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Acrylic painting became popular among artists across the world after they found it to be helpful in their painting tasks, as this kind of painting dries up fast. The fact that an acrylic painting will have the same effect as a watercolor painting or an oil painting, adds to its popularity among artists.
There are a number of points, which makes acrylic painting quite different from oil painting. I hope you would get a clearer idea about the differences between these two types of painting by reading further.
* The most striking difference between acrylic painting and water painting is the time taken by the paints to dry. Generally, it has been seen that the acrylic paints dry faster than oil paints. Even though this can be termed as an advantage, helping the artist to come up with the paintings in a fast pace, there are some disadvantages that are brought out as well. There may be a certain painting in which the colors need to be blended well, and in such a case using an acrylic paint becomes an obvious choice. If you go by my opinion, I would always suggest that you choose your type of painting, according to the style that best suits you.
* While trying your hand at acrylic painting, you will find that unlike the paints that are used in oil painting, you do not require specific and powerful solvents like turpentine, to help in making the paints thin. All you need to use is normal water, and in case you want your paintings not to dry up too fast you can always use readers.
* In oil painting, it has often been seen that the canvas used for making the painting should clearly be primed, prior to the application of any oil paints on the canvas. You can quite easily use canvas for making an acrylic painting, without having to treat it with anything.
* A different issue that I have seen to be a regular case in most oil paintings is that after some time, the colors tend to become yellow, making it indispensable to apply some varnish onto its surface to prevent this. Acrylic paints have no such problem, and this is why acrylic painting is preferred by many people over oil painting.
* An acrylic painting can further be treated with different mediums, if desired by an artist. In case of an oil painting this is not possible. Being easily mixable with other painting mediums, artists are left with a lot of room for making their own personalization to the acrylic painting, which they desire to make.
All these reasons clearly state that acrylic painting has an advantage over oil painting, though you can use any of these painting styles, depending which one suits you best. I found both to be useful and have made many paintings, using both oil painting and acrylic painting. You can always stick to one painting style and get all the desired result that you want from your paintings.
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The following is a list of frequently asked questions about the BOB ROSS Oil Painting Technique and some instruction about the use and care of the materials.
BLENDING:
This technique refers to the softening of hard edges and most visible brush strokes by blending the wet oil paint on the canvas with a clean, dry brush. In blending, an already painted area is brushed very lightly with criss-cross strokes or by gently tapping with the corner of the brush. This gives colors a soft and natural appearance. Not all oil paints are suitable for this technique - most are too soft and tend to smear. Only a thick, firm paint is suitable for this technique.
MARBLING:
To mix paints to a marbled effect, place the different colored paints on the mixing area of your palette and use your palette knife to pick up and fold the paints together, then pull flat. Streaks of each color should be visible in the mixture. Do not over mix.
THINNING PAINTS FOR ADDING HIGHLIGHTS:
When mixing paints for application over thicker paints already on the canvas, especially when adding highlight colors, thin the paint with LIQUID WHITE, LIQUID CLEAR or ODORLESS THINNER. The rule to remember here is that a thin paint will stick to a thicker paint.
CLEANING AND DRYING THE BRUSHES:
Painting with the wet on wet technique requires frequent and thorough cleaning of your brushes with paint thinner. An empty one pound coffee can is ideal to hold the thinner, or use any container approximately 5" in diameter and at-least 6" deep. Place a Bob Ross Screen in the bottom of the can and fill with odorless thinner approximately 1" above the screen. Scrub the brushes bristles against the screen to remove paint sediments which will settle on the bottom of the can.
Dry your larger brushes by carefully squeezing them against the inside of the coffee can, then slapping the bristles against a brush beater rack mounted inside of a tall kitchen trash basket to remove the remainder of the thinner. Smaller brushes can be cleaned by wiping them with paper towel or a rag (I highly recommend using Viva paper towels because they are very absorbent). Do not return the brushes to their plastic bags after use, this will cause the bristles to become limp. Never clean your Bob Ross brushes with soap and water or detergent as this will destroy the natural strength of the bristles. Store your brushes with bristles up or lying flat.
APPLYING LIQUID WHITE:
Use the 2" brush with long, firm vertical and horizontal strokes across the canvas. The coat of Liquid WHITE should be very, very thin and even. Apply just before you begin to paint. Do not allow the paint to dry before you begin.
PLACEMENT OF OIL COLORS ON THE PALETTE:
I suggest using a palette at least 16"x20" in size. Try arranging the colors around the outer edge of your palette from light to dark. Leave the center of the palette for mixing your paints.
LOADING YOUR BRUSH:
To fully load the inside bristles of your brush first hold it perpendicular to the palette and work the bristles into the pile of paint. Then holding the brush at a 45 degree angle, drag the brush across your palette and away from the pile of paint. Flipping your brush from side to side will insure both sides will be loaded evenly.
(NOTE: When the bristles come to a chiseled or sharp flat edge, the brush is loaded correctly.)
For some strokes you may want the end of your brush to be rounded. To do this, stand the brush vertically on the palette. Firmly pull toward you working the brush in one direction. Lift off the palette with each stroke. This will tend to round off the end of the brush, paint with the rounded end up.
MIXING FOR HIGHLIGHTS:
Place the tip of your brush into the can of LIQUID WHITE, LIQUID CLEAR or ODORLESS THINNER allow only a small amount of medium to remain on the bristles. Load your brush by gently dragging it through the highlight colors, repeat as needed. Gently tap the bristles against the palette just enough to open up the bristles and loosen the paint.
LOADING THE PALETTE KNIFE:
With your palette knife, pull the mixture of paint in a thin layer down across the palette. Holding your knife in a straight upward position, pull the long working edge of your knife diagonally across the paint. This will create a roll of paint on your knife.
WHAT IF I HAVE NEVER PAINTED BEFORE?
There are no great mysteries to painting. You need only the desire, a few basic techniques and a little practice. lf you are new to this technique, I strongly suggest that you read the entire section on "TIPS AND TECHNIQUES" prior to starting your first painting. Consider each painting you create as a learning experience. Add your own special touch and ideas to each painting you do and your confidence as well as your ability will increase at an unbelievable rate.
WHAT PAINT SHOULD I USE?
The BOB ROSS technique of painting is dependent upon a special firm oil paint for the base colors. Colors that are used primarily for highlights (Yellows) are manufactured to a thinner consistency for easier mixing and application. The use of proper equipment helps assure the best possible results.
Liquid Clear is a particularly exciting ingredient for wet-on-wet painting. Like Liquid White/Black, it creates the necessary smooth and slippery surface. Additionally, Liquid Clear has the advantage of not diluting the intensity of other colors especially the darks which are so important in painting seascapes. Remember to apply Liquid Clear very sparingly! The tendency is to apply larger amounts than necessary because it is so difficult to see.
13 colors we use are listed below:
*Alizarin Crimson
*Sap Green, Bright Red
*Dark Sienna
*Pthalo Green
Cadmium Yellow
Titanium White,
*Pthalo Blue,
*Indian Yellow
*Van Dyke
Brown
*Midnight Black
Yellow Ochre
*Prussian Blue (*indicates colors that are transparent or semi-transparent and which may be used as under paints where transparency is required.)
HOW DO I MIX COLORS?
The mixing of colors can be one of the most rewarding and fun parts of painting, but may also be one of the most feared procedures. Devote some time to mixing various color combinations and become familiar with the basic color mixtures. Study the colors in nature and practice duplicating the colors you see around you each day. Within a very short time you will be so comfortable mixing colors that you will look forward to each painting as a new challenge.
SHOULD YOU USE JUST ANY ART PRODUCT FOR THIS METHOD OF PAINTING?
Possibly the #1 problem experienced by individuals when first attempting this technique and the major cause for disappointment revolves around the use of products designed for other styles of painting or materials not designed for artwork at all (i.e. house painting brushes, thin soupy paints, etc.).
All of the paintings for this technique were created using Bob Ross paints, brushes and palette knives. To achieve the best results from your efforts, I strongly recommend that you use only products designed specifically for use with the Bob Ross wet-on-wet technique.
HOW LONG WILL IT TAKE MY PAINTING TO DRY?
Drying time will vary depending on numerous factors such as heat, humidity, thickness of paint, painting surface, brand of paint used, mediums used with the paint, etc. Another factor is the individual colors used. Different colors have different drying times (i.e., normally Blue will dry very fast while colors like Red, White and Yellow are very slow drying). A good average time for an oil painting to dry, when painted in this technique, is approximately one week.
SHOULD I VARNISH MY PAINTINGS?
Varnishing a painting will protect it from the elements. It will also help to keep the colors more vibrant. lf you decide to varnish your painting, I suggested that you wait at least six months. It takes this long for an oil painting to be completely cured. Use a good quality, non-yellowing picture varnish spray. I personally spray my paintings after about 4 weeks and have not had any problems.
Gerald Scott (CRI) has been a Certified Ross Instructor since 1991 He currently teaches numerous classes around the country each year.
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The time to figure out what you need for a do-it-yourself painting project is before you open the can of paint or make your first brush stroke. Once you have begun the project, interruptions and restarts can cause conspicuous lines and "seams" to appear on your wall, as well as color changes from uneven mixtures that dry under different conditions. You don't want your painting project to turn out looking like a patchwork job, so take a few moments to prepare in advance.
