Tools of the trade

The modern composition of paints results in latex formulations, water-soluble paints derived from petroleum or polymer components, being widely used for exterior as well as interior. That reduces post painting cleanup, and reduces the smells associated with oil-based paints, which may be composed of either natural, traditional oils or modern, synthetic ones. Computerized paint scanners formulate new paints to match the often faded colour of existing paints. Many chain stores offer colour matching service.

Modern paints are available in various specialized formulations that can be fade resistant, chip resistant, odor-free, antibiotic to resist mould and fungi growth, etc.

Modern paints also are available in low to no (zero) volatile organic compounds (VOCs). These paints are safer for the environment and have little or no odor.

For surfaces where a very smooth surface is desired, most retailers carry inexpensive chemicals that can be added to paints to better make the paint flow or lay flat.[3] Such additives are preferable to thinning paint, which can change some of the paint's characteristics.

For the layman, the most confusing element is primer and priming surfaces. For surfaces such as wood, paint alone is too thick and will be on the surface, but not adhere well, resulting in flaking. Primer is a thin paint solution, or even a specialized liquid colour-coordinated to support the finish coat, which penetrates into the pores of wood, and allows the finish coat to adhere to the underlying primer.

Priming also results in less paint being needed. For unpainted wood, most laymen expect to apply two coats of paint. However, one coat of inexpensive primer and then a finish coat is much less expensive. This, however, does not protect the painted surface as well. Primer, when it dries, has a flat finish and its purpose is for adhesion. Top coats, however, are to seal and protect the surface whether it be wood, metal, drywalls, etc.

For metal surfaces, primer may involve special characteristics to resist corrosion, prevent impact chipping or improve adhesion of the finish coat.

Especially for problem paint jobs, such as new work, fungal presence or peeling paint, most professional paint retailers offer free consulting services. When their instructions and materials are used, guarantees of five years to lifetime are available as to adhesion, waterproofing, etc. of the finished paint job.[citation needed]
File:Wall Painting Demonstration.webm
A demonstration of wall painting

For professional painters, the majority of their time is spent in preparation for paint application, not in painting per se. Cleaning and sanding surfaces, scraping loose and failing paint, taping and applying paper or plastic to surfaces not to be painted typically involve 50% or more of the painter's total time budget.

Although the brush and the fabric roller were the tools most readily associated with the painter, foam brushes are now commonly used for precise work requiring a straight line. Foam brushes can also be used to create a smoother surface using less paint that dries more quickly than brush applications.[4] Like fabric rollers, foam rollers can also create patterns in the painted surface. Foam rollers are available in a variety of professional materials for high-quality applications. [5] Although used in a variety of applications, the foam roller is commonly used during the painting of doors to produce an extremely smooth finish.

Advances in manufacture have led to a standardization of brushes, with many older types of brushes falling from fashion.[2] The spray gun is one of the latest tools in the painter's arsenal. It is powered by an electric, pneumatic or fuel-powered motor which pumps paint through a hose into a gun which atomizes the paint to a fine spray. With the airless spray gun, it is possible to paint extremely large areas[clarification needed] of surface in a short time.

However, sprayed paint when dry can display unsightly patterns if the spraying application does not result in an even distribution of paint. There is also the problem of overspray. Overspray is when the surrounding surfaces are sprayed with a haze of paint because they were not masked properly.

The ground brush, also known as a pound brush, was a round or elliptical brush bound by wire, cord or metal. They were generally heavy to use, and required considerable usage to break them in. These brushes were predominantly used in the days before modern paint manufacturing techniques; hand-mixed paints requiring more working to create the finish. These brushes still have use in applying primer, as they are useful in working the primer into the grain of the wood. Pound brushes required an even breaking in to create even bevel on both sides of the brush, minimising the formation of a point which would render the brush useless.[2] Sash tools were smaller brushes, similar to a ground brush, and used mainly for cutting in sash or glazing bars found on windows.

