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The term paint is used to include paints, varnishes, enamels, shellacs, lacquers, and stains. • Paints are composed of mineral pigments, organic vehicles, and a variety of thinners all combined. • Varnishes are resins dissolved in organic thinners. • Enamels are pigmented varnishes. • Shellac is lac gum dissolved in alcohol. • Lacquers may be both pigmented or clear - the liquid portion usually is treated nitrocellulose dissolve in thinners. • Stains may be pigmented oil or a penetrating type. Many of these materials, such as paints, varnishes, and lacquers, are formulated for specific purposes: • Outside house paints and exterior varnishes are intended to give good service when exposed to weathering • Interior wall paints are formulated to give excellent coverage and good wash-ability. • Floor enamels are made to withstand abrasion. • Lacquers are formulated for rapid drying. • There are also formulas which provide extra self-cleaning, fume- resisting, waterproofing, hardening, flexibility, mildew-resisting, resistance to fading, and breathing qualities.
The second part of preparation is surface prep, it addresses covering the surfaces you do not want to get any paint on. A little plastic sheeting will go along way to keeping paint off of floors, window coverings, handrails, cabinets, counter tops, etc... And, if you are not confident with your ability to paint a straight line next to door casing, baseboards, cabinets or hardware protect these surfaces using masking tape. There are two basic types of masking tape white/yellow and blue. The white tape sticks to surfaces better but, can pull off finishes on cabinets or stained woodwork. Blue tape usually will not pull off finishes but, does not stick as well, this will probably be the tape to use for most applications. Always wipe down or dust the surface you will be masking to assure the best tape adhesion possible. If you use blue tape you may need to re-rub down the tape before painting next to it, only mask off areas with blue tape that you will be painting for a given day. With either tapes, do not assume the are a force field that paint will not penetrate, use them as a reference and dry brush the paint next to the edge of the tape and avoid soaking the edge of the tape with a lot of paint, this will cause the paint to "bleed" through giving you an undesired look. If you will need to apply multiple coats of paint, on the first coat, paint as close to the tape as you can, not really getting paint on the tape. With the second coat or a one coat application, you can use the tape more of like a paint barrier and get a little more paint on the tape if you immediately remove each section of tape after painting the section, this will keep the paint from sitting on the tape and "bleeding" behind it. Also, if you get a lot of paint on the tape it is not good to let the paint dry on the tape because some paints (especially the glossier paints) will peel if allowed to dried, with the tape when it is pulled off. White tape should not be left on for longer than a couple of days and I suggest not leaving it on more than a day in areas that receive long periods of direct sunlight. Blue tape can be left on for days, if it will stay on, there again it does not stick as well and may need rubbed down again immediately before painting up next to it.
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.
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To balance, you must grasp the interconnectedness of color schemes. All these interactions are defined in the color wheel, and it has been used to build color schemes for centuries.
A large whitewash brush is best for applying the wash. One should not attempt to brush out the coating, as in applying oil paint, but simply spread the whitewash on as evenly and quickly as possible.
On the other hand, in some cases there are legitimate reasons for one area to be bad even if the rest of the paint is solid. If poor body work or rust repair was done in the past then maybe just that section of paint will need to be removed.
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