Before beginning your project, gather the following tools and supplies together in sufficient quantities so you have a few extras when you are done. With the exception of custom mixed paint, any unused extras can usually be returned to the store for a full refund. It is best to have more than you need and not have to stop the job mid-stream to resupply yourself.
Roller and Paint Brush Tools:
Roller Handle: There are many options in choosing a hand paint roller. Some are flimsy and disposable while others are more sturdy. This tool is one where you want to spend the extra money to get a sturdy one. When you are applying pressure to the wall with a paint roller, the heavier duty tool will apply the pressure more evenly across the length of the roller nap. Some of the better roller tools have "telescoping" handles that allow you to extend your reach without needing to stretch on a stool or ladder.
Mini-Roller Handle: A smaller version of the larger hand roller, the palm-sized version allows for easy detail work around corners, above windows, and over doorways. Disposable versions are fine for this tool because the length of the roller, itself, is typically only four or five inches. The roller sleeves that slide onto the roller handle are commonly either nap or foam rubber.
Roller sleeves: The roller sleeves are the washable or disposable pieces that slide onto the hand roller tool. The nap of the roller for the hand roller or the mini-roller will vary depending on the texture and saturation you want for your painting project. Be consistent with the nap you use. If you have the choice of using a foam rubber mini-roller sleeve or a nap mini-roller sleeve, go with the nap version as it will be more consistent in delivering the paint.
Brushes: A high quality 3" brush and a high quality 1/2" brush are essential tools of the trade. You will have several choices at your local home improvement store, ranging from brushes in the $2 to $4 range, up to $14 to $18 brushes. Although price isn't the only determining factor of quality, it is a good indicator. Whether you clean and keep the brushes or throw them away after your project is completed, make sure you buy brushes on the upper end of the quality scale. The better brushes will have a clean taper that keeps its shape while carrying the paint, and will not leave strands of the brush on your wall as you paint. Working with poor quality brushes will result in "brush hair" all over your wall in the latter phases of your project as they begin to fall apart from flexing brush strokes on the wall.
Border Rollers: Typically a flat 3" x 4" napped pad mounted on a plastic handle with small guide wheels on the edge, a border roller makes life easier when painting a consistent, even line where the wall meets the ceiling. It is amazing how much paint a good border roller will hold. You must be careful not to get paint on the guide wheels, or you may leave an unwanted trace of paint along the ceiling. This problem can be avoided by using masking tape along the ceiling.
Masking Tape: Get a roll or two of painter's masking tape. The tape's texture is important, so a painting grade of tape needs to be used. The surface of less expensive masking tape can make your project vulnerable to paint seeping or bleeding underneath the painted edge. Masking tape only works well on smooth surfaces such as window sills and door trim for the same reason. In those cases where you may need to protect a textured surface (such as etched or sand-swirled ceilings) from unwanted paint, a putty knife should be used in addition to (or instead of) the tape.
Putty Knife: A wide blade putty knife (4" to 6") is an important tool to have on hand. Again, there are varying qualities available. Using one with a beveled edge will give you precise control over defining a clean line, whereas a thick edge tends to create paint streaks. You will need to continually ensure that the edge of the knife is clean before placing it on the surface.
Drop Cloths: Here, again, there will be several choices available from plastic sheets to absorbent material. There are advantages and disadvantages to each. Paint will not soak through plastic, but will easily splatter and run across it, or pool up to a potentially messy, slippy hazard. On the other hand, absorbent drop cloths minimize splatter, but if a roller tray of paint falls onto it, the puddle of paint can saturate through to the surface below. Paint can be almost impossible to clean out of seams between boards on older hardwood flooring, or out of the nap of tightly woven carpet. Getting absorbent drop cloths with non-permeable backing can be excessively expensive for an occasional remodeling project. To find the happy medium, consider plastic sheeting around the perimeter of the room with padded moving blankets on top for absorbency. This will keep the costs down while achieving the same protection as more expensive, professional grade drop cloths.
Roller Tray: Plastic or metal? It doesn't much matter what type you choose as long as it is durable. Some of the disposable trays are so flimsy that you risk dumping the entire load of paint when you pick them up. The roller tray, like the paint roller handle, should be good quality.
Lint Free Rags: Finally, ensure that you have some lint-free rags available. Using a low-lint or lint-free rag is important when it comes to cleaning up around corners, wiping up, or dabbing a spot to remove foreign material. Using a fuzzy rag from a bag of rags can spell disaster. Clean terry cloth is a good choice, instead.
The type of paint you use, flat or semi-gloss, is up to your personal preference. Semi-gloss is best for a durable, high quality finish that can be cleaned with a sponge once dry. Flat paint is fine for a low sheen, low glare finish, but is much more vulnerable to marks. Just ensure that you have enough paint for the job, and enough for a second coat if needed. Depending on how clean the surface is, you may need to prepare the walls for painting by using a primer or cover coating of some kind. For clean up, you'll want to have some paint thinner available and a good place to bundle up the trash, rollers, cans, etc. without making a mess.
Once you commit to doing the job, be sure to finish a wall at a time. Doing the trim work for the entire room first is fine, but once you begin painting the main section of a wall, do not stop until the wall is done. If you do run short on paint and need to get more before finishing the entire room, it is less noticeable if the dividing point between the old paint and the new paint is at a corner than if it is in the middle of a wall, where the different batches may be obvious.
One last detail that is often overlooked, a fan can help in the drying process. When using a fan to help speed the drying process, place the fan in the doorway, blowing out of the room. Do not point the fan into the room, and especially do not point it directly on the freshly painted wall to dry it. Any foreign object, dust, dirt, bugs, etc. will stick to the paint if blown into the room. Pointing the fan out of the room will still create air circulation in the room, but you will have less of a risk of ruining your quality paint job. Happy painting!
For more information and tips, and a portfolio of paint project sample ideas, visit http://www.edinapainting.com
Tom Elliott is the author of Website 411: Business Survival in an Internet Economy, the president of WebDrafter.com, Inc. and an international Internet trainer. He is a Board of Directors member of the Central North Carolina Better Business Bureau, and has been the president of a Business Networking International (BNI) chapter. He His undergraduate degree is from Purdue University, and his Masters in Information Systems is from Florida Institute of Technology.
He served 13 years as a Naval Officer, followed by two and half years as the Director of Internet Training for a large marketing company, simultaneously building his own business. He also serves on the bachelor degree advisory board for a technical college, and is a keynote speaker.
For articles, books, and seminars essential to building your knowledge of online business and your business's future success, please visit http://www.website411book.com and http://www.webdrafter.com for more information on Websites, search engine optimization (SEO) and marketing (SEM), and ecommerce.
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One of the more frequently asked questions from beginners in oil painting is: How do I get Started? To get started in oil painting is relatively easy. There are some basic supplies that you will need and some basic guidelines to follow. This article will discuss how beginners can get started with oil painting. This article will not teach you how to become a good painter however. In fact, no one can make you a good painter. You can only be taught certain things and it is up to you to take what you have learned and apply it.
Many beginners who are new to the oil painting medium, generally have the same questions. So let's cover those questions now so that you can begin your painting journey right away.
Oil Painting Supplies
The first thing you will need to do is purchase a few supplies. You need not spend a ton of money on expensive oil painting supplies. Start with the basics as you are only a beginner right now. The goal at this point is to get used to working with your support, brushes, paints and other materials. So expensive supplies will be wasted during this stage.
Supports
You are going to need a support to paint on. There are a number of different supports that can handle oil paint, but for now, start with canvas. Many beginners often ask if a canvas needs any special coating or priming for oil paint. The short answer is yes, but you need not worry about that either. Any local art supply store or online art supply store will have canvases that are already primed and ready to be used.
Oil Paint
Next, you are going to need paint. You do not need an expensive brand of paint. That would again be a waste for beginners. There are less expensive, good quality paints on the market that will work beautifully for your painting needs. Here are a few oil paint brands to test out: WINSOR & NEWTON Winton Oil Colours, GRUMBACHER Academy Oils and DALER-ROWNEY Georgian Oil Colours.
For those of you who may be concerned about the potential hazards associated with oil paints, have no fear. Introducing water miscible oil paints! These paints are fantastic. They can be thinned with water as opposed to using dangerous solvents like turpentine. Here are two brands to try out if you are interested: GRUMBACHER Max Water Miscible Oil Colors and WINSOR & NEWTON Artisan Water Mixable Oil Colours.
Oil Painting Brushes
Having good quality brushes is important. While a good quality brush will not make you a better painter, a cheap brush will only wind up frustrating you. When you use cheap brushes you will see why. Cheap brushes have a tendency to shed hairs that get stuck in the oil paint, which is extremely annoying. Good quality brushes should have stiff hairs and snap back into place when you run your fingers through them. They should be well crafted and sturdy.
You do not need that many brushes for oil painting. I personally only use two types of oil painting brushes: flats and filberts of various sizes. I do have a few rounds and a fan brush on hand, but I almost never use them. I would also recommend that you use hogs hair brushes as opposed to the softer synthetic hair brushes. The synthetic brushes are just too flimsy to handle the oil painting medium in my opinion.
