own products, materials and supplies.

 

Occasionally, it worked out that I could go along when my father needed to pick up supplies. His main regular stops: MAB, Sherwin-Williams, Glidden, PPG, Benjamin Moore, Duron, Valspar.

 

 

I don’t follow in those footsteps – exactly.

 

I try to stop by a paint store once a month – besides for picking up supplies. My biggest reasons:

 

(1) to visit with the store manager or assistant manager;

(2) to pick a technical consultant’s or manufacturer rep’s brain;

(3) to run into other area painters and decorators; and,

(4) to check on what’s new, changed, discontinued, etc.

 

I’m not as skilled, as my father, at paint store “stop-offs.” I’m not as tuned-in as he was. My stops at local paint manufacturer stores are briefer, and less often. They are more like: “Run in, say ‘Hi,’ visit for five minutes, get what I need, load it onto my truck, leave the experts to their work, and drive away.”

 

Back in August, I was drafting a blog about a special ceiling paint project done over two years ago. Last month, on the same 91-degree afternoon, I stopped at three manufacturer stores, Michael’s Crafts, and  Home Depot to re-check my facts for the products and materials that I’d used on that project.

 

It was good to see that, at the paint manufacturer stores and at Home Depot, painters’ and painting contractors’ trucks filled the parking lots. And painters in their “whites” were shopping inside.

 

At Sherwin-Williams, I re-checked color chip numbers and names for primers and paints.

 

At Gliddens, I watched the live demonstration of a newer commercial clear coat that floats glossy smooth onto any interior surface.

 

At Porter Paints/PPG, the manager rummaged in an old cabinet, and found a color, or “paint chip,” book from 2013.

 

At Michael’s, an artist paint product expert showed me a few application advantages of Liquitex, when painting special-effects “virtual” walls in children’s bedrooms or play areas. Exciting!

 

At Home Depot, the coating specialist got me a sample of Behr’s acrylic resin coating for residential driveways. And, I helped a lady customer understand how to get a visually accurate idea how her selected grey blue paint color would look in her bedroom.

 

The thing is…

 

In 2015, painters’ visits to the actual paint stores are an anomaly. Any supply or sample can be ordered on-line, and delivered to the door. Product information, composition, colors and finishes, pricing, availability, shipping terms, etc. can be researched on manufacturer, distributor and industry websites.

 

Paint stores e-mail their news, announcements, notices, and invitations.

 

You can say “Hello,” “live chat,” and “keep in touch” with paint store managers and reps by Facebook, Twitter, LinkedIn, YouTube, etc.  You can group-meet by Skypp.

 

What painter and decorator needs to stop by the actual store, like my father and his fellow crafts persons did?

 

Well… ME!   Perhaps you, too.

 

Stop by a paint manufacturer’s local store. Say “hello.” Get acquainted. Check out their product sales. Pick their brains. Tap into their networks. Stay connected. They are product and procedure experts. And, they are still great GO-TO guys.

 

Amazing product possibilities can surface for your next surface-finishing project at a paint store or paint shoppe.

 

Hot Summer Tip: Too hot and humid to put in those long hours painting outdoors? Knock off a little early. And, stop by a paint store you haven’t visited for too long. (A carry-in snack for everyone there might be a nice touch.)

 

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Discovery is a fun part of the work day. A time to get out your goals, and travel forward.

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Thanks to everyone that visits, follows, comments, and critiques “Painting with Bob.”

 

Copyright 2015. Robert D. Hajtovik. All rights reserved.

PAINTING IT: NIGHT SKIES OVER BED

Retired sign designer and painter Steve and his wife, Sara, were going legally blind. Their shared passion, since college, had been astronomy.

 

One of their prized telescopes was an ED 127MM Apochromatic refractor. A favorite for its astrophotography capabilities. Steve and Sara’s model had been equipped to capture, enlarge and edit what they were no longer able to see clearly, even with corrective lenses.

 

Trying to look at narrow framed close-ups was not the same as gazing at the panoramic span of the heavens. Especially at night. From their back porch.

