COMPILED NOTES FOR PAINTING AND DECORATING

PREFACE
An effort in sincere desire to collect notes and guidelines for students in senior
secondary classes to meet the aim of government in providing adequate skills in
Painting and Decorating to students before leaving school.
This book is a compilation of notes on topics for the students, thereby creating ample
time for them to practice in the classroom. Consequently, the time spent in copying
notes in limited periods is redeemed.
Best wishes.

DEDICATION
Dedicated to all my students, both past and present.

PAINTING AND DECORATING SYLLABUS

PREAMBLE
The syllabus is intended to provide the basis for the assessment of candidates’
knowledge and skills in Painting and Decorating. It will also provide the standard for
evaluating the scope of candidates’ understanding on the socio-economic potentials
in Painting and Decorating.

AIM AND OBJECTIVES

The examination will test candidates’
1. knowledge of types of Painting compositions;
2. skill in Painting and Decorating;
3. level of understanding of modern trends in Painting and Decorating;
4. knowledge in the ways of applying Painting and Decorative arts to contemporary
environments;
5. level of aesthetic awareness;
6. knowledge of job and wealth creation through Painting and Decorating.
SCHEME OF EXAMINATION
There will be three Papers, 1, 2 and 3, all of which must be taken.
Papers 1 & 2 will be a composite paper to be taken in 3 hours.
Paper 1: This will contain forty (40) multiple choice (Objective) questions to be
taken in 1 hour for 40 marks. The questions will be drawn from all the topics in
the syllabus.
Paper 2: This will contain six (6) essay-type questions from which candidates will be
required to answer four (4) in 2 hours for 60 marks.
Paper 3: This practical paper is called Decorative Painting and consists of 2 (two)
alternative tasks from which candidates will attempt one only. The paper will last for
3 (three) hours and carry 100 marks. The question paper / requirements for this
paper shall be made available to candidates at least two weeks before the date
of the examination. This is to give candidates ample time for preparation.
However, the execution of the work shall be carried out under WAEC
supervision in the examination hall.

DETAILED SYLLABUS

1. INTRODUCTION TO PAINTING
(a) Meaning of pictorial and decorative painting.
(b) Differences between pictorial and decorative paintings.
(c) Tools and equipment in decorative and pictorial paintings.
(d) Elements and Principles of design.
(e) Functions of pictorial and decorative painting.

2. COLOUR THEORY
(a) Meaning of colour.
(b) Classes of colour (primary, secondary and tertiary).
(c) Properties of Colour (hues, tones and intensity).
(d) Colour schemes (analogous, complementary and monochromes).
(e) Improvisation of colours from local sources.

3. TECHNIQUES IN PAINTING
(i) Techniques in pictorial Painting
(a) Dry painting
 (b) Wet painting
(c) Glazing
(d) Impasto
(e) Fresco
(f) Tempera
(ii) Techniques in decorative Painting
a. Flat painting
b. Rag rolling
c. Scumbling or Combing
d. Spraying
e. Mural
f. Mosaic

4. TYPES AND FUNCTIONS OF PICTORIAL PAINTING

(a) (i) Still life Painting
(ii) Nature Painting
(iii) Figure / Life Painting
(b) Differences between observatory and imaginative painting compositions.
(c) Functions of pictorial paintings.

5. TYPES AND FUNCTIONS OF DECORATIVE PAINTING

(a) Body decoration
(i) Meaning of body decoration.
(ii) Differences between traditional and modern body decorations.
(iii) Motifs and designs for body decoration.
(iv) Materials used for body decoration.
(v) Functions and importance of body decorations.
(b) Wall Decoration
(i) Meaning of wall / interior decoration.
(ii) Differences between traditional and modern wall decorations.
(iii) Motifs, patterns and designs for wall decoration.
(iv) Materials used for wall decoration.
 (v) Functions and importance of wall decorations.

6. PERSPECTIVE
(a) Meaning of Perspective
(b) Types of perspective
(c) The importance of perspective in pictorial painting composition.

7. PROSPECTS IN PAINTING
(a) The socio-economic value of pictorial and decorative painting.
(b) Careers in pictorial and decorative painting.

8. COSTING / MARKETING OF PAINTINGS

(a) Costing of pictorial and decorative painting based on:
(i) Location and size of work .
(ii) Materials / equipment involved.
(iii) Time invested.
(iv) Quantity and quality.
(b) Exhibition of Paintings:
(i) Planning / Processes
(ii) Funding
(c) Marketing of Painting
(i) Pricing
(ii) Negotiation
(iii) Communication (advertising/publicity)
(iv) Outlets for marketing
(v) Selling.

Decorative Painting

This paper will seek to evaluate candidate’s ability on the creation of aesthetic
environments and it will consist of two questions from which candidates shall attempt
one only. The works can be rendered in either poster colours or acrylic colours etc.

RECOMMENDED BOOKS
S/N BOOK AUTHOR PUBLISHER

1. Painting and Decorating- An A. Fulker, Bill Stewart and

Information Manual. D, Tikkle and J. Windsor.

2. Painting and Decorating Science A. Fulker, Bill Stewart and

D, Tikkle and J. Windsor.

3. The Complete Guide to Painting Editors of Creative Creative

and Decorating Publishing Publishing Ltd.

4. Dictionary of Painting and J. H. Goodier Charles Griffin &

Decorating Company Ltd.
5. Painting and Decorating J. H. Goodier Lubrecht &
Cramer Ltd;
6. The Modern Painter and Arthur Seymour Jennings Caxton
Decorator Publishing
Company
7. Handbook of Painting and Albert Beckly Granada
Decorating Products Publishing Ltd.

CONTENTS

CHAPTER 1. Introduction to Painting and Decorating

Unit 1. Meaning of Pictorial and Decorative Painting
Unit 2. Difference between Pictorial and Decorative Painting
Unit 3. Tools and Equipment in Pictorial and Decorative Painting
Unit 4. Elements and Principles of Design
Unit 5. Functions of Pictorial and Decorative Painting

CHAPTER 2. Components of a Building

CHAPTER 3. Colour Theory
Unit 1. Meaning of Colour
Unit 2. Classes of Colour
(a) Primary
(b) Secondary
(c) Tertiary
Unit 3. Colour Schemes
(a) Hue
(b) Tone
(c) Intensity
Unit 4. Properties of Colour
(a) Analogous
(b) Complementary
(c) Monochrome
Unit 5. Functions of Colour
Unit 6. Improvisation of Colours from local sources
Unit 7. Types of Colour
Unit 8. Types of paint

CHAPTER 4. Techniques in Painting

Unit 1. Techniques in Pictorial Painting
(a) Dry painting
(b) Wet painting
(c) Glazing
(d) Impasto
(e) Fresco
(f) Tempera
Unit 2. Techniques in Decorative Painting
(a) Flat painting
(b) Rag rolling
(c) Scumbling
(d) Spraying
(e) Mural
(f) Mosaic
(g) Combing

CHAPTER 5. Preparing a Surface for Paint

Unit 1. Step-By-Step Process
Unit 2. Stripping and Cleaning Techniques/Equipment

CHAPTER 6. Types and Functions of Pictorial Painting

Unit 1. a) Still life painting
b) Nature painting
c) Figure/Life painting
Unit 2. Difference between Observatory and Imaginative painting compositions
Unit 3. Functions of Pictorial paintings

CHAPTER 7. Types and Functions of Decorative Painting

Unit 1. Body Decoration
(a) Meaning of Body Decoration
(b) Differences between Traditional and Modern Body Decoration
(c) Motifs and Designs for Body Decoration
(d) Materials used for Body Decoration
(e) Functions and Importance of Body Decorations
Unit 2. Wall Decoration
(a) Meaning of Wall/Interior Decoration
(b) Differences between Traditional and Modern Wall Decorations
(c) Motifs, Patterns and Designs for Wall Decoration
(d) Materials used for Wall Decoration
(e) Functions and Importance of Wall Decorations

CHAPTER 8. Perspective
(a) Definition/Meaning of Perspective
(b) Types of Perspective
(c) The Importance of Perspective in Pictorial Painting Composition
(d) Characteristics of Perspective in Art

CHAPTER 9. Prospects in Painting and Decorating

(a) The Socio-Economic value of Pictorial and Decorative Painting
(b) Careers in Pictorial and Decorative Painting
(C) Personal Requirements for a Painter and Decorator
CHAPTER 10. Costing/Marketing of Paintings
Unit 1. Costing of Pictorial and Decorative Painting based on:
(a) Location and Size of Work
(b) Material/Equipment involved
(c) Time invested
(d) Quantity and Quality
Unit 2. Exhibition of Paintings
(a) Planning/Processes
(b) Funding
Unit 3. Marketing of Painting
(a) Pricing
(b) Negotiation
(c) Communication (advertising/publicity)
(d) Outlets for Marketing
(e) Selling

CHAPTER 11. Health and Safety Issues in Painting and Decorating

Services

Unit 1. Health and safety Practices on Site

(a) The employer

(b) The Employee/Worker

(c) The Manufacturer

Unit 2. Personal Protective Equipment (PPE)

Unit 3. Some Personal Protective Equipment and their Uses

Unit 4. Some Paint and Health Issues

CHAPTER 12. Marketing of Art Products

Unit 1. Sources of Funding for Art Business

Unit 2. Outlets for Marketing Art Products

 CHAPTER 1
INTRODUCTION TO PAINTING AND DECORATING
The syllabus is intended to provide the basis for the assessment of candidates’
knowledge and skills in Painting and Decorating. It will also provide the standard for
evaluating the scope of candidates’ understanding on the socio-economic potentials
in Painting and Decorating.
1.1 MEANING OF PICTORIAL AND DECORATIVE PAINTING
Pictorial painting is a type of painting illustrated by pictures, depicting scenes or
objects in natural or artificial forms. This type of painting suggests the visual appeal
of pictures.

