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Here is an intelligent introduction to painting and decorating, written in 1913 by Walter Pearce – London, England (public domain)
When we embrace the idea of traditional values, it is because of intelligent perspectives about a craft like this.
Introduction
The practical operations involved in painting and decorating must be based upon sound theoretical knowledge, otherwise they are invariably unsuccessful. Sound theories in their turn, must have a basis of definite and clearly understood facts. Hence,, the student, when he has acquired theoretical knowledge, must further cultivate the ability to correctly appreciate the postulates, or existing facts and conditions of each particular field of operation, in order to attain practical success. In other words, like the surgeon, he must first diagnose his case, then apply his theoretical knowledge to it, and finally operate.
In no other realm of mechanical labor is this method more obviously necessary than in painting, because in no other class of work are there more ever-varying conditions. Each particular class of work has its own requirements and surroundings, and, beyond this, each individual case will vary materially from the same kind of case elsewhere.
One of the main factors in the decadence of good craftsmanship in the trade has been the lack of this perception of what is requisite, and the adoption of a striving for superficial and often unnatural effect, embodied under the phrase “what looks well”. The wholesale provision of manufactured decorations, designed and coloured for anywhere in general and nowhere in particular, has fostered this spirit of lazy acceptance, and dwarfed the faculty of critical perception of what is suitable for given positions and uses. Exquisite and well designed as are the decorations supplied by many art manufacturers, even work admitting of so much individuality as do many of the stenciled friezes, becomes hackneyed by repetition. Such decorations as these are frequently out of character and out of harmony with the surroundings in which they are placed. The insinuating charm of work possessing in some part individual hand labor makes this class of decoration a dangerous obstruction to improvement in the quality of work designed and executed in situ. It is not enough that the general style and scale of a frieze or a ceiling shall accord with its associated decoration, but the repeats, the angles, and the whole setting out of the ornament ought to be determined upon the spot. The habit of working to a ready-made specification drawn up by persons devoid of knowledge of the chemical and technical aspects of the craft, has also done much to discourage the practical interest of the craftsman in his operations. This has removed from him any responsibility for the technical failures, and set up that destructive standard of comparison, cheapness, which is another foe to thoroughness and good workmanship. Nothing, on the other hand, is more helpful than an intelligently drawn specification from a man who understands the capabilities and peculiarities of the materials and the craft. Such a specification, in the hands of one who can detect any attempts to go behind it, is in every way conducive to the elevation of the trade.
In order to arrive at a correct appreciation of the position, and to use theoretical knowledge to the best advantage, the question that first demands settlement is the all-important and common-place one – What is the precise object to be attained in the case to be dealt with? Success, as has been pointed out, depends upon the shrewdness with which we completely survey the position and sum up the postulates. A man may be a very dictionary of recipes and processes but unless he commences in this way he will certainly fail as a decorator. The principle which in criticism will be applied to all our work is the question – Does it fulfill its primary object? If it fails in this, it fails in everything, for no amount of technique or elaboration or costly material will compensate for the lack of fitness for purpose.
First, then, what is the end generally to be attained?
A compliance with the hard matter of fact laws of utility is inseparable from good taste and sound craftsmanship. Beauty is so inextricably bound up with the fitness, especially in relation to arrangements of form and colour, that we may almost assent to the proposition that in this connection, abstract beauty cannot be considered to exist at all. The “beautiful’ is determined by more or less fixed rules based upon fitness; it admits of no excess and no deficit. It must comprehend due proportion and purposeful distribution of parts. Incongruity of association must be absent, the sensation it should give is one of satisfied complacency and sufficiency and precise suitability. A feeling of extravagance, superabundance, redundancy, or waste destroys this impression. It cannot certainly exist conjointly with any lack of fitness either in material, form, or colour.
In the division of mechanical work the same rules apply. The excellence of work is in a large measure dependent on its efficiency in fulfilling the purpose for which it was executed. What would be an excellent finish for one class of work would show bad judgment and ignorance if used for some other position. Utilitarian considerations are of relatively greater weight with the average Briton than purely aesthetic considerations, and whilst the endeavor of the decorative house painter should always be to cultivate and forward persuading the householder to be less chary of spending his money for the purpose of making his home and surroundings well-preserved, tasteful, cleanly, beautiful, and refined.