 

So, two years ago May, the couple convinced me to paint the night skies onto their 18 by 24 foot bedroom ceiling. They knew that, at the time, my vision wasn’t much better than theirs. (I still had problems with focus, blurriness, redness, and burning caused by repeated exposure to toxic levels of mold, and concentrated chlorine bleach solution.)

 

The “Skies the Limit” Layout Decision

 

Steve and Sara thought about extending the “galaxy grid” down each wall, 8-10 inches. I questioned the idea. “Too dark…could cause sensations that the ceiling/roof/sky was falling in…”

 

To help them decide, I convinced them to allow their son and me to stretch dark king-sized flat bed sheets across the entire ceiling. For one night. By eight o’clock the next morning, at least half of the sheets had been taken down. Steve said, “The walls were shrinking in on us…”

 

Pre-Painting Step: Gridding in the Galaxy

 

As a template, I used the big enlargement of a photo taken by Sara for Steve’s 60th birthday. When both of their green-eyed sights were perfect: 20/20 vision.

 

Using her MacBook Pro and a projector, Sara transposed the image onto the ceiling. That helped me to “grid” and mark the location of stars, planets, etc.

 

The Painting Process

 

Note: Unless noted otherwise, I used Sherwin-Williams paint and finishing products.

 

1. A thinned-down coat of color no. SW 6565, Rarified Blue matte latex ceiling paint was rolled on, serving as a primer. Allowed natural drying time: 24 hours.

 

2. The ceiling was “feather-sanded” with no. 400 sandpaper. A thorough “rag-wipe” followed, using absorbent NEW cloths.

 

3. Next, I rolled on a base coat of Cosmos Blue semi-gloss latex paint, to which I’d added 3 drops of Iridescent Ivory Black acrylic. Liquitex artist paint. Allowed natural drying time: 3 hours.

 

4. Then, I damp “feather-sanded” the ceiling, working toward each galactical marking. Drying time: until the next morning.

Note: To preserve those galactical markings, I covered each with an uncut stencil, made from poster board. Each stencil was grid-numbered, and affixed in place with a small, finger-rolled strip of blue masking tape.

 

5. With the stencils back in place, I sprayed a thin coat of Indigo (midnight) Blue semi-gloss acrylic latex. Used sometimes for set/scenic painting. Drying time: 4 hours.

 

6. Using artists brushes, I detailed in all of the stars, planets, rings, etc.

A. Undercoat paint: Cadmium Yellow,* high-gloss mixed with Gesso.

B. Overcoat paint: Iridescent Titanium White,* semi-gloss.

C. Linings/indents: Yellow (deep) Gold matte.* Also used: Hansa Yellow Light.* Manufacturer: Liquitex heavy body acrylic paints. Note: Excellent for experimental techniques. Natural drying times: Under coat, overcoat – 3 hours each. Lining work: 18 hours.

* Note: This process took only two-and-a-half days, surprisingly. (My eyes watered and ached, though I used, at all times, either safety eye goggles and a breathing mask, or a full-face breathing apparatus.

 
7. Next, I rag-wiped the ceiling. Fabric: 12 by 12 inch squares, Natural muslin, used in quilting.

 

8. Stars Finish Detailing: Using artist brushes*, I dotted and dabbed Iridescent clear glitter into each star. Glitter mixed 4-to-1 parts with Hansa Yellow Light (tinted with Iridescent Titanium white low gloss. Mfgr: Liquitex acrylics. * Detail brushes used: No. 2 bright; Nos. 2 and 4 Filbert; No. 2 flat.

 

9. Feather finish: Using artist brushes,* I blended three colors of Liquitex heavy body acrylic paints from outer edges of stars, planets, etc. into surrounding skies. Colors used: Cobalt Blue Dark; Cobalt Blue Light; Ultramarine Blue. * Detail brushes: Universal angle 1-inch flat; 2-inch flat; 1-inch Universal flat freestyle.