Plate 1
Decorative painting is a type of painting that is intended to beautify the
environment by making it neat and attractive. Unlike the Pictorial painting, this type
of painting does not necessarily illustrate an image. It is a representational painting
on an architectural element, structure or an article of applied art. Decorative painting
is important in architecture, where it is used to embellish both the exterior and
interior of a building.
Decorative painting can be applied directly on a wall or some other parts of the
building or executed on a canvas, wood, metal, glass, etc. and later attached to the
wall or ceiling of a building.

Plate 2
1.2 DIFFERENCE BETWEEN PICTORIAL AND DECORATIVE PAINTING
Pictorial painting is mostly an aesthetic artwork that is created to beautify our
spaces. It comprises mostly realistic forms and scenes.
Decorative painting is the art of decorating objects, shapes, abstract arts or any
expressionistic rendition (whether two or three dimensional).
1.3.1 TOOLS AND EQUIPMENT IN PICTORIAL AND DECORATIVE PAINTING
TOOL
A tool is any handy object that can be used by the artist in shaping or applying a
material to a desired shape or form.
The tools are grouped as follows:
(a) Painter’s hand tools (b) Paint containers (c) Paint rollers etc.
EQUIPMENT
An equipment is slightly bigger than a tool. Unlike a tool, an equipment is used in
carrying out bigger tasks such as breaking, lifting weights and heavy materials. The
equipment include (a) Ladder (b) Kiln (c) Potter’s wheel (d) Easel
(a) PAINTER’S HAND TOOLS
i- Brush

Plate 3

a- Handle
b- Stock (Ferrule)
c- Filling (Hair)
Use: Paint application on surfaces.
ii- Stripping Knife
Plate 4

Use: To remove old wallpaper, old paint films or loosely attached deposits.
iii- Filling Knife

Plate 5

Use: To apply filler to open-grain timbers and small holes or shallow indentations in
uneven surfaces.
iv- Palette Knife

Plate 6
Use: For mixing paint both in tins and on palette boards.
v- Stopping Knife

Plate 7

Use: To force putty and hard stopper into small holes and cracks.
vi- Hacking knife

Plate 8

Use: To remove old hard putties before reglazing.

vii- Paint stirrer
Plate 9

Use: To stir paint.

viii- Universal scraper

Plate 10

Use: To remove old paint, varnish or discolouration from timber surfaces.

ix- Hammer

Plate 11
Use: To drive in nails and pins and remove heavy rust scale.
x- Pincher

Plate 12

Use: To remove nails glazing springs.

xi- Nail punch

Plate 13

Use: To punch nail-heads below the surface in woodwork before stopping.

xii- Measuring tape

Plate 14

Use: To measure for estimating.

xiii- Pointing trowel

Plate 15

Use: To make good large cracks and holes.

xiv- Wire brush

Plate 16
Use: To remove corrosion from iron and steel.
To remove loose deposits from surfaces before painting.
xv- Chisel

Plate 17
Use: To remove old putties, in place of a hacking knife and general purpose during
surface
Preparation.
xvi- Paint strainers

Plate 18

Use: To remove dirt and skins from paint and varnish.

xvii- Filling board and hawk

Plate 19

Use: To mix and hold stoppers and fillers before and during application. The hawk is
used to hold plaster or sand and cement when filling in large holes and cracks.

(b) PAINT CONTAINERS

xviii- Paint kettle or Can

Plate 20
Use: To hold a convenient quantity of paint decanted from manufacturer’s container.
xix- Bucket

Plate 21

Use: To hold water, washing solution, paste or water-thinned paints.

xx- Paint tray

Plate 22

Use: To hold paint for roller application, designed to ensure an even take-up of paint.

(c) PAINT ROLLERS

xxi- Cylindrical roller
Plate 23

Use: For paint application.

xxii- Curved roller

Plate 24

Use: For paint application on curvy areas such as pipes, etc.

xxiii- Airless-fed roller

Plate 25
Use: For paint application.

(d) LADDERS
xxiv- Trestle ladder

Plate 26
Use: For work on heights
xxv- Extension ladder

Plate 27

Use: For work on heights.

xxvi- Step ladder
Plate 28

Use: For work on heights

xxvii- Tower scaffold

Plate 29

Use: For comfortable work on heights.

1.3.2 USES OF TOOLS AND EQUIPMENT IN PICTORIAL AND DECORATIVE

PAINTING
The uses of tools and equipment cannot be over emphasized in painting and
decorating. They are objects that the decorator use in shaping or applying the
materials used in executing designs and decorations. However, it is imperative to
note the difference between the tools and the equipment.
Tools
These are the light objects used in shaping or applying materials in painting and
decorating. They include brush, scraper, paint bucket, knife, cutter, filler, screwdriver,
hammer, etc.
Equipment
These are heavy duty objects used in shaping or applying materials in painting and
decorating. They include steam stripper, spraying machine, scaffold, blast cleaner,
etc.
1.4 ELEMENTS AND PRINCIPLES OF DESIGN
ELEMENTS OF DESIGN
These are the tools (building blocks) used in the execution of any art expression.
They include line, shape, form, colour, texture, tone and space. A work of art is
successful when the elements are well organized and applied.

Plate 30

Line
Line is defined as a moving point or series of connected dots. Line is very important
in art as it is used in describing the outline of objects. Like can be straight, curved,
thin, thick, diagonal, vertical, horizontal, wavy/rhythmic, spiral, etc. These lines are
used in the expression of movements and gestures in art.
Plate 31

Shape
Shape is an area bounded by lines in a two dimensional (2-D) art. Examples of this
are the geometric shapes (square, circle, triangle, etc.) The two dimensions are
length and height.
Plate 32

Form
Form is an advanced shape with the introduction of a third dimension (3-D) that
makes the shape appear solid and real. The three dimensions are length, breadth
and height.

Plate 33
Colour
This is defined as the selective reflection or decomposition of white light.
Colour is a sensation perceived with the eyes as the rays of the sunlight falls on
objects. The objects are believed to reflect any of the colours in the spectrum

(Rainbow) thereby absorbing the others.

Plate 34

Texture
Texture is the quality of the surface of an artwork which can be smooth or rough.
This can only be seen not felt in two dimensional arts, but can be felt in a three
dimensional art.

Plate 35

Tone
This is the degree of brightness or darkness of an artwork. It is also known as
“Value”.

Plate 35

Space
Space is very fundamental in any form of art expression. This is because it provides
the platform for the expression in the first place. The platform can be a ground, stage
or plane.

Plate 36

PRINCIPLES OF DESIGN
Principles of design are set of rules than guides the application of the elements of
design in any expression. They assist in ensuring that the expression is meaningful
and accurate. These principles are perspective, proportion, variety,
rhythm/movement, balance, contrast/discord, repetition, dominance/emphasis, and
harmony/unity.
Perspective
Perspective as a principle in design is a visual illusion whereby distant objects
appear smaller than the ones closer, even when they are bigger. In other words, it is
the creation of distance on a flat surface. Perspective is divided into two groups,
namely, Aerial/Atmospheric and Linear/Ground perspective. The former is further
divided into two groups. They are Parallel and Angular perspective.

Plate 36

Proportion
Proportion is the relationship between objects in a composition based on their
position and size. It is critical in art because it presents the overview of an artwork at
a glance.

Plate 37

Variety
This principle of design kills boredom and creates avenues for multiple choice in
design.
Plate 38

Rhythm/Movement
Rhythm/Movement is the systematic repetition of the elements of design such as
lines, colours, shapes, patterns and motifs to achieve an attractive design. It gives a
feeling of movement in a work of art.

Plate 39

Balance
Balance in design refers to the equilibrium between the elements of design in any
creative works. This principle emphasizes stability in design.
Plate 40

Contrast/Discord
This is a partition achieved in design between the main work and its background. A
good contrast between an artwork and its surrounding background makes the work
clearer and more visible. This is easily achieved with colours (especially in graphics
designs).

Plate 41

Repetition
The principle of repetition ensures that the effects (motifs) in a design are repeated
in an orderly manner to produce meaningful patterns.
Plate 42

Dominance/Emphasis
This principle of design is concerned with the projection of certain parts of the
artwork to create a centre of attraction. Viewer’s attention is forcefully drawn to this
area.