Sash tools and ground brushes generally required bridling before use, and a painter's efficiency in this skill was generally used as a guide to their overall ability. Both these brushes have largely been superseded by the modern varnish brush. Varnish brushes are the most common flat brushes available today and are used for painting as well as varnishing. Brushes intended for varnishing typically have a bevelled edge.[2]

Distemper brushes, used for applying distemper, an early form of whitewash, were best made of pure bristle and bound by copper bands to prevent rust damage. Styles differed across the world, with flat nailed brushes popular in Northern England, a two-knot brush (a brush with two ovular heads) popular in Southern England, and three-knot brushes or flat-head brushes preferred elsewhere. In the United States, distemper brushes were known as calcimine, kalsomine or calsomine brushes, each term being the U.S. variant of whitewash.[2]

Fitches are smaller brushes, either ovular or flat and one inch wide, that are used in fine work such as to pick out the detail on a painted moulding. Stipplers come in various shapes and sizes and are used to apply paint with a stippled effect. A duster or jamb brush was used to dust the area to be painted before work commenced. Stencil brushes, similar in style to a shaving brush, were used for the purpose of stencilling walls or in the creation of hand-made wallpapers.[2]

Brushes are best stored in a purpose-made brush keeper, a box on which a wire could be suspended. The wire would be threaded through the hole in a brush's handle so as to suspend the brush in a cleaning solution without allowing the brush to sit on the bottom of the container and thus cause spreading of the bristles. The solution would also prevent hardening of the brushes and oxidization. These were generally rectangular and stored several brushes. A lid would enclose the brushes and keep them free from dust.[2]

If brushes are cleaned after use, they can last for years. Since most modern exterior and interior paints are latex-based, cleaning the brushes after use with hot soapy water and a toothbrush can remove all traces of paint. Oil-based paints are normally cleaned with a natural or synthetic solvent such as mineral spirits, again using a toothbrush to remove all traces of paint. Metal "combs" are used to penetrate into the bristles of a brush to remove drying paint.

Although paints are now available in no-drip containers to pour paint into trays for roller application, most paints are sold in metal gallon or quart cans. For large jobs, paints come in 5-gallon containers.

For metal cans, a large diameter nail or punch is used to make drain holes in the lip of the can. The holes allow paint to return into the can. The lid can then be reattached correctly and removed later. Without the drain holes, paint will accumulate in the lip, and act as an adhesive, preventing the lid from being easily removed later. Closing a lid with paint in the lip can also result in paint travelling 15-feet or more horizontally.

The air in partly filled paint cans forms over time a dried surface film. To prevent development of film, prior to closing a latex paint container add a small amount of distilled (or tap) water that will remain on the top and prevent drying. For oil-based paints, use the solvent recommended for brush cleaning. When the container is reopened, stir the water/solvent into the paint before using.

Drop cloths, brown painter's paper, dust-sheets, paint sheets, paint tarpaulins or plastic protection films are used to protect nearby surfaces that are not being painted.

Masking tape can be used to define the line between the painted and unpainted surface, as well as to hold protection materials in place. Masking tape is available in several categories. The classic tape is a high adhesive. However, it can damage the underlying surface when removed, and the longer it is in place, the greater the risk of damage.

Modern delay removal tape prevents damaging the taped surface.[6] "Delicate" tape has about 40% the adhesion of traditional tape, and can remain on a surface for up to 30-days without creating damage.[7]

The less adhesive tapes should be used especially when tape is applied to new work. Depending on the paint composition, "dry" paint may still be soft and easily damaged for 30 days or more.

Some modern house painters in the US, Canada and Australia have adopted colour visualization computer software, developed by companies such as Autech Software & Design, as an additional tool to help demonstrate to customers how their home would look after it is painted. House painters can use a digital photo outputted by this software to show possible colour schemes on the client's home exterior or room walls to help with their colour selection.

The craft of a house painter and decorator

A house painter and decorator is a tradesman responsible for the painting and decorating of buildings, and is also known as a decorator or house painter.[1][2] The purpose of painting is to improve the aesthetic of a building and to protect it from damage by water, rust, corrosion, insects and mould.

In England, little is known of the trade and its structures before the late 13th century, at which point guilds began to form, amongst them the Painters Company and the Stainers Company. These two guilds eventually merged with the consent of the Lord Mayor of the City of London in 1502, forming the Worshipful Company of Painter-Stainers. The guild standardised the craft and acted as a protector of the trade secrets. In 1599, the guild asked Parliament for protection, which was eventually granted in a bill of 1606, which granted the trade protection from outside competition such as plasterers.[2]

The Act legislated for a seven year apprenticeship, and also barred plasterers from painting, unless apprenticed to a painter, with the penalty for such painting being a fine of £5. The Act also enshrined a maximum daily fee of 16 old pence for their labour.[2]
A painter painting a room in a house

