Primers can be solvent- or water-based. Outdoors, use the former (plus a solventbased undercoat); indoors, you can use either, but water-based primer dries more quickly. If in any doubt as to which primer goes with which undercoat, consult your local supplier. Other primers include:

• stabilising primer, for hardboard which is very porous
• wood primer, for wood that’s been treated with a preservative, and for hardwoods.

Getting ready to paint

Ideally, before painting doors and windows you should remove all the ‘furniture’ — handles, fingerplates, keyholes, hooks etc — so you can move the brush freely without interruption. You should also take time to read the manufacturer’s instructions on the can.

If, for example, they tell you to stir the paint, then stir it for this is the only way of distributing the particles which have settled. If you open a can of non-drip paint and find a layer of solvent on the top, you should stir it in, then leave it to become jelly-like again before painting. All your brushes should be dry — this is something to remember if you are painting over several days and have put them to soak overnight in white spirit or a proprietary brush cleaner. If you don’t get rid of all the traces of the liquid it will mess up your paintwork.

They should be rinsed, then brushed on newspaper till the strokes leave no sign. Cleaning up When you’ve finished painting clean your brushes thoroughly, concentrating on the roots where paint accumulates and will harden. They should be hung up, bristles down, till dry, then wrapped in aluminium foil for storage. Don’t ever store them damp for they can be ruined by mildew.

If there’s only a small amount of paint left, you can either decant it for storage into a dark glass screw-topped jar so you can use it to touch up damaged spots — it’s important to choose a suitable sized jar so there’s very little air space. Air and dust are both potential paint spoilers and there are two ways to keep them out if you’re storing the can. Either put a circle of aluminium foil over the paint surface before putting the lid on securely, or — and this is the best way if the lid is distorted — put on the lid and then invert the can to spread the paint round the inner rim to form an airtight seal. Set it back the right way for storage. If despite these safeguards a skin forms on the paint (usually over months of storage) you have to cut round the edge of it with a sharp knife and carefully lift it off.

The best brushes have a generous filling of long bristles and are an even, tapered shape.

Cheaper brushes have short, thin bristles and big wooden filler strips to pack them out.

The ideal sizes for wood are:
• 25mm (1 in) or 50mm (2in) for panel doors, skirtings
• 50mm (2in) or 75mm (3in) for flush doors, skirting, large areas
• 25mm (1 in) cutting-in brush for window glazing bars
• 12mm (Vfein), 25mm (1 in) or cheap paintbox brush for spot priming, applying knotting

Alternative to brushes

Paint pads are more widely used on walls than on woodwork, but the crevice or sash paint pad will do the same job as a cuttingin brush. It should be cleaned with white spirit or hot water and washing-up liquid (paint solvents might dissolve the adhesive between the mohair pile and foam).

TIP: PREPARING A BRUSH

Before using a new (or stored) brush work the bristles against the palm of your hand to remove dust and loose hairs.

Large areas in all cases coverage per litre depends on the wood’s porosity and the painter’s technique:

Wood primer 9-15 sq metres (95-160 sq ft)

Primer 16 sq metres (170 sq ft)

Primer/undercoat 11 sq metres (120 sq ft)

Undercoat 11 sq metres (120 sq ft) Runny gloss or satin 17 sq metres (180 sqft)

Non-drip gloss or satin 13 sq metres (140 sq ft)

Runny emulsions 15 sq metres (160 sq ft) Non-drip emulsions 12 sq metres (130 sq ft)

Small areas – add up all the lengths of wood to be painted.

One sq metre is equivalent to:
• 16m (52 ft) of glazing bars
• 10-13m (33-43 ft) of window frame
• 6m (20 ft) of sill
• 10m (33 ft) of narrow skirting
• 3-6m (10-20 ft) of deep skirting

Painting small areas

These tend to be the fiddly woodwork on windows, around doors and lengths of stairs or skirting boards — and the hardest bit about all of them is working out how much paint you’ll need . Special shaped or narrow brushes can make painting these areas easier — for example, they prevent you ‘straddling’ angles in wood (like you find on mouldings) which damages the bristles in the middle of the brush.

With windows and panelled doors you should also follow an order of working to avoid causing overlap marks on the parts you’ve already painted. Fiddly or not, they are the jobs you have to do first if you are putting up wallcoverings (if you’re painting a room, the walls should be done before the woodwork) so that the drops can be placed against finished edges. If you want to touch up the paint without changing the wallpaper, it’s best to use a paint shield.

Painting and decorating large areas

Though the same principle applies to wood as it does to any other large surface area — ie, you divide it into manageable sections and complete one before moving on to another — if you’re using an oil-based gloss paint you have to make sure that the completed area hasn’t dried to such an extent that you cannot blend in the new. On the rare occasion that you might want to paint a whole wall of wood you should make the section no wider than a couple of brush widths and work from ceiling to floor.