Plate 43

Harmony/Unity
Harmony in art is the overall acceptability among the elements of design in an art
expression. It emphasizes the unity of the various components of a design thereby
coordinating their diversity.
Plate 44
1.5 FUNCTIONS OF PICTORIAL AND DECORATIVE PAINTING
Primary Function
It is to display the feelings and expressions of the artist/client.
Secondary Function
This is for personal expression, also for the benefit of the outsiders as a means of
communication.
Physical Function
This involves painting works that prioritize the function of its utility, such as room
decoration.

CHAPTER 2

COMPONENTS OF A BUILDING

A building or house is one of the most fundamental needs for mankind. A building
aims to give shelter along with security to us.

Components of a building are the basic structures that make up a building. They are
basically divided into three, namely: foundation, plinth and superstructure.

1. Foundation

A foundation is the most critical work of building construction. It is the foot/base of a

building that bears the entire structure. The strength of a building depends on its
foundation.

2. Plinth
The plinth is that part between the surrounding ground surface and floor space
immediately above the ground of a building. A good plinth resists entry of rainwater
and insects inside the building. General plinth height is 45, 60, 75, 90, 120 cm.

3. Superstructure

The superstructure is constructed above the ground level. The location between the
underground level and the ground level is known as the plinth. In this structure
(superstructure), walls and rooms are constructed. Also located within this part of the
building are the floor, windows, stairs, lifts, doors, lintel, columns and roof.

Other components of the superstructure includes:

1. Civil/finishing works (plastering, kitchen setup, painting, decorations, etc.)

2. Building services (plumbing, electricity, drainage, etc.)

3. Interior: This is the inside portions of a structure including features such as

colour, form, light, line, pattern, texture, space, etc.

4. Exterior: This is the outside portions of a structure including features such as

walls, roof, attached projections, fence, etc.

2.1 SOME TERMS ASSOCIATED WITH BUILDINGS

1. Facade – The face/front view of a building.

2. Alley – A narrow passageway between buildings.

3. Cornice – Ornamental design round the walls of a room below the ceiling
(outside).

CHAPTER 3

COLOUR THEORY

MEANING OF COLOUR
A hundred years ago, Sir Isaac Newton, the greatest scientist experimented on
colour by letting a beam of sunlight fall on a special kind of transparent glass known
as a prism. He discovered that the white light that came in on one side of the prism
was separated inside the prism and came out on the other side as a kind of rainbow.
Hence, colour is the wave of light separated by different things before reaching our
eyes.
Therefore, colour is simply defined as the decomposition, or selective reflection of
white light.
3.1 CLASSES OF COLOUR
Primary/Basic Colours
These are the Red, Yellow and Blue. They are the first group of colours that cannot
be achieved by mixing other colours.
Secondary Colours
These are set of colours that result from the mixture of two primary colours in equal
proportion. They are Orange, Green and Purple.
Red + Yellow = Orange
Yellow + Blue = Green
Blue + Red = Purple
Tertiary Colours
Tertiary colours are produced by mixing equal amount/quantity of a primary and
secondary colour.
Red + Green = Reddish Green
Yellow + Orange = Yellowish Orange
Blue + Purple = Bluish Purple
Blue + Green = Bluish Green
Yellow + Green = Yellowish Green
Red + Purple = Reddish Purple
3.2 COLOUR SCHEMES
Analogous Colours
These are groups of colours that are next to each other on the colour wheel. The
term analogous refers to having analogy or corresponding to something in particular.
Red, Orange and Red-Orange are a good example.
An analogous colour scheme creates a rich monochromatic look.
Complementary Colours
These are colours that are opposite each other in a colour wheel. They are colours
that show marked differences when placed near each other.
Monochromes
A monochromatic image is composed of one colour. The term monochrome came
from the ancient Greek. It means having one colour. A monochromatic object or
image reflects colours in shades of limited colour/hue.
Harmonious Colours
These are any set of colours that combines harmoniously with which other in a
design.
Neutral Colours
These are not definite colours as the name suggests. They are the effects produced
by light and darkness. Neutral colours are used to form the different shades and tints
of other colours. They are black and white.
3.3 PROPERTIES OF COLOUR
Hue
Hue is another name for colour. It is the quality that distinguishes one colour from
another. Example red from purple; orange from yellow, etc.
Tone
Tone is the quality of brightness and dullness of a particular colour. In other words,
the different shades and tints of one colour.
Intensity
Intensity, also called Chroma or saturation, refers to the purity of a colour. A colour is
at full intensity when not mixed with black or white. You can change the intensity of a
colour by adding any other colour to it.
3.4 FUNCTIONS OF COLOUR
Colours enhance beauty in art.
Colours add value to works of art.
Colours identify or distinguish forms in art.
Colours express emotion/feeling.
As one of the elements of design, colour helps the artist in self-expression.
3.5 IMPROVISATION OF COLOURS FROM LOCAL SOURCES.
Man in his wisdom sourced for natural colours from time immemorial. This stemmed
back to when men lived in the caves. Natural materials and extracts from plants,
animals and earth were used as colours/paint. This is witnessed in some paintings in
caves in Altamira, Spain.
Some common materials used as colours locally are:
Dyes
Animal blood
Fruit juice
Earth
Tempera
Soot
Plant oil
Etc.
3.6 TYPES OF COLOUR
Water
Poster
Acrylic
Oil
3.7 TYPES OF PAINT
Gloss
Synthetic
Primer
Distemper
Enamel
Cement
Reflective
Texture
Bituminous
Acrylic
Emulsion
Etc.

CHAPTER 4
TECHNIQUES IN PAINTING
4.1 TECHNIQUES IN PICTORIAL PAINTING
Dry Painting
Dry painting/brushing is a painting technique in which a paint brush that is relatively
dry, but still holds paint, is used to create a drawing or painting.
Wet Painting
Wet painting/wet-on-wet/alla prima/direct painting is a painting technique in which
layers of wet paint are applied to previously administered layers of wet paint.
Glazing
This is the application of a transparent layer of paint over another thoroughly dried
layer of opaque paint.
Impasto
This is a painting technique through which the painter lays on paint thickly so that it
stands out from a surface.
Fresco
This is a painting done rapidly in watercolour on wet plaster on a wall or ceiling, so
that the colours penetrate the plaster and become fixed as it dries.
Tempera
Tempera is a method of painting with pigments dispersed in an emulsion miscible
with water, typically egg yolk. The method was used in Europe for fine painting,
mainly on wood panels, from the 12th or early 13th century until the 15th, when it
began to give way to oils.

4.2 TECHNIQUES IN DECORATIVE PAINTING

Flat Painting

Flat/Concealer/Matte painting is a non-reflective paint that soak up any light directed

at it.

It is perfect for new constructions, dry wall, ceiling and low-traffic areas like adult
bedrooms and dining rooms. Usually dull not shiny.

It hides imperfections like stains, nail holes, etc.

Rag Rolling

Ragging can be done in variety of patterns, including rag rolling, in which the rags
are twisted together and then rolled over a wet glazed surface creating the illusion of
fabrics such as velvet or silk.

Ragging is also often used as a pattern underneath stencilling.

Scumbling

This is a painting technique in which a layer of broken, speckled, or scratched colour

is added over another colour so that bits of the lower layer(s) of colour show through
the scumbling.
The result gives a sense of depth and colour variation to an area. This will also help
to make the colour a bit more opaque.

Spraying

This is a painting technique where a device sprays a coating (paint, ink, vanish, etc.)
through the air onto a surface. The most common types employ compressed gas -
usually air - to atomize and direct the paint particles.

Mural

A Mural is a piece of artwork painted or applied directly on a wall, ceiling or other

permanent surfaces.

A distinguishing characteristic of mural painting is that the architectural elements of

the given space are harmoniously incorporated in the picture.

Mosaic

This is the decorative art of creating pictures and patterns on a surface by setting
small coloured pieces on glass, marble or other materials in a bed of cement, plaster
or adhesive.

Generally, it is the art of creating pictures using particles of solid/hard materials.

Combing

Combing is a specialty faux finish you can create using contrasting paint colours, a
little glaze and a rubber paint comb, which sweeps away bits of the paint colour,
leaving an interesting pattern in the paint finish.

Some Video References

FLAT https://www.housebeautiful.com/home-remodeling/diy-projects/a28173281/
flat-paint/

RAG ROLLING https://www.youtube.com/watch?v=-VpsD25MXOI

SCUMBLING https://www.youtube.com/watch?v=1Hu_e9v5dwk

SPRAYING https://www.youtube.com/watch?v=v8oOqr1gS14

MURAL https://www.youtube.com/watch?v=j-tuyx9mYPE

MOSAIC https://www.youtube.com/watch?v=6--o7diaRvw

COMBING https://www.youtube.com/watch?v=hFQydfLxd4E
Other techniques in Decorative Painting include:

STENCILING

Stencilling is a technique for producing designs by passing ink or paint over holes cut
in cardboard or metal onto the surface to be decorated. Stencils were known in
China as early as the 8th century. In the 20th century stencils are used for such
diverse purposes as making mimeographs and fine paintings.