Cleaning your brushes is important, so don't be careless in this area, especially if you are working with high quality brushes. Many artists recommend turpentine for cleaning brushes, but I simply cannot bring myself to use this stuff. I use a much safer brush cleaning product called "The Masters" Brush Cleaner and Preserver.
I clean my brushes right after a painting session with this product and it works wonderfully. It may take some time to really get your brushes clean, but it is worth the effort. If the brush cleaner does not remove all of the paint, then I use a bit of odorless mineral spirits. I find this a much better alternative to turpentine.
Oil Painting Mediums
What about mediums? Do you need to mix the oil paint with anything or can you use it straight out of the tube? This is another common question amongst beginners. The answer? You do not need mediums to paint with. They are not a requirement, but I find them to be quite helpful.
Most oil paints that I have worked with are simply too stiff right out of the tube for my particular style of painting. Mediums will help dilute the oil paint and make the paint flow better, which means you will be using less paint. Using less paint, means you will save money.
There are many different kinds of mediums that are used for different reasons, like speeding up the drying time of paint, improving gloss, etc. Do not be overly concerned with mediums right now.
I like to start my painting using thinned down acrylic paint. I first tone my entire canvas with a neutral color. I then draw in my composition using different values of the same color. I let this initial drawing dry over night. I then apply the oil paint using the fat over lean oil painting method.
Lighting
This is a very important part of oil painting. Without proper lighting, you will not be able to accurately see your colors. The best kind of lighting is natural sunlight, so if you have the opportunity to paint in a well lit room or outdoors, that would be ideal. Of course not everyone is blessed with this type of situation, so the next best thing is to use lighting that mimics natural sunlight.
This type of lighting is referred to as "full spectrum lighting". There are number of different full spectrum lighting products available. Just do a search on Google for "full spectrum lighting" and you will find a number of websites on the topic.
Safety
Oil painting for beginners can be hazardous if you are not careful, so it is important to take the necessary precautions. Make sure you work in an area that has good ventilation and airflow. Wear disposable latex gloves while painting. Read all manufacturer warning labels carefully.
Some Final Words
As you sit down to start your first painting, remember that you are just a beginner. Your main goal right now is to have fun and get used to working with your oil painting materials. Do not be overly judgmental about your own work. If you do so, you will only wind up getting frustrated. Your first, second, third or even tenth painting may not turn out the way you wanted it to. This is completely normal so do not get discouraged. Oil painting is a difficult medium to master. It takes perseverance so hang in there. I wish you all the best! God Bless.
Here are some more great resources on oil painting for beginners:
Oil painting for beginners on CreativeSpotlite.com
Oil painting for beginners on the Creative Spotlite Art Instruction Blog
Painting in oil has long been a mysterious process the public has believed was relegated to the few and the eccentric. Artists and their lives have always been an unusual breed, but painting a large body of original oil paintings has also been a sure-fire way to drive oneself into immortality. The paintings will always be there, traveling through history, with your name on it! So by this definition it's definitely a noble profession. Think Dali, van Gogh, Picasso, Rembrandt and da Vinci. Each enjoys a lofty reputation for what others might consider crafts. And their reputations only grow bigger over time. What other profession offers that possibility? So who got the last laugh? Well, van Gogh did, of course. He's forever immortalized as one of the greatest humans to have ever lived. Not bad for someone who never made a dime in his own lifetime. But in the age of the Internet and the worldwide marketplace, artists don't have to starve anymore. I'm not starving, and I'm making money doing what I love. I can also work anywhere, whether I'm on vacation or traveling to exotic locales. I love that the most about it. I can do whatever I want and wherever I want, and post a painting for sale from Ibiza, Paris, London.... or Omaha. I wouldn't trade with anyone. And you won't either if you work at it and treat as a way to offer beauty to the world and get paid for it!
The purpose of this article is to take the mystery out of the process of painting. This article is only written to get you started. I'll write more detailed techniques later. But this article will set you on your way to experimenting and having fun with paint. Ultimately it's like anything in this world. Before you have the knowledge, it's complicated. But once you have it, it's easy! Knowledge is power, and this phenomenon definitely applies to painting. The technical aspects are the easy part. Anyone can do it. You ultimately could be as capable as Monet with practice. We humans can do whatever we decide to do! Deciding WHAT to paint is the hard part. It takes discipline and a singularly focused desire to create one painting after another. For whatever reason, I loved it the minute I started. And I never looked back. I love it today as much as I did over 16 years ago. I never have "writer's block" either as to what to paint. I just paint from my experiences in life. So don't think too hard on it. Paint that apple sitting on the table, or paint the tree in your own back yard, paint your girlfriend in an unusual way. But paint something that means something to you, that's all that matters. Make it funky, make it interesting. If it's abstract, remember that abstract art has long been the most desirable. It's an expression of the individual, make it unique. For those who want realism, take a picture. What's amazing is that once you do it, you realize it's the ultimate escape into happiness. Suddenly you forget your problems for that period of time. You have control, and no one can take it away from you once you are skilled at painting. The process is addicting. But like anything, you must START! And once you do, look out....you'll be hooked.
OK, let's get started. Step one...supplies. You need a flat brush, a fan, a small detail brush and a couple of Filberts. A filbert is a rounded edge brush that lets you maneuver the paint easily without going outside the edges. Ultimately buy brushes that you like though, and make them work. Fans allow you to blend, for example. I use fans a lot and it's how I graduate color throughout my images. Everything I paint is by hand....no airbrushing or assistants. I want it to be an expression of me and nobody else. You also need an oil painting medium to mix with the oil paint to make it more fluid, and to speed or slow the drying process. Whichever you prefer. Go to the art store and don't be afraid to ask for help....they'll love helping you! A medium is merely an additive liquid which increases gloss, makes it flow easily, preserves the finish over time, keeps it from yellowing. I personally love Galkyd and Galkyd Lite. If that isn't available, buy a medium that looks like liquid amber and is kind of thick. Don't buy watery looking mediums....too hard to work with.
The lite version of Galkyd is simply thinner. I use it more than the other. I love it. Paintings I did 16 years ago using Galkyds look as pristine as the day I painted them. You'll also need a canvas and some paint. I buy a tube of red, green, blue, purple, yellow, brown, white and black. I prefer what's called Ivory Black and a soft mixing white as you'll add white to a lot of different colors to make lighter versions. From these basic colors you can make any exotic color by mixing them in combination's. Be creative and experiment. And don't be afraid of color, because color is the most popular in museums! The bright paintings are historically the crowd favorites. As for color variety from these basic colors, mix red and white to make pink, mix yellow with green to make lime green, white with blue to make light blue, white with black to make gray, etc. Use your common sense and play with it! You'll also need pencils, an eraser and some Turpentine or Turpentine substitute. Keep your brushes soaking in it in a plastic cup to keep them clean and ready for your next color choice.... and to keep them from drying out.
Now, decide WHAT you want to paint. Very important...you do NOT need to know how to draw. That's the great thing about painting, you can create even if you've never had a lesson. Don't get me wrong, art school is great. But don't let the lack thereof deter you from creating. You do not have to have a teacher to tell you how to create. You do need to know a few basic techniques, but from there let your imagination fly! When deciding what to paint, go to some websites about artists or Google famous artists to get inspired. Again, do not let a lack of training deter you from painting! Many of the great artists of the past had no training either. Many can't draw stick figures, but they can paint because the colors give you amazing options of expression! You may also go to my websites mentioned below or google me to see all the crazy work I've created. My personal preference has been to create a large variety of work to keep it interesting and versatile. I did not want to be that artist who only painted one thing over and over. To me that's boring, and it should be boring to you too. Any known artist of the past has a vast variety of work. You'll also find that it makes it more interesting to you while you're doing it, because you won't ever get bored, you'll always be wondering how it'll turn out.
Step two: Now roughly draw onto the canvas what you want to create in paint. Don't worry, it does not have to be perfect. Your cool application of paint from your innermost imagination will make it look good. If you mess up with the pencil, simply erase it off and start over. Warning: resist the urge to simply copy some artist's painting from the past. That's career suicide, and so boring. You're smart, make your own art. It's much more interesting and unique. A copy of a painting from the past has the sole purpose of making you look like a copycat, and who needs that on their resume? Remember, deciding WHAT to paint is the hardest part. But once you get into the flow it will come to you, I promise. Paint from your own life is the best career advice as a painter. Truth is more bizarre than fiction anyway. And I believe people like to kind of know what they're looking at, as opposed to simply painting a solid layer of red and calling it art. Be creative, go with the flow, don't over think it. Paint what you want to paint and the world will ultimately find it interesting. After all, it's YOUR art. Painting nature is always a good idea, as nature never goes out of style.
Step three: go online and study the basics of shadow and light. It's a visual thing, and too complicated to talk about here. But once you see it, it'll come to you quickly. Simply Google "shadow and light in painting" and the basics will come up. Once you know these rules, you can apply it to any shape, any form, any painting. And it'll make you keenly aware of shadow and light on virtually any object on earth. It's what makes a painting three- dimensional and expensive looking. You can also buy art books on shadow and light at any bookstore. But make sure you sit down for a couple of hours and study it. It will come quickly to you, I promise.