With emulsions there isn’t the same problem for although they are quick drying the nature of the paint is such that brush marks don’t show. You might think that a wide brush is the best for a large area but the constant flexing action of the wrist in moving the brush up and down will tire you out fast. Holding a brush is an art in itself and aches are the first indication that you’re doing it wrongly.

A thin brush should be held by the handle like a pencil, while a wider brush should be held with the fingers and thumb gripping the brush just above the bristles. You’ll find a variety of paint brushes on sale — some are designed to be ‘throwaway’ (good if you only have one or two jobs to do), others will stand you in good stead for years. But remember before using a new brush to brush the bristles back and forth against the palm of your hand — this is called ‘flirting’ and will dislodge any dust or loose hairs that could spoil your paintwork.

It is wise to decant the paint to save you moving a heavy can from place to place — a paint kettle which resembles a small bucket is made for the purpose. Plastic ones are easier to keep clean than metal ones. Never be tempted to dip the bristles too far into the paint and always scrape off excess from both sides. Paint has the habit of building up inside the brush and if this happens on overhead work, you risk it running down the handle and onto your arm.

Painters and Decorators, London

London painting and decorating company

The painting and decorating services we offer in London area include: interior painting, exterior painting, domestic and commercial properties. Houses, Flats, Shops, Offices, Hotels. We provide a wide range of painting and decorating services,from single room jobs to renovating entire properties and we cover the Greater London area.

Fillers for painting & decorating

Cellulose fillers: these are based on plaster with added cellulose resins to improve flexibility, adhesion and reduce drying time.
• remains workable for up to 1 hour
• it will shrink, so cracks should be overfilled and sanded back
• expensive to use in large quantities
• dries white.

Ready-mixed fillers: like ordinary cellulose fillers, but with added ingredients to improve performance and sold in plastic tubs.
• quick-drying in thin layers (thick layers may take up to 24 hours)
• less likely to shrink or slump
• waterproof, so can be used in wet areas or outdoors
• relatively expensive to use in large quantities

Plaster: this is made from gypsum (calcium sulphate) and numerous different types are available.
• for most repair jobs, finishing plaster is ideal
• available in bags from 5kg (111b) upwards
• relatively inexpensive for large repairs
• very quick setting (less than 30mins)
• may shrink in deep cracks or thick layers
• dries grey or pink.

Brush-on skim plaster, specially formulated and ready-mixed, is designed to be brushed on and smoothed with a spreader instead of a float.
• remains workable for up to 4 hours
• doesn’t shrink or crack
• more expensive than plain plaster
• dries white.

Wood stoppers are resin-based ready mixed fillers designed for wood that’s going to be varnished.
• sets quickly with little shrinkage
• dries wood-colour but can take stain

Flexible mastics are rubber or acrylic-basic sealants designed for gaps between walls and woodwork where slight movement would crack ordinary fillers.
• remains flexible without shrinking
• can be painted
• available in different colours.

No matter what sort of decorating you intend to do, the surface covering must be sound. If you paint, paper or tile over cracks or loose plaster you’re wasting your time. The professionals painters and decorators call this preparation ‘making good’ — and the reason is obvious. Without time spent here the end result will be less attractive, won’t last very long, and you won’t be getting value for the money you’ve spent on decorating materials.

Making good takes time, but it is never wasted. Here is a guide for the sort of problems you’ll face in making good walls and ceilings ready for decorating. Cracks There are two types of cracks in walls to watch for. A structural one will be large, deep, and often wider at one end than the other — this has been caused by subsidence and you should seek the advice of a professional before any attempt is made to repair it.

The second type is usually just a crack in the surface covering of the wall — the plaster, for instance — and because it’s only superficial it can be easily repaired. For such superficial cracks in plaster, first detach all loose material with the edge of a stripping knife and brush out thoroughly. If more plaster than you bargained for comes away, the plaster must have been weak — in which case, treat as large holes. Fill hairline and small cracks with cellulose filler, bought as powder and mixed with water to a thick

Very large holes need to be treated in the same way as plastering a wall — you start with an ‘undercoat’ plaster (it’s much coarser than a ‘finishing’ plaster) to fill to about 6mm (1/4in) from the surface, and this provides a key for two coats of finishing plaster which is applied with a float. As it dries it has to be ‘polished’ by applying water and smoothing with the float.

Because of the speed at which plaster dries, this can be a difficult skill to master and telltale ridges may remain where the plaster has dried before the polishing began. Experience will overcome this problem. Large or small holes in a plastered wall first have to be thoroughly cleaned out. Chip out all loose material and undercut the edges with a knife, then brush out thoroughly to remove all the dust.

If the wall is block or brick underneath, and the hole is no more than 100mm (4in) in diameter, then use a small trowel and build up the surface with thin layers of filler. With a wall constructed of laths (thin strips of wood) and plaster, you first have to expose the laths, removing all loose plaster in the same way as above. But you won’t be able to undercut the edges so easily, so you have to make sure that the filling goes between the slats. If the slats are damaged then treat as plasterboard.