Watch link: https://www.youtube.com/watch?v=BUn5dWEZk7s

DRY BRUSHING

Dry brushing is a painting technique in which a paint brush that is relatively dry, but
still holds paint, is used. Load is applied to a dry support such as paper or primed
canvas. The resulting brush strokes have a characteristic scratchy look that lacks the
smooth appearance that washes or blended paint commonly have.

Watch link: https://www.youtube.com/watch?v=aOrqE8u-o_o

LETTERING

Lettering is an umbrella term that covers the art of drawing letters, instead of simply
writing them. Lettering is considered an art form, where each letter in a phrase or
quote acts as an illustration. Each letter is created with attention to detail and has a
unique role within a composition. Letters are basically grouped into two, namely:
Calligraphy/Free-hand or Pen, and Block Letters. The Block letters are also divided
into four. They are, Gothic; Roman; Italics and Script/Black/Text or Old English.

Watch link for Calligraphy/Free-Hand Lettering:

https://www.youtube.com/watch?v=UKUkSWxNJFc

Watch link for Block Letters:

https://www.youtube.com/watch?v=QRqVRREdvE4

SPONGING

Sponge painting is a method of painting that uses a sponge and at least two media
to create a faux (artificial) finish with paint. Sponge painting is a quick way to make
dull interior walls dramatic. Because sponging adds the look of texture and depth to
the walls, this is a good technique for walls that have some irregularities in the finish.
Sponge painting can mask minor flaws, but major wall damage should be remedied
before you start painting.

Watch link: https://www.youtube.com/watch?v=MsecYOpVtoI&gl=NG

MARBLING

Marbling is the process of floating fabric paints on the surface of a thick cellulose
solution (called "size"), somewhat like oil on water. The floating paints are swirled
into patterns. Then you capture your design by laying a treated piece of fabric or
paper down on top of the paint to transfer the swirls to the fabric.

This effects can also be achieved on walls as Wall Decoration using paint and or any
other unconventional tool such as feathers, etc.

Watch li nk: https://www.youtu.be/ekrgY6RdYww

CHAPTER 5

PREPARING A SURFACE FOR PAINT

INTRODUCTION

Preparation is the key to good-looking, long-lasting results. A properly prepared

surface is clean, solid and dry, without cracks and imperfections. Remember, paint
shouldn’t be used to cover holes and cracks.

To paint a room, move all furniture out of the room. If you don’t have much space,
move it to the middle of the room and cover it up with a sheet. Lay down another
sheet to protect the floor and mask all electrical switches.

5.1 STEP-BY-STEP PROCESSES

1. Remove any loose, flaking or powdery paint from previously painted surfaces with
a scraper.

2. Wash all surfaces with soap. That will get rid of any dust, oil and dirt.

3. Patch any cracks and holes with a suitable filler or sealant.

4. Sand down your patches to smooth finish and wipe them clean.

5. For bare surfaces, apply a coat of British Paints PREP 4 in 1 undercoat.

Now your surfaces are perfectly prepped and ready to paint.

FOR PLASTIC SURFACES

 1. Clean the surface of the plastic. Fill a bucket with warm water and a little dish
soap.

2. Sand glossy surfaces. Paint adheres far better to rougher matte surface plastic
than to glossy plastics.

3. Wipe down the plastics with mineral spirits.

4. Spray the first coat of paint.

5. Apply subsequent coats of paint.

FOR METAL SURFACES

To properly prepare new metal surfaces, use mineral spirits to remove grease and
apply a rust-inhibitive primer before painting. For painted surfaces that are in sound
condition, remove dust with a clean, dry cloth, de-gloss the surface with light
sanding, and wipe with mineral spirits to ensure good adhesion.

FOR WALLS

Dust and clean the walls. For most surfaces, use a towel or a vacuum cleaner. When
painting a bathroom or kitchen, wash the walls with a solution of approximately three
teaspoons of laundry detergent to one gallon of water. Scrape any cracked or flaking
paint with a paint scraper. Patch holes and cracks with patching compound. Allow to
dry, then sand smooth.

FOR WOOD

1. Wipe it down with a rag that is moistened with clean fresh water.

2. Fill nail holes, joints and cracks with patching paste.

3. Sand smooth and remove sanding dust with a rag.

4. Prime all bare wood and patched areas with a primer.

5.2 STRIPPING AND CLEANING TECHNIQUES/EQUIPMENT

THE STEAM STRIPPER

There are two types of steam stripper.

(a) Heated by liquefied gas

(b) Electrically heated

They are used to remove/scrape glued paper from surfaces. They leave the walls
clean, smooth and free from bacteria. They assist in the removal of any type of
surface covering from ceiling and walls. Particularly useful for materials which are
difficult to remove by normal soaking.

FLAME CLEANING

This is a very effective method of removing rust from iron and steel before paint is
laid. A flame of extremely high temperature is passed over the surface of the metal.

BLAST CLEANING

Blast cleaning, abrasive cleaning, short-blasting, grit-blasting and abrasive blasting

are all terms used to describe a very efficient operation whereby compressed air is
used to shoot or blast various types of abrasives on to a surface at very high speeds.
The force or impact and the hardness of the abrasive pulverises the rust and
roughens the surface of the material. This is specially used to remove rust from iron
and steel; to clean surfaces such as stone, concrete, etc.

CHAPTER 6
TYPES AND FUNCTIONS OF PICTORIAL PAINTING
INTRODUCTION
Pictorial painting involves the creation of works of art that are two dimensional (2-D)
These works are classified as Fine Art. They are aesthetic arts mostly made for
decoration.
6.1 TYPES OF PICTORIAL PAINTING
STILL LIFE PAINTING
This is the painting of inanimate things/objects such as buildings, cars, furniture, etc.
They are basically man-made objects.
NATURE PAINTING
This is the painting of natural forms that are not man-made. They include the
heavenly bodies, sea or landscape, hills and valleys, etc.
FIGURE/LIFE PAINTING
Figure painting -also known as life painting- is the painting of living things. This
include humans and animals.
6.2 DIFFERENCE BETWEEN OBSERVATORY AND IMAGINATIVE PAINTING
COMPOSITIONS
The difference between these types of painting is clear. Observatory painting
composition is the type of painting in which objects are set before the artist to be
studied and painted.
On the other hand, imaginative painting composition is carried out from memory
when the objects are out of sight.
6.3 FUNCTIONS OF PICTORIAL PAINTINGS
Primary Function
It is to display the feelings and expressions of the artist/client.
Secondary Function
This is for personal expression, also for the benefit of the outsiders as a means of
communication.
Physical Function
This involves painting works that prioritize the function of its utility, such as room
decoration.

CHAPTER 7
TYPES AND FUNCTIONS OF DECORATIVE PAINTING
INTRODUCTION
Like the installation arts, decorative painting deals with the total setup of a space. It
organizes the elements that forms the environment, both interior and exterior.
7.1 BODY DECORATION
MEANING OF BODY DECORATION
Body decoration/art is art made on, with, or consisting of, the human body. It covers
a wide spectrum including tattoos, body piercings, scarification, and body painting.
What is drawn or written on the skin sometimes is more than mere body decorations.
To some it is a mark of honour or status in the community, while to some it is for the
purpose of identity, history, etc.
The different body decorations/art include:
 Tattoo (permanent and temporal)
 Cosmetic tattoo
 Body piercing
 Beading
 Scarification
 Branding
These body decorations can exhibit traditional or modern images.
DIFFERENCES BETWEEN TRADITIONAL AND MODERN BODY DECORATION
Whereas in traditional body decoration some markings are made permanent using
crude means, the modern body decoration is largely characterized by temporary
marking using simple technological tools.
The images/symbols used in traditional body decoration are usually cultural and
natural, unlike the modern body decoration where conventional everyday
images/pictures are used.
MOTIFS AND DESIGNS FOR BODY DECORATION
The following are motifs used in body decoration:
 Floral (flower)
 Traditional
 Geometrical
 Abstract
MATERIALS USED FOR BODY DECORATION
A diversity of materials have been used over the centuries. Natural materials such as
wood, ivory, and bones have always been popular in tribal, religious, and ritual-
ethnic piercings. Others include copper, silver, gold, and iron. Nowadays,
sophisticated hand tools are used in body decorations like piercing and tattooing.
Media used for body decorations range from dyes, clean-up agents, drawing inks,
are popularly used for amateur tattoos.
FUNCTIONS AND IMPORTANCE OF BODY DECORATIONS
Body decorations are often made for the following purposes:
 Expression of identity
 Ritual initiation
 Honour/status in the community
 History
 Aesthetic appeal
 Self-expression

7.2 WALL/INTERIOR DECORATION

MEANING OF WALL/INTERIOR DECORATION

Wall/Interior decoration means the beautification of the walls and spaces within our
buildings, especially during events. This can be achieved using paint, paper, drapes,
etc.

Wall decoration is one of the most important things when it comes to home
decoration and creating a certain ambiance. It not only defines but also decorates
the space and enhances the touch and feel of the room.
A good decoration throws more light on the purpose of the interior/event and the
statue of the inhabitants/people that would be invited.

DIFFERENCE BETWEEN TRADITIONAL AND MODERN WALL DECORATION

Two of the most fundamental interior decors are the Traditional and Modern.
Although it can’t be confused for one another, because there’s a world of difference,
this comparison will give you an elaborate idea as to which design you should go in
for.