Step four: the key to a finished looking painting is to build it just like a house...and by that I mean layers. Paint it in the reverse order in which the eye sees it to make it three-dimensional. By this I mean paint what's farthest from the eye first, and build layer upon layer towards the eye. In other words, do the background first because it should be the farthest from the eye, then add the objects on top of that, and then add the shadows to complete the look. Ultimately it's common sense. If you paint a bowl of fruit, the bowl and fruit need to sit on top of that background, much as it would in real life.
Step five: pick your colors and start applying them to your penciled outlined images...make sure to mix the paints with a little Galkyd. Painting right out the tube is probably a bad idea, and it'll take forever to dry. Mix the Galkyd pretty evenly with the paint until you reach your desired thickness of paint. Less Galkyd keeps the paint thick. More makes it thinner. A safe start for a painting subject is a still life, like a bowl of fruit. No matter what you do...within reason...it'll look cool. You do not have to make a twig brown or an apple red just because nature says so. Use your imagination. Do something different. Collectors over time like to watch you evolve painting by painting anyway. So don't worry if your first painting stinks in your mind. It'll be interesting later once you're great. And by the way, most famous paintings have an under drawing, so they've used this layout technique I mention above. Sorry to tell you, most inspired paintings were planned out with pencil first. They did not happen spontaneously. They were built logically and in a defined order so that the end result looks right.
OK, now let it dry overnight. The next day....or whenever you get around to it....mix a lot of Galkyd with just a little bit of color and glaze it over the first layer. Layer upon layer....allowing each layer to dry... is what makes paintings look finished and interesting and expensive in my view. Certainly you can paint wet on wet, as van Gogh did. But that's a much harder proposition we'll talk about later. You can put as many layers as you wish until you get your desired look. A thin glaze of Galkyd with just a little black works great on top of any dried color underneath. It give it an antique and finished look. But be careful not to add too much black. Don't worry, if you put too much just wipe it off and start over. That's the great thing about oil is it dries slower and you can tweak, correct, start over before it dries. Tip: a thin layer of yellow glaze looks good on top of almost any color too. A thin glaze of green looks good over blue, a thin glaze of blue looks good over purple. But ultimately you can pick and choose and experiment with which color to add to your glazes. There are no rules. Invent ones of your own. A thin glaze of yellow on top of a dried layer of red looks awesome. A thin layer of yellow on boring brown make it look like expensive and not-boring brown. You get the idea. But make the process your own and have fun with it. No one will ever do it quite the way you do, and that's what's interesting about the process.
Step six: once you get all the layers just like you like, let it dry thoroughly for several days. Now take black and apply the shadows with your clean brush in keeping with the laws of shadow and light like you've learned earlier. If you put too much, wipe it back with a Q-tip or a rag until it looks like a shadow. Make sure you're putting shadows on top of only dry under layers. Always clean your brushes in between colors to keep the colors isolated and pure too. You don't want blue in your shadows, for example. Study my paintings if you wish because I do a lot of distinct shadows and I light things like vases, leaves, birds, fruit, etc. in ways that I think will stand out to you. Like if I paint a vase the bottom of the vase is darker than the top. Just like in real life. This applies to any shape whether it be a face or an apple or a vase. Also look at my backgrounds, as I've done a lot of them. Notice how each background is a multitude of layers to give it a finished and complicated look. Glazes allow me to reach this end. When I started out I didn't know what I was doing and friends and family thought I was crazy. And the very same people act like they knew I'd make it now that I have. Oh well, it's the way of the world. But stick with it and you'll be enlightened and inspired over time!
In conclusion, this article has really just been a "Painting 101" exercise. I'll be adding more articles on the subject once you get more advanced. It's so rewarding to those who stick with it. My work now sells around the world online. So I'm glad I'm glad I stuck with it. It's been infinitely good to me, I've met the most interesting people....including Madonna! And I am so glad I get to do what I want And ultimately it's so gratifying to leave expressions of myself behind forever. And if the owners then turn around and sell my paintings for a fortune later, then that's the cherry on top for me. I feel lucky to have found my calling. And I hope you find it too. And I hope that every single time you view one of my paintings it brings you a little bit of the amazing joy it brought me when I was creating it.
Feel free to email me if you have questions at the email addresses below. But most important, you'll find that with each painting you'll get better and better. Carry forward everything you learn from each work and eventually you'll have real talent! But only if you keep at it. And don't worry about people telling you you're crazy. They told that to van Gogh too! Sweet justice Vincent, sweet justice. He's certainly getting the last laugh, isn't he? And the world will know who Vincent van Gogh was for the rest of time. Not a bad gig.
Oil-Based vs. Water-Based Paint
When it comes to picking paint, selection begins with choosing between oil-based and water-based paints. For hundreds of years, people have been using oil-based paints for their impermeability and toughness.
Unlike water, oil does not dry by evaporation. It dries through a process of oxidation that converts the oil into a polymer chain. This means that the layer formed will be resilient and long lasting, and will withstand the degenerative effects of water and air longer than water-based paints. There are, however, several disadvantages to oil-based paints. First of all, oil paints take longer to dry than water-based paints, have a strong odor that lingers long after the paint has been applied, and contain volatile organic compounds (VOCs).
The paint pigment in oil paint is suspended in the solvent. VOCs are found in this solvent and are released as the paint is drying or being cured. VOCs are harmful to occupant health and the environment. Indoor air pollution has now been identified as being three times more harmful than pollution outdoors. This is mainly due to the release of VOCs by oil-based paints and other off-gassing interior VOC-containing finishes and furnishings. Government regulations regarding VOCs are becoming stricter; this may be one reason why oil-based paints are decreasing in popularity.
As opposed to oil-based paints, water-based paints (sometimes referred to as "latex paints" or "acrylic paints") do not use solvents; the carrier for the pigment is primarily water. Latex paints have come a long way from when they were considered an inferior replacement for oil-based paints, and they're now on the verge of dominating the market. The advantages of latex paints are many. The drying time is significantly shorter than oil-based paint, which requires up to 48 hours to dry, leaving the room unusable during this time. Latex paints also have a minimal odor and release significantly fewer VOCs during the drying process.
Because fewer or no VOCs are released, latex paint is significantly less harmful to building occupants. In addition, it requires less care to apply than oil-based paint and solvent, which are both highly flammable. Latex paint can also be thinned with water, unlike oil-based paint, which requires a special thinner.
Picking the Right Paint Finish
Beyond oil- and water-based categorization, paints can also be classified based on their function (e.g. primers, sealers, binders, finishing paints, etc.). They can also be classified according to the type of pigment used, like zinc, lead, and titanium (each has slightly different properties). But, by far, the most important classification of paint is the one that provides information about the type of finish.
With the traditional application of paint, the finish reveals how the paint reflects light once it's dry. An exception is when special painting techniques (e.g. faux painting) are used, since these lend a completely different finish. Generally speaking, in commercial buildings, the finish depends solely on the type of paint used.
Certain finishes are more appropriate for certain rooms; this is because each finish has certain properties, apart from the way it looks, that distinguish it from the other finishes. Finish options include:
Matte. A matte finish reflects light poorly. It's a rough finish that's generally considered to be warm and comfortable. Matte finishes are not slippery; therefore, they don't wash very well. For this reason, it's not recommended to use a matte-finish paint on walls in rooms that have frequent visitors (e.g. a reception area or a conference room). The best places to use this finish are in executive offices or boardrooms: places where only a few people use the room, and the chances of dirtying the walls are low. Matte finish is great for hiding imperfections in the walls because highly reflective paints draw attention to imperfections by creating a crack in the uniform light reflection. Matte paints inherently avoid this problem.
Flat enamel. If you want to have the look of a matte finish in a bathroom or a café, consider paint with a flat-enamel finish. This paint holds the same properties as the matte finish, with one exception: It's more washable. Unfortunately, paints with enamel finishes contain extremely strong chemicals and can exude an odor for several days.
Eggshell. The next paint on the curve of reflective properties-the eggshell finish-has a decent amount of sheen. If you can imagine looking at an eggshell in the light and seeing how the light bounces off of it, you'll have a good idea about what this finish will look like. As expected, the eggshell finish is easier to clean because of its slight gloss.
Satin. A satin finish is glossier than an eggshell finish, and it's even easier to keep clean. Due to their dirt resistance and ease of cleaning, the usual choices of location for satin finishes are halls and stairways. The finish gives a velvety shine to the surface and will not hide imperfections.
Semi-gloss. Semi-gloss paints have a high durability and a good amount of sheen. They are best used on surfaces like doors and trim. Due to their high water resistance and ease of cleaning, they are also an excellent choice for painting the walls of kitchens and bathrooms.
Gloss. At the high end of the reflective gradient are glossy paints, which are rarely chosen for interior walls due to their extreme shine-any imperfections will glaringly stand out. It's best to use them when painting floors and trim; the finish is extremely durable.
Prepping the Surface
Painting a room is more than just taking out a brush and applying the paint. It's a well-known fact that a good paint job is 80-percent preparation. This holds true whether you're painting office walls or an entire building. Try painting a ceramic tile by directly applying the paint; you'll find that the paint just doesn't stay because the ceramic tiles are smooth and glossy, and don't give the paint any grip. The role of the top layer of paint is primarily to provide color. It's not made to have great adhesion or protection value. To get paint to stick to any surface, you need to use a primer. A primer is a layer of paint that's applied before the topcoat. It's designed to stick to almost anything. Once this is laid down and dried, the topcoat of paint is applied; this time, it'll hold.