The question of colour deserves far more consideration than the average house painter gives to it. When we consider thoughtfully the very large quantity of external painting that is done yearly, and the lamentably tawdry, muddy, or dirty results, and contrast these with what might be done by the same amount of labour and material in the hands of a good colourist working in accord with a common well-defined scheme, we are astounded at the supineness of those in authority, whose tastes are supposed to be cultivated. We almost pine for compulsory legislation on the subject. Take, for instance, the west-end of London, where acres, yea miles, of frontage are painted annually, and practically the whole triennially. Just imagine a standard three or four colours made compulsory for outdoor work for a period of five years and what a different scene the place would present! Our cities, instead of reflecting the dirt and smoke in the colouring of the walls and roofs, might be cheery and even elevating to the senses.
Is there some weighty element that makes for the universal sadness and badness? We believe there is, and it is in great measure due to a total misconception. Ninety percent of persons appear to think that the one desideratum in a paint is that it “won’t show the dirt”. This is quite desirable, but when the desideratum is obtained by using “dirt colour”, it evidences a lack of thought and a failure to appreciate the value of colour. In however dirty an atmosphere they may be placed, clean looking tints will look cleaner than the dirty sombre ones: and under the ordinary deposits of soot and dust, bright colours will have a generally cleaner and brighter appearance than greys and drabs. Yellows, blues, and reds, when bright in hue, will actually be improved and toned by the accumulation of a normal quantity of dust. These facts should be borne in mind, and no opportunity allowed to pass unimproved when the surroundings of our life may be cheered and brightened by a little of one of God’s best gifts to man, “colour”.
On the philosophy of house painting:
House painting is undertaken for three principle reasons:
The first is for preservation
The second for cleanliness.
The third for beautification.
General, – These three principle reasons are placed in the above order, because the quality of cleanliness is of greater importance to the community than that of beauty; and further because the first necessity provides the reason for the very existence of the craft. In addition to these reasons, the fact is also apparent, that it is not possible to have a complete an true beauty if the first two qualities are absent.
These three principle requirements may be termed the general reasons why house painting as a craft is a necessity of modern life. They must be kept fully in view and given due and relative prominence when determining what is to be done and how we will do it.
Health and art have been said to be twin sisters, and in the old English sense, science meant knowing what to do and art expressed the act of doing what science dictated as necessary and right. Thus, health, science and art are inseparably intermixed; each makes for each. It is the artistic surroundings that induce health; it is health that produces the perfect man; and the perfect man physically is the perfect man aesthetically. The separation of art and work is quite a latter-day innovation, the two being really indissoluble. As has been pointed out, art means the act of doing work, provided the doing is scientific, right and true.
Again, science is exactness, viz., truth; thus we see that truth must be in work to ennoble it into art; art work, therefore is true work. It is interesting to note how in old times this idea was firmly rooted in the mind of the people. In the Bible, as in many other old books, the idea of a connection between truth and beauty is constantly met with. Take the phrase “beauty of holiness”, or wholeness – viz., freedom from moral imperfection or inaccuracy, and many other instances of similar kind; everywhere the relation between truth and beauty is insisted upon.
Special. – Next to these general reasons, there are more special and particular reasons which apply to each separate part of the work, and which will be found to vary with each particular set of circumstances surrounding the work. These particular reasons are of no less importance and must be looked for, discovered, and considered, if the craftsman desires to have the credit of being a sensible and successful workman. For instance, there are the following; –
Some parts of the work will have much wear and tear; Others will have none.
Some will be exposed to weather;
Some will be in protected situations;
Some will be seen by daylight only;
Some will be seen by indoor lighting;
Some will be seen by both indoor and outdoor lighting;
Some will need constant cleaning; Some will be out of reach and therefore, difficult to clean;
Business premises must look smart and attractive
Signboards must compel attention.
Some rooms must be quiet and unassertive.
Some work will be for places of amusement and gaiety;
Some for places of gravity and seriousness.
In different business houses the class of goods shown must be considered.
In public places the class of frequenters must be taken into account.
Architectural features may need emphasizing;
Other features may require disguising.
Personal idiosyncrasies of clients need respecting and a host of other special requirements need taking into account.
All of these it may be noted, are points altogether apart from workmanship or technique, and are often overlooked by good craftsmen, but no amount of good detail or workmanship is a substitute for the proper and due recognition of them. The failure to appreciate their importance will lead to error, misconception, and dissatisfaction.
* the emphasis on dirt and cleanliness is because coal was the main heat source at the time, which made the air filthy with soot.