Traditional Interior Decor is a design inspired by the 19th century period. That was a
time when comfort and indignity was given the top most priority. It was a time when
emphasis was laid on dark wooden flooring and furniture, and floral patterns.

Modern Interior Decor came about after the 19th century when people started
believing that form should include functionality. In this design, emphasis is laid on a
more minimalist theme, with furniture occupying less space, but with sufficient
storage.

1. Paint your Walls

Traditional interior decor focuses on brightly painted rooms. Paints that grab your
attention the moment you walk in. Bright pastel shades or different hues of a vibrant
colour is what you’re looking for. These bright colours give out a warm and
welcoming look to the entire room.

Since modern interior decor focuses on making the place look neat and spaced out,
subtle, sober shades will work wonders. A light colour scheme will help enhance the
lighting of the room and make the room look bigger.

2. Flooring

Dark wooden flooring is one of the trademarks of the traditional interior decor. It was
predominantly used in the 18th century, hence comes under the traditional decor. It
has a regal appeal to it and helps enrich the entire look.

Light wooden flooring has a modern aspect to it. It has a refined finish and gives out
an aura of the changing times. Light wooden flooring tends to go with all kind of
furniture and doesn’t make things seem to gaudy. This is yet again, another feature
of the modern decor that makes the room look bigger, brighter and spaced out.

3. Fabric for Drapes and Sofas

Floral and multi coloured print is prevalent in traditional interiors. They’re charming
and have an alluring captivity to them. They have a feminine touch to them and give
out a homey feel. But one thing to remember is that, they can get dirty and it’s
difficult to clean them. So, going in for a black or brown based fabric with flowers or
patterns made with a light colour will work wonders. It’ll not only look brilliant and
different, but is also easier to maintain.
Since modern interiors excel in lowering your work, the sofas and curtains will be low
maintenance. Since modern interiors are classically plain, the curtains and the sofa
fabrics are either plain colour or with geometric, symmetric patterns. They will even
out the look of the room and look beautiful.

4. Extra Furniture

If you’re going in for a traditional look, you’re in luck because there are plenty of
beautiful furniture out there. Every piece of furniture from that era is exquisite. Every
piece of furniture will make you look twice. They are all well-crafted and have
intricate patterns on them. Usually they are made of heavy wood and are available in
various hues of brown. Maintaining them isn’t a very difficult task either, all they take
is some dusting from time to time.

Modern furniture focus on functionality just as much as they do on the look. They
usually are chic and neatly spaced out in design. They have ample storage because
of the functionality aspect of the decor, but they aren’t too space consuming either.
They come in various designs and sizes to suit your convenience. These are also
low maintenance because they won’t get dirty easily and are quite durable too.

5. Kitchen

Kitchens in traditional interiors tend to be huge with widely spaced furniture.

Cabinets and drawers can either be neatly polished, made of heavy wood, or a
distressed wood for a different look. Distressed wood may not have been prevalent
among the aristocrats in the 18th century, but they definitely were a part of that
period. The appliances used may not have been a part of that century, but in today’s
world, you cannot do without them. What you could perhaps do is that, you could buy
the appliances following a subtle beige or rust colour scheme. It will melt into the
look of the room and also look excellent.

Modern kitchens bode well with the changing times. They have a symmetrical
accuracy to them and tend to make life easier. They are designed to have a lot of
storage and incorporate the facilities needed to help save time. Cupboard and
shelves are sometime built into the wall to increase space.

6. Wall Hangings and Show Pieces

There are so many antiquities and ornamented hangings for a traditional decor. The
only thing you have to remember while decorating your house is that it should not
look cluttered. They are so beautiful, they tend to grab all the attention. It should be
strategically placed in certain places so that they enhance the room tenfold.

Candles, mirrors and paintings are what are most commonly used in modern interior
decor. They are sleek and beautiful. They stand out and tend to get everyone’s
attention. They aren’t difficult to maintain and are cost efficient too.

MOTIFS, PATTERNS AND DESIGNS FOR WALL DECORATION

Motifs are single units of a design which are repeated severally to form patterns.
When carefully arranged systematically, motifs produce beautiful patterns which
make up adorable designs. These motifs can be floral or geometrical in form. Motifs
for wall decoration can be stencilled, hung, (if they are solid forms like a clock) etc.

For wall/interior decorations, relevant designs are required to make meaningful

expressions. Sometimes the motif can be decorative objects such as framed
pictures, flowers, etc.

MATERIALS USED FOR WALL DECORATION

To successfully decorate a wall/interior, the following are required:

1. Hang a calendar

2. Hang whiteboard or chalkboard

3. Mount a television

4. Use the wall for storage

5. Make a green wall

6. Add a removable wall art

7. Add sculptural sconces

8. Install shelves

9. Paint/mount a mural

10. Hang mirrors

11. Showcase fabric

12. Incorporate an accent wall

13. Create a gallery wall

14. Paint/mount marbles

15. Add wall decals, etc.

FUNCTIONS AND IMPORTANCE OF WALL DECORATION

Designing your interior means adding life to your home or space. It has been known
that a suitable interior design could enhance the wellbeing of a person as well as
improving the functional performance of the body. Let’s take for example certain
coffee shops wherein they invest in their interior so that they may be able to provide
their customers the comfort while enjoying their meals.
Most of the time in interior design, wall art design is treated as the final step in
finishing the interior. This means that wall art should be applied after completely
drying the paint, and the furniture has been placed in their desired places. Choosing
a wall art design must be able to complement the occupant of the house or space.

CHAPTER 8

PERSPECTIVE

DEFINITION/MEANING OF PERSPECTIVE

Defined as the art of creating distance on a flat surface, Perspective is also referred
to as visual illusion whereby distant objects appear smaller and blurred. Perspective
is one of the principles of design/art that gives a three dimensional (3-D) feeling to a
flat image such as a drawing or painting. In art, it is a system of representing the way
that objects appear to get smaller and closer together the farther away they are from
the viewer.

Perspective drawing was developed in the 15th century by the architects, Leon
Baptista Alberti (1404-72) and Filippo Brunelleschi (1377-1446).

8.1 TYPES OF PERSPECTIVE

There are two main elements/types of perspective drawing.

1. AERIAL PERSPECTIVE

Also called Atmospheric Perspective, this deals with the atmospheric effects on
tones and colours.

Aerial perspective creates the illusion of depth, or recession, in a painting or drawing

by modulating colour to simulate changes effected by the atmosphere on the colours
of things seen at a distance.
 Aerial Perspective

2. LINEAR PERSPECTIVE

This deals with the organization of shapes in a space.

Linear perspective is an approximate representation, generally on a flat surface of an

image as it is seen by the eye. The relative size, shape, and position of objects is
determined by drawn or imagined lines converging at a point on the horizon.

Linear Perspective
a) 1-Point Linear Perspective

This type of linear perspective is known as Parallel/Frontal perspective.

In this case the viewer/artist sees objects from both sides (left and right) and all lines
converge at the line of horizon on a single point, known as the vanishing point.

Parallel/1-Point
Linear Perspective

b) 2-Points Linear Perspective

This type of linear perspective is known as Angular perspective.

In this case the viewer/artist looks at an object from an angle that depicts two sides
of the object with all lines converging at the line of horizon on both ends.

Angular/2-
Points Linear Perspective

c) 3-Points Linear Perspective

This type of linear perspective consists of three vanishing points. Two on both sides
as it is with Angular perspective, and one towards the sky.
 3-
Points Linear Perspective

8.2 IMPORTANCE OF PERSPECTIVE IN PICTORIAL AND DECORATIVE

PAINTING

Perspective art is a technique used by artists/decorators in creating a realistic

impression/illusion of depth in designs.

8.3 CHARACTERISTICS OF PERSPECTIVE IN ART

1. Objects reduce in size as they recede away from the observer.

2. Receding lines above the eyes of the observer runs down towards the line of
horizon.

3. Receding lines below the eyes of the observer runs up towards the line of horizon.

4. The intensity of colours on objects fades away due to the increasing presence of
dust, smoke and water vapour between the observer’s eyes and the objects.

5. Looking from a height above the ground, the observer/artist sees the top of
objects more than their sides.

CHAPTER 9

PROSPECTS IN PAINTING AND DECORATING

Every structure and every home will be painted at some point, then painted over and
over again. No new building project is complete without the final contribution from the
finish trades. While most other trades are important contributors, painters will be for
ever painting and maintaining the same structure. That is job security factor.

A painter and decorator could work on a variety of domestic and industrial projects,
ranging from redecorating homes to applying heavy-duty finishes to large structures
like bridges.

On a domestic job, you would use paint, varnishes and wallpaper to decorate rooms
to your customer’s specifications. Your main tasks would include:

 measuring surface areas to work out how much paint or wall covering you
need
 stripping off old wallpaper or paint
 filling holes and cracks and making sure surfaces are level
 preparing surfaces with primer and undercoat
 mixing paint to the right shade, either by hand or using computerised colour-
matching equipment
 applying layers of paint and hanging wallpaper
  tidying up after finishing a job

On some jobs you might apply specialist finishes such as rag rolling, graining and
marbling. You would often work from ladders or raised platforms to reach ceilings.