 

10. Ceiling finish coat: Spray painted a fine coat of Clear semi-gloss latex Into the paint pot mixture, I’d added 5 drops of Iridescent Rich Silver.

 

Technique used: I sprayed with a pin nozzle. I used a subtle arc movement with my arm. And, I released the spray gun’s lever, for a few seconds, over each galactical element. I did not spray with any steady back-and-forth motion.

 

THE EFFECT:

Beyond imagination! Reflective, with sensation that either the stars and constellations, or the viewers, were moving or rotating slightly.

 

SARA and STEVE in 2015.

Sara is totally blind. Every evening before bed, she and Steve sit together, in their leather Lazy-Boy loungers, or in bed. Under their stars.

 

Hotel/Facility Painter/Decorator Footnote:

This ceiling treatment can make an awesome addition to any ceiling in a hotel. Examples: KidsSuite, “Honeymoon Suite,” club/entertainment stage, game room. That is, if the budget allows for the purchase of the variety of products and supplies needed. And the hours of detail work by a creative, detail-oriented staff painter can be justified.

 

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Friends’ favorite rooms deserve special treatment from friends.

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Thanks for visiting “Painting with Bob.” Copyright 2015. Robert Hajtovik. All rights reserved.

Bob The Painter’s BUCKET LIST

One Christmas, my father surprised his brother-in-law with a grey, five-gallon paint bucket, filled with basic painting supplies and tools. The scientist and engineer’s face lit with surprise – and joy.

My uncle dreaded painting anything. Particularly, on his contemporary home. He knew his limitations. Doing a good paint job was one of them. By his own admission, he took forever to get something done.

So, Dad gave him a big boost. A “hands-up.”

Here’s what my dad crammed into that bucket. Then, he drove that paint bucket, in his 4-wheel drive, full-size Suburban, through a record-breaking Indiana blizzard, to sunny Central Florida.

 

3 paint brushes – 1-inch, 2-inch, 3-inch

1 roller extension pole

2 roller frames and nap covers

1 roller pan, 1 paint screen

1 pack 220 sandpaper

1 pack 120 sandpaper

1 pack assorted sandpaper

1 sea sponge

2 rolls masking tape – ¾-inch, 1 ½ -inch

1 putty knife

1 scrub brush

2 paint scrapers – 1-inch, 3-inch

1 quart container paint thinner

1 package breathing masks

1 package disposable (surgical) gloves

1 9-ft. x 12-ft. dropcloth

6+ Glidden wood mixing/dip sticks

1 white painter’s utility apron

1 Glidden painter’s cap

 

Topping off the bucket was a white regulation painter’s safety helmet. And, a massive red bow.

 

I’m certain that, over time, my uncle used some of the items in that bucket. More than once.

 

Still, within six months of my move to Florida, he asked me to paint the interior of his home. I turned him down.

 

Painting anything was not on my bucket list at the time. Painting anything – the idea of using any painting trade supply or tool – reminded me too much of the man that had filled that bucket for his brother-in-law. The man that had filled my first painter’s tool box with everything I’d need to get started.

 

The man that had given me my own white regulation hard hat!

 

It took me a little while to pick up a brush again. It was not a Purdy or Wooster.

I started with artist brushes, acrylic paints, white Gesso, stretched canvases, a paint tray, a scraper, a tri-pod, etc.  Instead of painting walls, I painted on canvas. Examples: Abstracts, geometrics, graphics. My biggest project: A 36-inch by 42-inch reproduction, in acrylics, of The Lord’s Supper.”

 

Little by little, I unpacked my boxes of commercial painter’s supplies and tools. I went around and introduced myself to the managers of Glidden’s, Sherwin-Williams, and PPG stores in South Florida. I volunteered, and redecorated a few properties of relatives and their friends, churches, and non-profits. I signed up at the nearest IUPAT local. And, I returned to the commercial painting profession.

 

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What’s on your painter’s – and life’s – BUCKET LISTS?

 

Thank you for visiting “Painting with Bob.”

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