Having a good primer is, however, only part of the process. All surfaces need to be prepared to receive paint. The type of preparation depends on the surface. Wood needs to be planed and sandpapered. Depending on whether it's hardwood or softwood, you may need to get rid of knots that will exude resin and spoil the paint job.
If the paint is being applied to metal, the most important step is removing any grease. This can be done with a liquid de-glosser. Rust must also be removed. Specific rust cleaners containing oxalic acid are made for this purpose. If pipes that contain hot water are being painted, then the paint needs to have special properties that enable it to withstand heat.
Applying the Paint
It's almost always necessary to paint a surface with more than one coat, and there are several reasons for this. The main reason is to get the full color that you want. With just a single coat of paint, you might be able to see a glimpse of the original color underneath. Also, two coats are more durable. In addition, the second coat of paint allows you to cover up what may have been missed during the first pass. In general, the second coat of paint can extend the life of the paint job by a factor of three. As a rule of thumb, two coats of paint are accepted to be enough for a surface.
As mentioned in the discussion of oil and latex paints above, the time the paint takes to dry depends on the drying process. If you're using latex paints, the drying process takes place by evaporation and is, therefore, much faster-maybe as quick as 1 hour. Oil-based paints, however, don't dry in the conventional way: They are cured, and this can take several days. Since it's necessary to wait for the first coat of paint to dry or cure before the second coat is applied, your paint job will either be hastened or delayed, depending on the type of paint being used.
Various surfaces require different painting techniques. Additionally, some surfaces take well to certain paints. Painting drywall surfaces is fairly straightforward. Drywall (also known as gypsum board, wallboard, or plasterboard) is a panel of gypsum surrounded or lined with paper. Drywall surfaces take well to water-based paints, and any finish will look nice, apart from a glossy finish.
Painting block surfaces, such as masonry or stone, is problematic because the surface is often uneven. Several pores and cracks make it impossible for a primer to do its job properly and fill them in; therefore, block filler, a paint-like material that smoothes out uneven or porous surfaces, is necessary. It's also used on concrete blocks. While block filler isn't very durable, it's possible to use it as a finishing coat by itself. It's recommended, though, that a more durable finish, like eggshell or semi-gloss paint, is applied after the block filler.
For metal surfaces, consider using latex paints. Due to the latest advances in paint manufacturing, water-based paints have now become a viable alternative to oil-based paints, and are often preferred due to their environmental friendliness. (In the past, water-based paints promoted the formation of rust on the metal through oxidation.) To paint metal that has been previously coated with an oil-based paint, the metal must be properly prepared by being de-glossed and coated with a latex-bonding primer. Glossy finishes, like satin or full-gloss paints, are typically used for painting metal surfaces due to their ability to protect against water and mold. Another good option for metallic surfaces is an epoxy coating.
Now you have some education on painting here are some tips for hiring a professional painting contractor.
To find the best service provider for your painting project, keep the following in mind when you're interviewing prospective companies:
1) What kind of a reputation do they have? The best testament to the quality and or production of a service provider's work is their work, and you're not going to find a more accurate assessment of that than by talking to their former clients. If a company has a bad reputation among the people they've worked with in the past but they're giving you a great price, steer clear. You may very well find yourself with poor workmanship and unanswered phone calls.
2) How much experience do they have with your particular painting project? All painting jobs are NOT created equal, and before you invite a company to come in and start the job you want to make sure they know what they're doing. A service provider that's specialized in landscaping and exterior remodels up until this point probably isn't going to be the one you want to help you rip out your bathroom. (On the other hand, if you're thinking about installing a fountain in your front hallway you're in good hands.)
3) Are they willing to work with you? When it comes down to it, the bottom line is that this is your property. It should be the way you want it! A company that's willing to take your money but give you very little input once the job is underway is going to frustrate you, aggravate themselves and leave you in a beautifully remodeled building or office that doesn't look anything like you'd pictured it.
4) What are their scheduling policies? Many times a contractor will just tell you what you want to hear to win the job, then do something completely different once the contract is signed which all boils down to their reputation. What type of manpower do they have are their painters skilled craftsman or do they employ mostly college kids and or helpers? Most importantly you will want to make sure the painting contractor you hire is licensed, bonded, and insured.
5) Be sure that you know, to the last nail, what is going to be covered by each bid before you sign on the dotted line. The last thing you want to do is choose a company, then find yourself faced with a nasty surprise once work is actually underway.
The bottom line is that there are hundreds of service providers out there who are going to do a great job for your painting. All you have to do is have the patience and put out the effort to find them.
Oil paint dries very slowly, Unlike acrylic paints which dry very quickly. Acrylic paint was initially created as an underpainting medium for oil painting.
It is perfectly stable to put a base of acrylic and then place oil paint over it. Linseed oil added to oil paint will extend color, increase flow and increase workability. Oil paint with added medium is called long, oil paint used directly from the tube is called short or stiff.
You place you oil paints on a wooden board called a palette the very best palettes are made of pear wood.
It is very important to understand your paints and know which colors are:
Transparent (see through) Semi Opaque (slightly see through) and opaque (not see through) getting started put as much oil paint on your brush for two strokes three maximum always end your brush stroke on the canvas.
Make sure that you use linseed oil only when you are painting with the wet on wet method or process.
Do not confuse yourself with all of the many other mediums. Wait to discover those when you are more experienced. If you can actually afford the professional paints, definitely go ahead and buy them. You will notice immediately that they are completely different from the student paints.
Always buy the best brushes that you can afford. The Da Vinci brand brushes are the best professional brushes. Buy long handle bushes. The technique is to hold near the end of the handle. When developing talent one point to consider is the ability to take risks. Just play around with your paint however first understand it, only paint at an easel and make sure to stand back from your painting all the time. Never put your expensive brushes in turps when you are working in a session. Go ahead and wipe them clean with paper towels or cloth wash out your brushes in turps or a similar solvent at the end of a session and then be sure to clean immediately with soapy water.
Preparing the canvas the foundation of you piece
It is quite essential that you put on the first underpainting or wash on your canvas. This takes away the glare of the white (which will reflect back at you, quite annoying) and the more layers of paint you get onto your canvas the better and the more professional looking your painting, the more luminous the paint ant the more the painting will sing out with color and texture.
Traditionally an earth color of a burnt umber or raw umber, raw sienna or an ochre was painted on as a good first underpainting. Sometimes it can be pretty exciting to paint on a bright red or dark blue as your first underpainting especially when you are in the habit of putting on three or four layers and seeing the underpainting come through your painting. Use a big wash brush to apply the first underpainting it you use acrylic as your underpaint it will dry quickly and get you started quicker.
How to apply oil paint in two methods
1. Wet on wet or All Prima (in one step)
2. Stage Painting or Glazing Fat over lean
Wet on wet is applied by using the paint stiff, which is directly from the tube Or thinned to the consistency of salad dressing with linseed oil the essential part of painting wet on wet is making your brushes and painting knives do the work for you.
You definitely want to have full control of your brushes and experiment with different brushes to see the marks and texture streaks that they make.
Never work with turps unless you are working with the glazing method.
Never ever stand your brushes in any turps working in your painting session.
Turps will burn the bristles and inevitably there will be some left in the brush when you start to use color.
This will make it difficult to keep control of the flow or thickness of paint. The glazing technique is a process of building up your painting in a series of layers of the thinned paint.
I found this specific method for the glazing technique with oil paint it is called fat over lean
A Lean 1st layer thinned with solvent
A Lean 2nd layer thinned with less solvent
A Lean 3rd layer thinned with less solvent
A Fat 4th layer straight from tube
A Fat 5th layer thinned with little linseed oil
A Fat 6th layer thinned with more linseed oil
It is very essential that you this process exactly follow or the layers of paint will dry at different levels and possibly crack the paint. Granted, it is a slow method and you absolutely need some patience however the results are spectacular tonal values which are essential in painting. This glazing method gives you full control of creating tones in acrylic paint. Here there is no mystery about paint.
Remember that paint is just pigment with a binder. In the case of oil paint, it is just a pigment with a drying oil usually linseed oil is used for this. The very best professional oil paints you will find are Michael Harding and Old Holland. Windsor and Newton and some other makes are good as well just make sure they are called professional paints and not the lesser quality student paints.
One last thing, Oil Paint dries very slowly, have patience and enjoy the journey. Paint on.
Lost Manuscript Resurfaces, Over 190 Pages on Drawing, Sketching, Oil & Watercolor Painting and Different Modes of Seeing - Revealing All The Secrets of a True Art Master! The Right (and the Wrong) Way to Learn Painting and Drawing
How to Paint your Mustang or other Classic Car on a budget
Can you get a good paint job from a low buck paint shop? Yes! Professional paint pros and high dollar restorers may scoff, but it's very possible to get a good looking, long lasting paint job from a discount paint shop like Earl Scheib or Maaco. It's not appropriate for every car. I wouldn't hand them the keys to my Shelby GT500 or '53 Corvette, but for those on a budget it's a very good option. The key to a successful budget paint job is to prep the car yourself. Leave nothing to the shop except actually laying down the paint. (note: For purposes of discussion we'll use a classic Mustang as the example, but this process holds true to really any older car)
Analyze your existing paint
The first step before determining if a budget paint job will work on your Mustang is to assess the current condition of the paint. In many cases you can prep and paint directly over an existing paint job, but only if it's in solid shape.