For industrial projects, such as bridges or ships, you would remove old paintwork
with abrasive blasting methods before applying new coatings using industrial paint
spraying equipment. You would use a cradle or safety harness when working.

9.1 THE SOCIO-ECONOMIC VALUE OF PICTORIAL AND DECORATIVE

PAINTING

Why would anybody want to become a painter? Why should young men or women
even consider employment in the trades? These are both valid questions stemming
from incorrect assumptions that young people have about the trades. Let’s examine
why being a painter or working in trades is a great career choice based on some
undisputable facts.

 Unemployment rates of University and College graduates are high,

 Many graduates that are working, have jobs not related to their field of study.

Learning a trade does not mean that you don’t have what it takes to complete
College or University. It also does not mean that you are greedy or unemployed. You
can be intelligent/employed and still choose to make your living with your hands. In
fact, more and more young men and women end up working in trades after getting
another degree.

The socio-economic value of pictorial and decorative painting to a people or

individuals cannot be overemphasized. They are as follows:

· Jobs creation

· General decoration

· Value addition to homes/commercial buildings

· Preservation of buildings and public structures

· Historical conservation, etc.

9.2 CAREERS IN PICTORIAL AND DECORATIVE PAINTING

After learning the different facets of the trade, some painters decide to become
independent contractors. Starting your own business is always better when you are
familiar with the inner workings of the industry. A field painter will learn customer
relations, production systems, and master the efficient application of coatings.

Running a successful and profitable business can be a good career choice for
painters. Keep in mind that a good technician is not necessarily a good business
operator. Running a business requires financial knowledge, marketing and many
other business skills. A good painter with sufficient business education has a good
chance of running a successful business.

There are other trades and skills that painters can learn to diversify their expertise
and skill level. They include:

1. Interior design

2. Set design

3. Trainer/Supervisor

4. Subcontractor

5. Decorative faux finishing

6. Wall covering

7. Epoxy floor installation, etc.

Sometimes these traders work hand in hand with painters in new constructions.

9.3 PERSONAL REQUIREMENTS FOR A PAINTER AND DECORATOR

1. Able to cope with the physical demands of the job

2. Able to work at heights

3. Enjoy practical work

4. Good hand-eye coordination

5. Normal colour vision

6. Good sense of balance

7. Able to work independently or as part of a team

CHAPTER 10

COSTING/MARKETING OF PAINTING AND DECORATING

SERVICES

INTRODUCTION
Costing/marketing of painting and decorating services is a process through which the
painter/decorator considers his or her general cost in placing a price on services
rendered.

Estimating a painting job can be tough for those new to the painting business. You
don’t want to bid so high that you don’t get the job. Nor do you want to price yourself
so low you don’t make a profit.

Thankfully, if you follow the seven steps below, you will be making profitable,
attractive estimates.

· Do a site visit

· Estimate the cost of paint

· Estimate the cost of materials

· Estimate the cost of labour

· Estimate the cost of marketing

· Apply your mark-up/overhead

· Do the final calculation including profit

10.1 COSTING OF PAINTING AND DECORATING SERVICES BASED ON:

LOCATION AND SIZE OF WORK

In calculating the total cost of a service, some of the most important factors to
consider include location and size of the work. Larger works require more materials
to execute and distance to work place and supplies for the work increases the final
cost of services.

Professionals can quote average prices from their years of experience working with
different materials and sizes of works in different locations.

According to the bureau of labour statistics, 45percent of all painters are self-
employed. The price that painters charge for their services is largely dependent on
their associations and whether the job is completed in the warmer or colder months
(painters charge more in the summer than the winter, given demand and other
factors).

Furthermore, your materials may account for about 15percent of your total cost;
labour will factor into 85percent of your charges.

MATERIALS/EQUIPMENT INVOLVED

The purpose of estimating or coming up with your price is not to win a job. It is to
come up with the correct price. The correct price is a calculated move. It depends on
your variable on the job, your overhead, and your target profit.

Your price should be competitive with the market, but also at a point where you can
make good profit for the hard work you do and excellent work you deliver.

Winning a lot of jobs because you have the lowest price is not a great way to run a
business. Working for dirt cheap is not the goal. You need to focus on your sales
process if you want to win more business. This include advert and excellent delivery.

To develop a competitive and fair estimate you have to determine your variable cost
also. Variable cost are your equipment and material cost for the job. Equipment are
the tools while materials include the paint and supplies you use for the job.

TIME INVESTED

A fresh coat of paint does not just give a home a brand new look. It also provides
protection against pest damage and harsh weather, helps siding last longer,
maintains structural integrity, and increases the resale value of a home. Though
homeowners sometimes take up the jobs themselves in order to save money, you
cannot beat the quality provided by an experienced professional painter. A
professional painting job can increase the beauty of your home and transform a dull
room into a happy one.

The final cost of hiring a painter heavily depends on the time invested for the job.
This is determined by the area they are to cover.

QUANTITY AND QUALITY

The cost of painting and decorating services can be influenced by the quality/value
or quantity of materials used. For instance, when 5metres of a wall is painted using a
particular type of paint, painting another 10metres of the wall will cost higher when
the same paint and technique are applied. Consequently, when two equal types of
paintings are executed using different qualities of paint, the one made with the most
expensive paint will cost higher though they are equal in size.

10.2 ART EXHIBITION

PLANNING/PROCESSES

The following tips are helpful in staging any painting exhibition successfully:

1. Pick the right venue for your exhibition.

2. Display your best works.

3. Pick a captivating theme for your exhibition.

4. Promote and market the exhibition.

5. Put a face to the theme.

6. Test the waters online first.

Display techniques are key to a proper exhibition of any art product. In painting, the
following processes guides the decorator into a successful exhibition:

1. Classification/Categorization

2. Spacing

3. Labelling

4. Lighting

FUNDING

The following are sources through which fund/capital for painting/decorating

business can be raised.

1. Individual Saving

Personal saving over a period of time can be used as start-up capital for art
business.

2. Parents and Relatives

Capital can be gotten as gift from parents/relatives or borrowed to fund proposed art
business.

3. Non-Governmental Organisations (NGOs)

Non-governmental organisations promote arts. Individuals or art clubs can apply for
support from these organisations.

4. Financial Institutions

Capital can be obtained as loan from banks to fund art business.

5. Government

Through government agencies such as National Gallery of Art (NGA), National

Commission for Museums and Monuments (NCMM), Small and Medium Enterprises
(SMEs), National Directorate of Employment (NDE), etc., loans are approved to
artists for business.

10.3 SOME TERMS ASSOCIATED WITH COSTING OF PAINTING AND

DECORATING SERVICES

1. Tender

An estimate submitted to a client.

2. Open Tender

Here, all contractors are invited to submit their tenders.

3. Closed Tender

In a closed tender, only specified contractors are invited.

4. Overhead/Mark-up

This is the cost of running a business, such as non-productive staff salaries, rent and
transport.

5. Preliminary Cost

This is the initial cost of service which changes as new costs are incurred.

6. Net Cost

This is cost of the service rendered minus the cost of overhead.

7. Gross Charge/Cost

This is the entire cost of a service. It is the summation of all charges including profit.

CHAPTER 11

HEALTH AND SAFETY ISSUES IN PAINTING AND DECORATING

SERVICES

11.1 HEALTH AND SAFETY PRACTICES ON SITE

Since the 1920s, government statutes (laws) have existed which stated safe working
conditions for building workers in general, and in some cases, painters and
decorators specifically.

Because these laws tend to take many years to pass through parliament, and
because technology in the industry is developing so rapidly, the specific regulations
which have been introduced are often out of date or redundant in a short time. This
situation prompted the introduction in 1974 of the Health and Safety at Work Act
(HSWA) which made it illegal for any work site to be unsafe, and for any material or
equipment to have unknown hazards. The Act does not identify any specific site
conditions, equipment or materials but directs the onus for site working conditions
onto:
1. The employer;

2. The employee/worker;

3. The manufacturer.

Briefly, the responsibilities for each are:

1. The Employer

(i) Provide information, training and supervision to ensure the health and safety of
the workers.

(ii) Use mats on slippery floors.

(iii) Handle and store combustible materials properly.

(iv) Provide clothes appropriate for tasks.

(v) Clearly label designated hazardous zones.

(vi) Provide first aid training.

(vii) Implement emergency procedures.

(viii) Use mechanical aids for lifting and transportation.

(ix) Service your tools and machinery regularly.

(x) Reduce workplace stress.

(xi) Publish a written safety policy.

2. The Employee/Worker

(i) Take care of own and work-mates’ health and safety.

(ii) Follow the health and safety regulations which apply to the workplace.

(iii) Co-operate with the employer in making areas safe.

(iv) Do not misuse anything provided to make work safe.

3. The Manufacturer

(i) Ensure that products are without risks to health.

(ii) Ensure that products have been fully tested.

(iii) Provide adequate information on the safe use of the products.