Enforcement of this Act by the Painter-Stainers Company was sought up until the early 19th century, with master painters gathering irregularly to decide the fees that a journeyman could charge, and also instigating an early version of a job centre in 1769, advertising in the London newspapers a "house of call" system to advertise for journeymen and also for journeymen to advertise for work. The guild's power in setting the fee a journeyman could charge was eventually overturned by law in 1827, and the period after this saw the guild's power diminish, along with that of the other guilds; the guilds were superseded by trade unions, with the Operative United Painters' Union forming sometime around 1831.[2]

In 1894, a national association formed, recreating itself in 1918 as the National Federation of Master Painters and Decorators of England and Wales, then changing its name once again to the British Decorators Association before merging, in 2002, with the Painting & Decorating Federation to form the Painting & Decorating Association. The Construction Industry Joint Council, a body formed of both unions and business organizations, today has responsibility for the setting of pay levels.[2]

Decorative art

The decorative arts is traditionally a term for the design and manufacture of functional objects. It includes interior design, but not usually architecture. The decorative arts are often categorized in opposition to the "fine arts", namely, painting, drawing, photography, and large-scale sculpture, which generally have no function other than to be seen.

The distinction between decorative and fine arts has essentially risen from the post-Renaissance art of the West, where it is for the most part meaningful. It is much less so when applied to the art of other cultures and periods, where the most highly regarded works often include those in "decorative" media, or all works are in such media. For example, Islamic art in many periods and places consists entirely of the decorative arts, as does the art of many traditional cultures, and in Chinese art the distinction is less useful than in Europe. Even in Europe, the distinction is unhelpful for Early Medieval art, where although "fine arts" such as manuscript illumination and monumental sculpture existed, the most prestigious works, commissioned from the best artists, tended to be in goldsmith work, cast metals such as bronze or other techniques such as ivory carving. Large-scale wall-paintings were apparently much less regarded, relatively crudely executed, and rarely mentioned in contemporary sources; they were probably seen as a cheap but inferior substitute for mosaic, which in this period must be treated as a fine art, though in recent centuries contemporary production has tended to be seen as decorative. The term "ars sacra" ("sacred arts") is sometimes used for medieval Christian art in metal, ivory, textiles and other high-value materials from this period, though this does not cover the even rarer survivals of secular works.
Chinese bowl, Northern Song Dynasty, 11th or 12th century, porcelaneous pottery with celadon glaze

Modern understanding of the art of many cultures tends to be distorted by the modern privileging of fine art media over others, as well as the very different survival rates of works in different media. Works in metal, above all in precious metals, are liable to be "recycled" as soon as they fall from fashion, and were often used by owners as repositories of wealth, to be melted down when extra money was needed. Illuminated manuscripts have a much higher survival rate, especially in the hands of the church, as there was little value in the materials and they were easy to store.

The promotion of the fine arts over the decorative in European thought can largely be traced to the Renaissance, when Italian theorists such as Vasari promoted artistic values, exemplified by the artists of the High Renaissance, that placed little value on the cost of materials or the amount of skilled work required to produce a work, but instead valued artistic imagination and the individual touch of the hand of a supremely gifted master such as Michelangelo, Raphael or Leonardo da Vinci, reviving to some extent the approach of antiquity. Most European art during the Middle Ages had been produced under a very different set of values, where both expensive materials and virtuoso displays in difficult techniques had been highly valued. In China both approaches had co-existed for many centuries: ink and wash painting, mostly of landscapes, was to a large extent produced by and for the scholar-bureaucrats or "literati", and was intended as an expression of the artist's imagination above all, while other major fields of art, including the very important Chinese ceramics produced in effectively industrial conditions, were produced according to a completely different set of artistic values.

The lower status given to works of decorative art in contrast to fine art narrowed with the rise of the Arts and Crafts movement. This aesthetic movement of the second half of the 19th century was born in England and inspired by William Morris and John Ruskin. The movement represented the beginning of a greater appreciation of the decorative arts throughout Europe. The appeal of the Arts and Crafts Movement to a new generation led, in 1882, to the English architect and designer Arthur H. Mackmurdo organizing the Century Guild for craftsmen, which championed the idea that there was no meaningful difference between the fine and decorative arts. Many converts, both from professional artists’ ranks and from among the intellectual class as a whole, helped spread the ideas of the movement.[1] The influence of the Arts and Crafts Movement led to the decorative arts being given a greater appreciation and status in society and this was soon reflected by changes in the law. Until the enactment of the Copyright Act 1911 only works of fine art had been protected from unauthorised copying. The 1911 Act extended the definition of an "artistic work" to include works of "artistic craftsmanship". For the first time works of decorative art could be classfied as works of art rather than design and benefit from the full period of copyright protection previously available only to works of fine art