Composition Wallboard. Composition wallboard usually presents no particular painting difficulties if the ordinary precautions are observed, such as making certain that the surface is dry and free from grease and oil. The painting procedure for wallboard is the same as for plaster; it requires a priming and sealing coat followed by whatever finishes coats are desired, or may be given one-coat flat or resin-emulsion type paint.
Either edge of trim is painted with body color, and is where caulking is applied at most 90 degree angles. Painting trim only, cannot feasibly include caulking, as this fails and opens up over time. Most homes need new caulking when painting the exterior, and a close inspection can determine.
Building a monochromatic theme simply uses a single color in graduating shades like cream, beige and brown. It is hard to go wrong with this color palette, so everyone can use it successfully. But unless variations of the one color used are handled with flair, this can be an unexciting look.
THE BRUSHWORK. Depending on the art movement and personal peculiarities of the artist, the brushwork can range from delicate and almost invisible to rough and plastic.
Fortunately, you can always get your primer tinted for free. Getting your primer colored the same as your paint will save you a coat of paint. Of course, I always recommend doing a minimum of 2 coats of paint so that your finish sheen looks consistent.
THE NARRATIVE. First look for the narrative, simply describe what you see. Who or what is depicted, what's going on? If you see people and things, the painting is figurative; if you see lines and splashes - go for non-figurative. The name of the painting might come in handy, especially when it comes to Dali. What seems to be more important for the artist - representation or expression? Compare the paintings in the styles of hyperrealism and expressionism - you can always tell if the images look idealized or expressly distorted. Notice the feelings you get looking at the painting, the general impression produced by the entire painting and its elements - later you will dig deeper to understand what inspired those emotions. There is a reason why you like one painting more than the other. Your taste in art is as unique as your taste in food or clothes, inspired by your background, upbringing and even professional expertise.
First consider the size of the painting. The more impressive the subject, the higher the emotions it appeals to, the bigger it is. Religious, mythological paintings are often huge - their massive energy makes you shiver. It is pretty understandable with figurative paintings like Rafael's "The Sistine Madonna", and more subtle with color field paintings of Mark Rothko. People are often overwhelmed with religious tremor in the presence of his artwork, and the size factors in. Also, the subject often calls for larger canvases - battle scenes need space and cannot be fitted into a smaller painting, while some subjects will get lost unless depicted in a smaller size.