11.2 PERSONAL PROTECTIVE EQUIPMENT (PPE)

Personal protective equipment (PPE) refers to any item worn to protect the worker
from injury or infection while working.

The hazards addressed by protective equipment include physical, electrical, heat,

weather, chemical, biohazard and airborne particulate matters.

The purpose of personal protective equipment is to reduce worker exposure to

hazards when engineering and administrative controls are not effective in reducing
risks to bearable levels. PPE is needed when there is hazard. PPE has limitation in
eliminating the hazards at the source, therefore, a worker is exposed to the hazard if
it (PPE) fails.

11.3 SOME PERSONAL PROTECTIVE EQUIPMENT AND THEIR USES

1. Equipment-------------Mask

Organ protected-------Nose

Hazard-----------------Large particles, Non-toxic dust, e.g. paint spray, timber dust

Note--------------------Not safe for use in oxygen-deficient atmospheres

2. Equipment-------------Goggle

Organ protected-------Eyes

Hazard-----------------Flying particles, Liquid splashes, Dust

Note--------------------Insufficient protection against glare or oxyacetylene flame

3. Equipment-------------Helmet
 Organ protected------Head

Hazard----------------Falling objects, Collusion with protrusions, scaffold poles or

fittings

Note-------------------A good helmet has a strap

4. Equipment--------------Gloves

Organ protected-------Hands

Hazard-----------------Abrasion, Sharp objects, Extreme heat, Solvents

Note--------------------Should fit, without holes

5. Equipment-------------Earmuffs

Organ protected------Ears

Hazard----------------Harmful noises at very high level, e.g. explosions, blasting

Note------------------Should be issued only after sound intensity has been measured

and correct type of protection specified
6. Equipment-------------Boots

Organ protected-------Feet

Hazard-----------------Dropping of heavy objects, Stepping on sharp objects

Note-------------------The soles should support friction

7. Equipment-------------Overall

Organ protected-------Body

Hazard-----------------Spills, Stains, Weather

Note--------------------Cloth should fit and cover well

8. Equipment-------------Strap belt

Organ protected-------Worker

Hazard-----------------Falling
 Note--------------------A must have while working on heights

11.4 SOME PAINT AND HEALTH ISSUES

A painter applies paint and other decorative finishes to the interiors and exterior
surfaces of buildings and other structures. Some of the main duties of a painter are
to:

1. Prepare surfaces to be painted (including removal of wallpaper, scraping,

etc.).

2. Determine what material will be needed.

3. Use, clean and maintain various equipment.

4. Supervise apprentices or other workers.

5. Provide estimates and invoices for clients.

Painters can work at a variety of places like homes, construction sites, etc. and face
a constantly challenging set of hazards. The hazards include:

1. Working at heights on ladders, platforms, and scaffolds with attendant risks of

falls.

3. Working in confined spaces.

4. Risk of eye injury.

5. Slips, trips and falls.

6. Risk of injury from falling objects.

7. Exposure to bird and rodent droppings.

8. Exposure to moulds, fungi and bacteria.

9. Exposure to paint products, solvents and other toxic chemicals.

10. Proximity to flammable or combustible materials.

11. Working in awkward positions or performing repetitive physical tasks.

12. Standing for a long period of time.

13. Lifting heavy objects.

14. Exposure to heat and ultraviolet radiation.

15. Exposure to noise with risk of resultant hearing loss.

16. Stress and increased risk of injury and disease from shift work or extended work
days.

17. Electrical hazards from working close to live electrical power lines or equipment.

18. Toxic effects to multiple organ systems including Neuropathy, Cardiac/Kidney

injury, Lung Cancer, Leukaemia, Lymphoma, multiple Myeloma and other
Cancers.

The International Agency for Research on Cancer (IARC) classified painting as a

Carcinogenic occupation.

CHAPTER 12

MARKETING OF ART PRODUCTS

Marketing of paintings and art products in general involves series of activities that
are vital to the success of the artist. These activities include funding, marketing and
accurate pricing.

12.1 SOURCES OF FUNDING FOR ART BUSINESS

The following are sources through which capital for art business can be raised.

1. Individual Saving

Personal saving over a period of time can be used as start-up capital for art
business.

2. Parents and Relatives

Capital can be gotten as gift from parents/relatives or borrowed to fund proposed art
business.

3. Non-Governmental Organisations (NGOs)

Non-governmental organisations promote arts. Individuals or art clubs can apply for
support from these organisations.

4. Financial Institutions

Capital can be obtained as loan from banks to fund art business.

5. Government
Through government agencies such as National Gallery of Art (NGA), National
Commission for Museums and Monuments (NCMM), Small and Medium Enterprises
(SMEs), National Directorate of Employment (NDE), etc., loans are approved to
artists for business.

12.2 OUTLETS FOR MARKETING ART PRODUCTS

There are varieties of outlets for the sale of art products. The outlets include Hotels,
Museums, Trade Fairs, Galleries, Super Markets, Festivals, etc.

1. Hotels

Visitors buy artworks displayed in hotel receptions as souvenirs for their loved ones
back home.

2. Museums/Galleries

Galleries of art are places where artists use to showcase their works for the public.
Art lovers visit galleries of art to buy good artworks.

Although artworks displayed in museums are not for sale, some museums provide a
shop within the facility where artworks are sold.

3. Trade Fairs

During trade fairs individuals and companies display their products for sale. Trade
fairs are good avenues that can be used by artists to sale their products.

4. Super Markets

A section of a super market can be used for the display of artworks such as crafts
and customized gift items.

5. Festivals

The National Festivals for Arts and Culture (NAFEST) and some other cultural
festivals such as Ofala festival, Argungu fishing festival, Osun festival, etc., can be
used for the marketing of artworks.

6. Art Exhibition

Whether through solo (one-man) or group exhibition, artists display their creative
works to their admirers for sale.

PAST WAEC EXAMINATION QUESTIONS

2019
1. The component parts of a painter’s
brush are

a) handle, stock setting and filling.

b) handle, stock, filling and sash.

c) flag, handle and setting. 5. A range of colours without hue is

d) setting handle and filling a) advancing colours.

b) contrasting colours.

2. The best brush for painting a c) achromatic colours.

window frame is
d) discordant colours.
a) distemper brush.

b) flogger.
6. A combination of three or more
c) sash brush. colours sharing a basic colour, placed
side by side on a colour wheel is
d) roller.
a) discordant colours.

b) split complementary.
3. A good effect in textured paint is
best achieved with a c) contrasting harmony.

a) mop brush. d) harmonious colours.

b) patterned roller.

c) varnish brush. 7. Figure 1 below is used to determine

d) curved roller. XXX

Figure 1

4. The best tool for painting a ceiling a) bevelled line.

corner is
b) vertical line.
a) brush.
c) wavy line.
b) fitch.
d) curved line.
c) spray gun

d) metal spatula.
8. When two primary colours are 12. The imitation of wood grains in
mixed together, the result is graining technique can be achieved
through technical
a) tertiary colour.
a) proficiency.
b) secondary colour.
b) interest.
c) analogous colour.
c) improvement.
d) complementary colour.
d) qualification.

9. The process of abrading an old

painted surface prior to painting is 13. mural painting is best done on a

a) flatting. a) glass.

b) floating. b) door.

c) flatting down. c) wall.

d) flint down. d) plastic.

10. The spreading capacity of paint 14. The sponging effect in a broken-
materials is measured in colour technique is achieved by using

a) m/litre. a) paper.

b) m2/litre. b) foam.

c) mm2/litre. c) brush.

d) m3/litre. d) roller.

11. The item not covered in the 15. The technique in spray painting
material cost is the that accommodates several coats of
paint at interval is
a) material supplied by distributor.
a) overlapping.
b) material cost subject to variation.
b) over spray.
c) current price lists available.
c) wet-on-wet.
d) position of job stipulated.
d) airless spray.
16. The process in decorate painting c) plier.
involving the use of a thick-bodied
paint is d) hawk.

a) mosaic. 20. The application of glaze coat over

a finished work is to
b) marbling.
a) increase roughness.
c) mural.
b) obliterate decorative work.
d) scumbling.
c) enhance its beauty.

d) enhance porosity.
17. The process of coating using an
atomized paint directly on a surface is

a) flow coating. 21. Which of the following is a

vocational career in painting and
b) spray painting. decorating trade?

c) plain painting. a) Fabricating work

d) curtain coating. b) Screeding work

c) Wall hanging work

18. The preparation required for a d) Welding work

surface is determined by the

a) cost of materials.
22. A whitish appearance on the
b) background of the surface. surface of enamel is

c) tools required. a) discolouration.

d) operative qualification. b) blooming.

c) sagging.

19. Figure 2 is a d)saponification.

XXX

Figure 2 23. Over thinning of gloss paint results

into
a) scrapper.
a) orange peel.
b) trowel.
b) blowing.
c) loss of sheen. b) respirator.

d) shrinkage. c) safety boot.

d) safety helmet.