Look for any signs of cracking, crazing, bubbling or peeling. This indicates that there's a problem with the existing paint and it's not adhering properly to the layer underneath. If this is the case you'll need to sand through any existing layers of paint, down to solid, stable paint or primer. In some cases you'll need to get all the way down to bare metal, but doing so increases your labor and costs.
Also, when checking the paint, be realistic and don't ignore areas just for the sake of convenience. It will cost you more in time and money later. Typically if one area of the paint is cracked or peeling, then the paint on the entire car is suspect. Maybe the rest of the car just hasn't quite reached that point of decay, but it will shortly. So if you only fix areas that look bad, you'll likely find that you wasted a paint job when the other areas start to crack or peel in a year or two.
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.
Bubbles in the existing paint are sure indications of rust below. These areas will require extra special attention. As you remove the bubbled paint you'll inevitably find the cancer goes much further then it appeared on the surface. And unless you cut all the rust out it's going to come back. There are chemical rust converters on the market, and some do a very good job. But understand that none will probably encapsulate rust forever. Be honest with yourself about how long you expect this paint job to last. If you expect to repaint the car in 5 years and you're on an extremely tight budget, then rust converters may be the approach to take.
Basically what you're looking for is a good, solid foundation of existing paint that is stable and still strongly bonded to the car. Many times an original factory paint job, even after decades will meet these criteria.
Do all your own body work
As mentioned earlier, the key to keeping your paint shop costs down is to do as much as possible before you take it to the shop. This includes body work, if you've got the skill, or the patience to learn the skill. Bodywork is time consuming. It requires several steps that must be done in the correct order, with the correct curing times in between. Shortcuts here will show up like a sore thumb in your new paint job, so don't be tempted. If you don't have the skill to tackle the body work yourself then it's smarter to let the paint shop do it. Just understand that this raises the cost of your paint job significantly. Good body work takes hours upon hours and having a professional do it can easily exceed the cost of a cheap paint job.
If you decide to do your own body work discuss it with the paint shop first. They'll probably have recommendations on the type of primer you use. Some brands will be more compatible with their primers or color coats. The rule of thumb is to stay within the same brand of paint, both for prep and color. Even the cheapest paint shops typically use a brand name on their intermediate and higher paint jobs. Find out what it is and use the same brand as your primer coat. This will ensure you don't create adhesion problems for yourself down the road.
Stripping all the chrome
One of the single most important steps in saving money on a paint job is to strip your Mustang as much as possible yourself. This means taking off anything and everything that won't be painted. The more you take off the less the painter has to mask around. Masking not only takes their time (which costs you money) but it also results in areas that simply can't get a full coat of paint. If you take everything off, then the painters can simply scuff and spray, which will give you better and more consistent coverage.
At a minimum you want to remove all the chrome from the car. Take off both front and rear bumpers. If your Mustang has bumperettes that are body color be sure to bring them along so they can get sprayed at the same time as the rest of the car. Remove all rocker, hood and trunk molding. Same for wheel well molding and all emblems. This would be a good time to order some new emblems and attachment hardware. Also spend some time cleaning up all the chrome with #0000 steel wool. Nothing looks worse on a fresh paint job then faded emblems and corroded, cloudy chrome.
Take off the chrome molding around both the windshield and rear window. You can pick up a special tool at your local Mustang shop or by mail order that removes these quickly without scratching paint. Of course your paint is probably not in great shape at the moment, so a large flat screw driver will also do the trick. For some classic cars it makes sense to even remove the windshield, but classic Mustangs have chrome molding that will help cover any slight overspray.
Remove side view mirrors (unless they're to be body color) as well as exterior door handles and locks. This will take some extra time because you need to remove the interior door panels to get these off, but it's worth it. Head lights, tail lights, marker lights and license plates should come off too, but you'll need them in place to drive to the paint shop. So bring some tools so you can quickly take these off once you arrive. Depending on the year Mustang you can just take off the chrome bezels or rings. The shop can then easily mask the headlight or tail light itself and still get plenty of paint around the edges.
If you have a vinyl top then remove the molding separating the vinyl and paint. Drip rail chrome really should be removed also, but can be extremely hard to take off undamaged. If you plan on buying all new drip molding then definitely remove the old for painting. But if you want to keep the originals then it might be better to leave them on and let the painter mask around. If you have hub caps it's easy to just take them off. While the paint shop should completely mask all four tires, overspray can still find its way in. It's sometimes better to play it safe and just remove wheel covers.
Scuff for paint
Once your Mustang is totally stripped of exterior chrome it's time to scuff up the existing paint. The paint shop should do this also, but on the lower end paint packages they won't spend much time here. It's better for you to do it so you know it's done thoroughly.
You scuff up existing paint for two reasons. First, you want to get rid of any oil, grease or dirt trapped in the top layer of paint. This is the stuff that cleaners and degreasers can't get off. The second reason to scuff is to set up a physical bond for the new primer and paint to adhere to. You want to give the old paint some tooth so the new sticks better.
Start with a thorough cleaning with a good degreaser. This isn't typically something you're going to find at the local chain parts store. Find an automotive paint supplier near you and spring the extra cash for the good stuff. Remember, this is the foundation you're laying for the new paint and the better you do, the better it will look. After degreasing start scuffing with 240-360 grit wet sand paper. Dry sanding using grit this fine will clog the sand paper in short order and frustrate you to no end. Use a bucket and sponge or a spray bottle to keep the area wet while sanding.
Always use a sanding block for flat surfaces. Just your hand behind a thin piece of sand paper can leave grooves and low spots. It's also easier on your hands. For inside curves try wrapping the sand paper around a short section of garden or heater hose. This will help approximate the concave curve and help stay away from sanding through hard edges. On hard edges, like the top ridge of a fender or leading edge of a hood, you need to do this by hand. A sanding block will quickly dig right through the paint on a hard edge and take you down to bare metal. This means primer and more sanding.
You're not looking for perfection here, but you do want to eliminate every shiny spot of paint. When properly scuffed the paint should have a smooth, but dull matte finish.
Changing Colors
If you're keeping your Mustang the same color it is now then things stay pretty simple. Areas like the door jambs and inside of the trunk are probably still in good shape since they aren't exposed to the weather and you won't have to worry about repainting them. But if you're changing colors these extra areas will cost you. Be sure the price quote you get from the paint shop includes these extra areas. If you wait until the day you pull up with your Mustang prepped for paint you could be surprised by this extra cost.
And if you are changing colors be sure you and the paint shop are crystal clear on what color they're going to spray. Never just describe the color. You won't get what you want. Guaranteed. If you're not using a factory original color then find out what kind of car the color you want came on. Give the shop a year, model and paint name and then insist on seeing a paint chip. Take the chip outside to see it in the sun light and verify that it's what you want. There's nothing more disappointing then spending all these hours and money only to watch your car come out of the shop the wrong color.
Selecting a Shop
You should always get quotes from at least 2-3 different shops near you. This will give you a chance to not only compare prices, but to also check out the quality of work each shop has done. Ask to see cars they've just painted. Look for orange peel or excessive overspray. Do they mostly do insurance work or do they paint entire cars also? What types of cars are they working on? A shop that sprays nothing but old beaters probably doesn't inspire as much confidence as one that does insurance work for the local Lexus or Mercedes dealer.
Spend some time talking to the shop manager. He should have the time to thoroughly go over your options and explain their service and pricing. Be clear on what they're doing exactly. Will they scuff your existing paint? Will they be spraying primer? Are they OK painting any loose parts like bumper-ettes? If you're changing colors be sure to discuss the door jambs, trunk area and underside of the hood. Also, get instructions from the shop in writing for proper care of your fresh paint. It will include the number of paint curing days before you can wash it, wax it or let it sit out in the weather.
If you didn't do all your own body work be sure to get a clear price quote from the shop on how much time and money it will cost them to do the repairs. Remember, this can add up quickly, so if you can do the work yourself it's better on your wallet. Finally, discuss timing. Most high volume shops will want you in and out in a few days.
Cheaper then doing it yourself
Some would argue that if you're going to all the trouble to fully prep the car yourself, then why not just shoot the paint as well? Why get a shop involved? The answer is simply that you'll get a better job and for less money. Some would argue with this, but the fact is that if you've never sprayed a car before then your first car will have a steep, and expensive learning curve. Laying down an even, consistent coat of paint takes considerable practice. Also, paint and equipment is not cheap. You'll need to buy primer, color coat, clear coat, reducers & catalysts. None of these are inexpensive and you can easily spend as much in paint materials alone as the cheapest paint job at Maaco or similar shop.
You'll need a large compressor, not just the typical 20 gallon variety most of us have. This is a 60 gallon, vertical compressor with typically a 5+ hp motor. Then you'll need a decent paint gun (possibly 2; one for primer and one for color) which again is an expense. Then there's the question of where you'll paint the car. Renting a paint booth is best, but can be expensive and hard to find. You can always seal up your garage or shoot out in the wetted down driveway, but you'll inevitably get dirt and moisture into the paint.
The reality is that the guys shooting paint, even at the cheapest shops, know how to do it. They spray a dozen cars a week and have plenty of practice laying down smooth, consistent coats of paint. They work quickly and efficiently because they have to or they don't make money. They don't really make their money on shooting paint. They profit from body work because it takes time and insurance work because it pays well.
By doing most of the time consuming and tedious tasks yourself, you save money. Bring a fully prepped Mustang in to your local discount paint shop and you'll be well ahead of their typical customer. Do your homework and select a good shop and you should end up with a great paint job for a great price.
So, you want to spray paint stencils! Spray paints leave a clean, smooth finish that is free of paint brush lines and the splotches that sponges might create. But, as easy as it is to spray paint from a can, it's not so easy to get good results. So, there are a number of tricks you need to know about.
The challenge with spray paint stencils is getting crisp edges and clean lines. Most commonly the end result is a fuzzy image. That is just the nature of spray paint. If your project is going to be OK with fuzzy edges then you're in business. In fact, if that is what you are trying to achieve, then you should know that the further you hold a stencil from the surface the fuzzier it gets.
However, if you still want to spray paint stencils and need crisp edges then read on for all the tricks you'll need to know.
To get clean lines, you need to make sure that the stencil is as close to the surface as possible. If any part of the stencil is lifted it can allow paint to spray under (which is called "overspray").
One way to make sure that your stencil is in good contact with the surface is for the stencil to have an adhesive backing. There are a couple of ways to do that. You can copy your stencil onto a piece of full page label paper and cut it out. Or you can coat the back of the stencil with spray adhesive or a glue stick.
I need to tell you that if you use a sticky back stencil you may have a problem with the background paint or finish being lifted off with the stencil when you are finished painting. Make sure to read all instructions on any products you use and test before doing your project.
If you have decided to use spray glue, place your stencil face down on a piece of newspaper and spray the back side that will be placed on your surface. I know this sounds silly because of course you are going to spray the back side, right? But how many times are we doing something with our minds somewhere else and before we know it... Well, anyway, I just wanted to remind you. Also, make sure to spray with newspaper underneath. Spray glue is like spray paint - it goes everywhere!
Let's say you want to work with a glue stick. It's best to tap the glue around the islands and bridges. If you drag the glue stick you will likely get globs of glue around the edges of the islands (openings). In order to get crisp edges on your painting the islands have to be clear of glue.
Follow along with me as I spray paint a fleur de lis stencil design on a stool.
Here are some of the things that you'll need.
Of course, you'll need paint. I'm not going to recommend any brands because what works for me may not be what works for you. All I can say is to experiment with different ones until you find a brand you can stick with.
Some of the qualities you want to look for in a spray paint are truthfulness of color and a consistency that is not too thin. It just needs to spray on a nice color. Experiment with a few brands until you find the one you like.
You also want to find a brand that can offer some reliability of the nozzle. There is nothing worse than having a nozzle that clogs and sputters out large blobs of paint.
I've found that just because one brand of paint is more expensive does not necessarily mean it is the better choice. A can of discount brand paint may not go as far as a more expensive brand. So, you need to buy more of the discount brand paint. However, you may still come out ahead in the long run. You be the judge.
Also, I have had some paints create a crackling effect when sprayed. The best way to keep this from happening is to apply a thin layer of spray paint and let it dry thoroughly before another coat. It's better to apply many thin coats of paint than to try and finish it quickly with one or two thick globs of paint. Spraying a thick coat of paint can cause a number of problems besides cracking paint (like running, pooling, dripping...).
And you'll need stencils - hence the spray paint stencils part! The variety of stencils available to you is mind numbing. So, it's next to impossible for me to recommend any one kind of stencil because I don't know anything about your project. My best advice is to experiment and test different stencils and materials.
I would like to share with you a comparison of stencils made from thick and thin materials.
When using a stencil made of thick materials (like plastic) you need to spray at a perfect 90 degree angle especially around the edges. If you spray from a side angle, the edge closest to the sprayer will be fuzzy because the spray of paint is blocked by the thickness of the stencil. On the other hand, a thick stencil which is durable and heavy will cover your surface better and prevent overspray.
A stencil made from a thin material (like paper) doesn't have an edge thick enough to block the paint as it is sprayed. So the edges should be crisp even if you are not holding the can at an exact 90 degree angle from the surface. However, a thin material (like paper) might be flimsy allowing paint to get under the edges if it curls or gets blown by the spray. If you are using paper, you may want to consider an adhesive backing option as described above to keep this from happening.
You will need an object to paint. It can be anything you want - a t-shirt, furniture, floor, rug, cardboard...whatever! Just make sure that the surface to be stenciled is prepared properly. If it has a previous layer of paint, make sure it is dry. Paints do not stick well to semi-gloss or gloss paints. So, if you are painting the entire surface of the item before you stencil, use a flat paint. If it has already been painted, you may need to sand it down to rough the finish. If you are stenciling a t-shirt or other fabrics, make sure they are washed so that any surface treatment which may discourage paint from sticking has been removed.
I do not advocate illegal graffiti so if you plan to use spray paint stencils on a train or a building, make sure you own it!
I am going to recommend safety gear like a face mask or respirator, eye protection and rubber gloves. You need to be aware that spray paint is very toxic and you don't want to breathe it in especially over long periods of time. If you are spray painting inside, get a good respirator. Remember it's always good to be safe than sorry!
You will also want to have some old newspaper to cover the areas around the stencil from overspray. Spray paint has a way of going everywhere. It gets carried in the wind and lands on any exposed surface. So it's important to cover anything you don't want to have a painted haze.
You will need some masking tape to secure the stencil and any newspaper that you use.
You will need a good place to apply the spray paint. Hopefully you have a room with good ventilation. However, you don't want to be in an area where there is a breeze and dust is blowing around.
Well, on to the spray painting of the stencil. First, you want to secure your stencil to the object to be painted and cover all exposed areas outside of the stencil with newspaper. If you don't use an adhesive on the back of the stencil as described above, then tape down all the outside edges so that your stencil will not move during the entire process of painting.
For the fleur de lis stencil, I tapped a glue stick on the back side of the stencil over the thin bridges and around the edges of the fleur de lis. This made the stencil adhere better to the surface and helped in preventing overspray. When the stencil is in place on your surface to be painted, run a finger firmly around all of the island edges.
When spraying paint, hold the can 8 to 10 inches from the stencil. Use a gentle waving motion, spraying paint in horizontal lines from side to side. Release the nozzle at the end of each row and move down far enough so that when you start to paint your next line in the other direction, you are starting a new line and not repainting over the last line. You are looking for a slow and gradual build up of color with even coverage. Allow the paint to dry thoroughly after each thin layer. Be careful not to let the paint build up too fast because it will run, drip, create ripples like in a pool or start a crackle effect as it dries. Remember, it is going to take several layers of paint with a time period for thorough drying in between. No rushing!
Don't try to paint the outline of the stencil. Just stick to the back and forth motion described above. Forget that you are working with a spray paint stencil and just sweep across the entire stencil as though you are painting the whole area. Again, this is going to help you build up a gradual and even layer of color.
Make sure to hold the can upright at all times and spray toward your surface at a 90-degree angle. Holding the can upright keeps the flow of paint consistent.
Let the paint dry thoroughly before lifting the stencil. Removing a wet stencil can cause smudging. Try to pull the stencil straight up or hold down at one end and roll it up carefully from the other end. The idea is to avoid dragging the stencil over a wet surface.
And Voila! It's finished. How was that for your first spray paint stencil project? As you can tell using spray paints adds a few challenges but there are some benefits too. As you experiment with stencils using spray paints or brushes or sponges you will find out what method works best for you. So, always try new things and have fun stenciling!
IT ADDS color to rooms in our homes, schools, offices and factories. Automobiles and toys are made attractive by it. It protects buildings, farm machinery and tools from the wind, rain, and heat from the sun. Truly, that colorful coating, paint, is enjoying wider popularity than at any time in history.
Thousands of millions of dollars annually are spent for it; Canadians alone lay out almost 200 million dollars a year for paint. In Canada more than 150 paint plants produce this colorful coating. And in the United States over 635,000,000 gallons of paint are sold by manufacturers each year. That is enough paint to cover some 11,400 square miles, or an area almost the size of the Netherlands!
Thousands of Years of Use
The use of paint is not of recent origin. Ancient peoples, particularly the Egyptians, realized that certain pigments found in the soil could be mixed with a liquid and applied to their buildings. For example, colorful reds and yellows were obtained by mixing ochers (natural-colored earths) with water.
Also, pigments were imported from other countries to supplement those found in the Egyptian soil. From the madder roots, which were imported from India, various shades of red, violet and brown were prepared. And from the indigo plant a deep blue color was produced.
Other civilizations were quick to copy the techniques of paint making developed by the Egyptians. Roman artists made use of the same colors and, with few exceptions, the same methods of producing them. However, after the fall of the Roman Empire of the West in 476 C.E. the art of making paints virtually disappeared.
It was near the end of the Middle Ages that the use of paint for decorative and protective purposes began its reemergence in England. At first paints were used chiefly on churches. Then they were used on public buildings and the houses of the wealthy. Since paint was expensive to produce, it was a mark of social distinction to have one's dwelling painted.