24. In glass glazing, clearance is 28. Figure 3 below is a warning sign

allowed for for

a) expansion and contraction of the XXX

substrate.
Figure 3
b) weight of the substrate.
a) flammable material.
c) colour of the substrate.
b) fragile object.
d) type of substrate used.
c) muster point.

d) electric hazard.
25. The correct other of painting a
room is

a) wall before ceiling. 29. While using caustic paint remover,

an operative must wear
b) windows before wall.
a) helmet.
c) ceiling before wall.
b) gloves.
d) door before wall.
c) goggles.

d) respirator.
26. The occupational vocation that
painting and decorating belongs to is

a) mechanical. 30. The actual cost of labour and

materials before the addition of
b) building. overheads and profit is

c) electrical. a) net profit.

d) pharmaceutical. b) net pay.

c) prime cost.

27. The precaution to be taken when d) schedule of rates.

chipping rusted steel is to wear

a) goggle.
31. The estimate submitted to a client c) 30 hours.
when only a specified contractor is
invited is d) 40 hours.

a) invitation tender. 35. The area of a circular surface

requiring paint application can be
b) open tender. calculated using

c) closed tender. a)

d) wanted tender. b)

c)

32. Figure 4 below represents d)

XXX

Figure 4 36. The basic principle of lifting heavy

objects is to
a) electric hazard.
a) grip load as lightly as possible.
b) fire exit.
b) keep the back straight.
c) first aid.
c) restrict work to short spell.
d) flammable material.
d) wear gloves to lift weight.

33. The labour constant for an

operative is measured in 37. Calculate the period it will take a
spray painter in coating 20 panels if 2
a) mm/day. of it is sprayed in 2 hours 30 minutes.

b) mm2/hour. a) 4 hours

c) m/day. b) 6 hours

d) m2/hour. c) 8 hours

d) 12 hours

34. The total area of a hall is 2400 m2.

How long will it take to coat it if an
operative covers 120m2 per hour? 38. Which of the following is a source
of natural light?
a) 10 hours.
a) Tungsten
b) 20 hours.
b) Fluorescent

c) Sunlight

d) Halogen

39. In job costing, which of the

following is not included in the
preliminaries?

a) A list of general clauses

b) Standard specification

c) Quality of workmanship

d) Condition of the surface

40. Which of the following is not

included in job specification?

a) Blue print

b) Preparatory

c) Job heading

d) Accepted estimate

2022

XXX

Figure 1

1. What is the name of the roller in b) Felt roller

Figure 1 above?
c) Fountain roller
a) Seam roller
d) Cylinder roller
 d) two-hot brush.

2. Sanding sponge, scrapping knife 6. A limitation on the use of the

and nylon bristle brush are tools for infrared paint removal is that, it
surface
a) is suitable for only indoor use.
a) preparation.
b) cannot be used on exterior
b) painting. surfaces.

c) priming. c) strips paint completely at low

temperature.
d) varnishing.
d) is not suitable for removing paint
from metal

3. To prime a new metal surface for

decoration, it must be
7. To propose a colour wheel to a
a) oiled. client, the painter requires a colour

b) washed. a) chart.

c) degreased. b) wheel.

d) smoothened. c) book.

d) rough.

4. Pencil brush is suitable for writing

serif lettering because of its
8. The standard colour for emergency
a) pointed fillings. sign exit is

b) curved fillings. a) red and blue.

c) flat fillings. b) green and white.

d) bevelled fillings. c) blue and yellow.

d) yellow and white.

5. Removing brush marks from a

newly painted surface requires a
9. A hue can be shaded by the
a) wire brush. addition of

b) dusting brush. a) white.

c) stippling brush. b) black.

c) orange. c) hold with adhesive.

d) yellow. d) use headless pins.

10. Monochrome is adding 14. Scumbling with a thick paint layer

results in
a) complementary colour.
a) antiquing.
b) tertiary colour.
b) brush mark.
c) neutral colour.
c) cracking.
d) secondary colour.
d) combing.

11. The mixture of white and black will

produce 15. Which of the following techniques
is best used to depict the sky?
a) grey.
a) Sponging
b) violet.
b) Combing
c) purple.
c) Rag rolling
d) blue.
d) Spattering

12. Veining is a technique in

16. Oil scumble is a mixture of
a) sponging.
a) linseed oil, glycerine, fuller’s earth
b) marbling. and driers.

c) scumbling. b) linseed oil, glycerine, turps and

driers.
d) spattering.
c) acrylic, linseed oil, glycerine and
driers.

13. To hold a stencil design in place, d) fuller’s earth, acrylic lacquer, turps
you need to and driers.

a) use smooth and sweeping motions.

b) ensure that the surface moves. 17. Brushing a thin, transparent, paint
coat over an area of dry ground coat is
a) flat paint. 21. The importance of masking in
spray painting is to
b) glazing.
a) create a pattern during painting.
c) opaque.
b) bring out texture during painting.
d) plain painting.
c) prevent the paint from dripping.

d) isolate a particular area from paint.

18. In rag rolling, the base is

a) ragged immediately after

application. 22. The method of applying glaze over
a ground colour and revealing it with
b) allowed to dry at least for twenty an absorbent material is
four hours.
a) rag rolling.
c) allowed to stay for at least one hour.
b) plain painting.
d) ragged after two hours.
c) egg shell painting,

d) matt painting.
19. Scumble is best used on a

a) wet surface.
23. The technique of spraying paint
b) leather surface. through a tiny hole is

c) dry surface. a) conventional spraying.

d) thin surface. b) suction feed spraying.

c) airless spraying.

20. To achieve excellent results in d) gravity feed spaying.

spraying

a) point the spray gun while spraying.

24. The failure to clean a spray gun air
b) pull the trigger before spraying. cap causes

c) get close to the object. a) over spraying.

d) allow fan spray to overlap. b) even spraying.

c) tip clogging.

d) over lapping.
 d) oxidation.

25. The appropriate design for the

floor of a swimming pool is
29. Which of the following is not a part
a) splatter. of painting and decorating?

b) matt finish. a) Wallpapering

c) marbling. b) Signwriting

d) mosaic. c) Glazing

d) Furniture making

26. The actual amount of air supplied

to the spray gun is
30. Tying-off is a safety factor to be
a) displacement. considered when using

b) gravity. a) spray gun.

c) bleeding. b) sponge rollers.

d) pressure. c) scaffolds.

d) blow lamp.

27. The material that facilitate the

hardness of paint is the
31. First aid box in the workshop
a) extender. should be kept

b) thinner. a) in an accessible place to all

operatives.
c) pigment.
b) out of reach to all operatives.
d) plasticiser.
c) in a place where the general
manager can see it.

28. Hardening of oil paint due to over d) in the administrative office.

exposure to air is termed

a) evaporation.
32. The common cause of fire in a
b) non-convertible. workshop is

c) polymer. a) sparking.
b) spraying. d) White lead

c) greasing.

d) melting. 36. A substance that has a property to

obliterate the underneath colour is

a) drier.
Use Figure 2 below to answer
questions 33 to 34. b) film-former.

XXX c) pigment.

Figure 2 d) thinner.

33. Figure 2 above represents

a) sock. 37. Which of the following is a liquid oil

paint drier?
b) cloak.
a) Plasticizer
c) apron.
b) Terebine
d) gloves.
c) Xylol

d) Propylene glycol
34. The image in Figure 2 is best
used for

a) preventing cold. 38. Quick drying elastic finishes which

are resistant to cracking are.
b) protecting the hand from skin
damage. a) cement paint.

c) decorating the hand. b) masonry paint.

d) mixing paint. c) gloss paint.

d) water-based paint.

35. Which of the following primers will

be suitable on a rusty metal treated
with flame cleaning? 39. Which of the following is not a
property of paint?
a) Red lead
a) Flow
b) Calcium plumbate
b) Durability
c) Aluminium paint
c) Opacity 2. C 12. D 22. C 32. C

d) Ductility 3. C 13. D 23. B 33. C

4. C 14. C 24. B 34. C

40. The formular for calculating the 5. A 15. A 25. D 35. C

area of a building to be painted is
6. C 16. D 26. D 36. A
2
a) ½ base x height m .
7. B 17. B 27. B 37. C
2
b) (L + B x H) 2m .s
8. A 18. A 28. C 38. C
c) 2(L + B) Hm2.
9. B 19. B 29. A 39. B
d) (L x B) 2m2.
10. D 20. C 30. A 40. B

ANSWERS

2022
2019
1. D 11. A 21. D 31. A
1. A 11. D 21. A 31. C
2. A 12. B 22. A 32. A
2. C 12. A 22. A 32. C
3. C 13. C 23. A 33. D
3. B 13. C 23. C 33. D
4. A 14. B 24. C 34. B
4. B 14. B 24. 34. B
5. C 15. C 25. C 35. A
5. C 15. A 25. C 35. A
6. A 16. C 26. D 36. D
6. D 16. D 26. B 36. B
7. A 17. B 27. D 37. C
7. A 17. B 27. A 37. C
8. B 18. B 28. D 38. C
8. B 18. B 28. A 38. C
9. B 19. C 29. D 39. D
9. C 19. B 29. B 39. A
10. C 20. D 30. C 40. D
10. B 20. C 30. C 40. C

2021

1. B 11. A 21. B 31. D

.