It was not until the 1700's that paint was made commercially by a few persons who went into the business in the United States and Europe. These early manufacturers produced only the materials for paint; the painter was required to do his own mixing and formulating. It was not until 1867 that prepared paints were first marketed. The development in the late 1800's of new machines for grinding and mixing enabled paint manufacturers to turn out large volumes of paint, and soon paint making entered an era of rapid development.
The Ingredients
It is estimated now that most paint manufacturers carry an inventory of almost 1,000 different items. Perhaps as many as 500 of these are in daily use. Great strides have been made in the development of new paints. Indeed, not long ago a popular magazine observed: "Eighty-five percent of the paints on sale today didn't even exist five years ago." Yet, paint raw materials might be classified into four main groups: (1) Pigments, (2) vehicles, (3) solvents or thinners and (4) additives.
Pigments are the substances that give color and opacity to paint coatings. The ancients frequently used vegetable and animal matter to color their paints, but these are of little importance in paint making today. Still used, however, are earth pigments, called natural or mineral pigments. These are obtained from certain earths that are mined, finely ground and refined. But the most commonly used pigments today are chemical ones.
The vehicle is that part of the paint that carries the pigment. It may consist of oils or varnishes. Drying oils that are used in paint vehicles have the property of converting from a liquid to a solid state when exposed to the oxygen of the air. The paint vehicle thus dries and hardens when it contacts the air. The resulting hard film holds the pigment on the painted surface.
Perhaps the most common thinners for paint are either water or turpentine. These are added to thin the paint to the proper viscosity or thickness for easy spreading on a surface. Although thinners, too, might be considered part of the vehicle, they function somewhat differently in a paint. They begin to evaporate after application of the paint on a surface, leaving the film-forming material exposed for permanent drying.
Paint additives often include compounds of lead, manganese or cobalt. These accelerate the drying of the paint.
How Paint Is Made
Paint is basically a dispersion of colored pigments in a vehicle or liquid medium. The paint maker prepares a rather heavy paste by mixing together dry pigments and a portion of the vehicle. This process might be compared with what a housewife does when she mixes ingredients with her mechanical mixer, perhaps in preparing cake batter. In paint making the mixing cycle is continued until a fluid but somewhat lumpy paste is formed.
The next step requires what is known as grinding. A roller mill of steel cylinders that rotate against each other is frequently used for this. The purpose of the grinding is to pull the pigment particles apart so that each particle will be coated by the resinous vehicle. Another type of mill consists of a revolving drum partly filled with steel balls. By constantly revolving for many hours, the steel balls are able to disperse the pigment particles throughout the vehicle.
After the grinding process, the balance of the vehicle as well as the solvent thinners are added. Also, driers often are added at this time. But when the enclosed steel-ball mill is used, all ingredients generally are included from the beginning. Of course, with the development of water-base paints new types of equipment are used for dispersing pigments and liquids. Tinting of the batch comes next, adding just the proper amount of color to give the batch the exact shade desired. Finally, the paint is moved to automatic machines that fill, cover and code the containers.
The Colors to Use
Since all of us enjoy pleasant surroundings, it will be of interest to consider how you might add pleasantness to your home by employing that colorful coating-paint. Home decorators usually choose colors that will complement other articles in a room, such as those in furniture, rugs or draperies.
Light colors in a small room will create an impression of size, a point to remember when decorating apartments. A continuous flow of neutral tints through several rooms adds an air of spaciousness, inviting one to accent these tints with colorful rugs, cushions or pictures. Keep in mind, though, that an excessive number of colors in any one room can give a cluttered look.
Here are additional helpful hints: Tints of yellow, peach and rose are warm colors. They create a comfortable and mellow charm in rooms facing north and east. Greens and blues in their pastel tones are pages from the marvelous creation around us. One can just feel the cool, relaxing atmosphere imparted by these colors in rooms facing south and west. Rich, bright colors, such as reds and oranges, are exciting colors. But a word of caution. One might tire of them easily. They have a stimulating effect, often reflecting youthful personality or that of one who likes change. Therefore, they often can be suited to the bedrooms of children.
When choosing colors, remember that when a paint is spread over a large area it will appear darker than it does on a small color sample. Therefore, select a lighter shade and it will probably be the color you desire when it is applied to a wall. Also, since colors change under artificial light, it is wise to observe color samples both in daylight and in night light.
Selecting the Proper Coating
Paint is made in a number of finishes, ranging from a high gloss to a flat finish. Generally a low gloss or flat finish will give the most pleasing appearance on a large surface. Flat paints have a greater proportion of pigment to binder, hence they have a rougher finish that scatters the light in all directions. Thus, fewer surface irregularities will show when using a flat paint. However, flat finishes have the shortcoming of being more subject to soiling, and are more difficult to clean.
Thus, if frequent cleaning is necessary, as in a kitchen, bathroom, hallway, or in cupboards and on wood trim, it would be practical to apply a semigloss or highgloss paint. Semigloss would seem to be a compromise that will afford ease of cleaning and will not reflect too many surface imperfections.
In living rooms and bedrooms, a pleasing appearance often overshadows serviceability. Hence a home decorator might choose a flat finish. In the closets, though, where there might be a tendency to mark up the walls, a semigloss paint will make for easier cleaning and a brighter appearance. But since a flat paint has more hiding power and thus often requires but one coat, this is something to consider if time and cost are factors.
Important, too, is the exercise of care in preparing the surface to be painted. Walls and wood trim should be clean before painting. And if the old finish is semigloss or gloss enamel, provide "tooth" for the new application by sanding.
Oil paint is one of the most versatile and adaptable painting mediums in existence today. There are many techniques and effects possible with oil paint. Oil paint can be applied in thin transparent glazes or washes, or the paint can be mixed to a thick buttery consistency and applied using a painting knife. There really appears to be no end to the wonderful ways you can create art with this amazing painting medium. This article will talk about some of the many ways you can use oil paint.
Dry brush
The dry brush technique involves using a small amount of oil paint straight from the tube. It is then brushed thinly onto your support with a bristle brush. This technique works particularly well with a rough surface. The raised parts of your surface pick up the paint, while the dips or valleys in your support do not. This creates a broken color effect where the color of your canvas shows through.
Painting On A Toned Ground
The white of a canvas can sometimes be too bright or have too much contrast which makes starting a painting a bit difficult. When you cover your support with a uniform toned ground, it makes it much easier to judge the values in your painting. You can use any color you like to tone your ground really, but the more popular approach is to use warm tones of red, yellows and browns, which provide a wonderful richness to the finished work.
Here is an example of how to paint on a toned ground using Burnt Umber and Yellow Ochre. First you create the wash by mixing the Burnt Umber and Yellow Ochre together with a paint thinner (use turpentine, or if you are like me, and are allergic to turpentine, use a water soluble oil paint). Apply the mixture generously to your support and completely cover it with a large bristle brush. Let this mixture stand for a couple of minutes and then wipe off the excess wash with a cloth.
Alla Prima Painting
Alla Prima painting, also known as "direct painting", is a technique of oil painting where the work is usually finished in just one sitting. You are probably familiar with the artist Bob Ross, who made this painting method quite popular on his TV Show. I am sure like me, you watched Bob paint in amazement as he completed a beautiful painting in under 30 mintues.
The paint is applied wet onto wet directly onto the canvas usually with no underpainting or sketches. It might be a good idea in the beginning to lay down a sketch with some thinned down oil paint. This way you will have a general idea where your colors will be placed. You must be careful using this technique as your painting can become quite muddy if you do not apply the colors correctly on your canvas. It takes practice, so don't be discouraged if your first, second or even third painting does not come out the way you anticipated. Keep practicing and let your imagination run wild. As Bob used to say, "It's Your World".
Working With Painting Knives
If you have never worked with painting knives, then it is highly recommended that you give them a try. This type of painting method is very different from traditional brush painting and when you lay down your first stroke of paint with a painting knife, you will immediately see why. Painting with a knife can be best described as spreading butter on a piece of bread and you should keep your painting at a butter or cream like consistency when using painting knives. Do not use your palette knives to paint with. They have a different construction and are not made for painting. Painting knives have more flexibility to them and come in a variety of different shapes and sizes. You can manipulate paint in a variety of different ways with a knife just by changing your hand position on the handle. You can hold your hand down low on the handle to smear the paint over your support. Move your hand up to the top of the handle and you can use your finger to gently push the blade into the paint to create small dabs of color. You can also turn your knife blade on its side for scraping away paint or for creating hard lines.
Glazing
If you never produced a painting using the glazing technique, then you should definitely give this a try as well. Your painting will have a different appearance then if you were to complete a painting using traditional color mixing techniques. Glazing tends to give colors more luminescence. The colors are not mixed together first before applying, rather, they are mixed optically using single transparent layers of color. For instance, if you wanted to create the color green using glazes, you would not mix yellow and blue together on your palette first. You would first apply a thin glaze of blue, wait until it dries, then apply a thin glaze of yellow, which would then create your green. Each layer must be completely dry before applying subsequent layers. Usually, the first step in using the glazing technique is to create a monochromatic (different values of the same color) underpainting of the subject. Using only one color will help you to focus on form and tone first, rather than being too preoccupied with color at this stage. Wait until your under painting is dry to begin applying your first layer of color. This technique is tricky and does require practice, but it is not as difficult as some may lead you to believe.