Otherwise, build up the filler in layers. Always overfill a large hole, and to get it flush use a batten (long enough to bridge it) in a sawing action to reduce excess or redistribute it till the required level is reached. Finally smooth the finished surface with a filling knife or trowel, and sand down when dry with sandpaper or an orbital sander.

If holes aren’t too large but are deep, an alternative method is to press in balls of wet newspaper, then skim a layer of plaster or cellulose filler over the top. If there’s a hole or holes where walls meet to make an external corner, nail a batten vertically along the edge of one wall and fill the hole on the other as described above. When this patch is dry remove the batten and repeat on the other wall. If the damage to an exposed corner is extensive, or if it is particularly vulnerable, greater reinforcement may be desirable.

Cut back the plaster as described under weak plaster to beyond the limit of the damage and square off to neaten edges. Then fix an expanded metal corner-piece to the underlying wall with dabs of plaster and plaster over it using the batten technique. Internal corners are a bit trickier. There are two methods. Either fill one side, smooth with batten, then leave to dry before doing the other. Or fill both and when semi dry, smooth down with an angle trowel.

cellulose filler. Edges of larger holes should be cleaned up with a handyman’s knife and can be covered with a patch of scrim cloth (available from most builders’ merchants and hardware shops) stuck in place with dabs of plaster. Or you can use an offcut of plasterboard. When secure, gently plaster over using a creamy mixture of filler or finishing plaster and allow to dry.

Finally sand smooth. Large holes in plasterboard must be patched with plasterboard offcuts. To nail in position it will be necessary to cut a hole big enough to expose the nearest wooden supports (in a wall these are called ‘studs’, in a ceiling ‘joists’). On a ceiling, if you can get at it from above, the hole can be cut square and battened along each side, the battens being nailed to the joists. Use 30mm or 40mm galvanised nails or plasterboard screws to fix the plasterboard in place, then fill in gaps as above. Holes in wood are best filled with wood, and if the hole is circular, use a piece of dowelling glued in place with PVA adhesive.

With some holes, you can achieve the same result with a wedge — hammered into place, and then planed off for a flush finish. Alternatively, use plastic wood or stopping and sand the finish down when dry. If knots are loose and very dry, they should be cut out and the hole filled with a small piece of dowelling, glued in place. Gaps Where gaps occur between woodwork and walls (eg, near windows, architraves and skirting boards), a flexible sealant will fill them.

Bought as ‘cartridges’, they have a nozzle which can be directed straight into the gap. A ‘gun’ attachment gives even more control and is especially useful in awkward places. The sealant can be painted 24 hours later. Cellulose filler can also be used for gaps but take care to get it smooth. If the gaps are particularly deep partly fill them with strips of folded newspaper and apply flexible sealer over the top. If they’re wide, use thin wood to fill and wood filler to finish, then sand down when dry. Gaps in plaster cornices (the shaped moulding where walls meet ceilings) occur when a framework (eg, an old cupboard) has been pulled away.

Clean up the gap and apply liberal quantities of cellulose filler. When the filler is ‘stiff but not hard take a profile comb (you can make this yourself from a piece of card cut to the same ‘profile’ or shape as the coving) and run it along from the existing coving onto the filler. When the match is perfect allow the filler to dry and then gently smooth with the folded edge of a sheet of glasspaper.

Weak plaster

Old plaster may be loose against its backing and will move when you press it. If this is the case in any more than small areas, then a complete replacement may be necessary.

Unsound plaster will sound hollow when you tap it gently with your knuckles. The extent of the weak area should be found by tapping, then lines drawn around with a pencil.

Using a club hammer and bolster, gently chip out the weak area starting at the outside edges of the patch and working inwards (cover the floor below to catch the mess). If you don’t start at the edges of the weak areas and work inwards you may end up removing half the wall When the patch has been removed the painter and decorator should fill as in holes. With larger areas you may need a professional plasterer.

If the weakness was caused by damp the underlying wall should also be treated with s suitable damp sealant before repairing. Mould This may be found in steamy conditions which encourage its growth or where condensation is a problem (eg, in kitchens and bathrooms). Mould appears as grey, green or black spots or patches, and first should be treated with a fungicidal solution.

Alternatively you can use a three parts water to one part household bleach solution. The wall should be dry before redecoration. If the problem persists, then you’ll have to tackle the underlying cause — which may be damp penetrating the wall from outside or from below, or lack of insulation and ventilation which causes persistent condensation.

Stain blocking undercoat paint can be used.

It isn’t for nothing that carpenters scathingly refer to paint as ‘long putty’. A botched woodwork job can be rescued by first-class painting. Equally,a bad paint job will ruin the finest woodwork.

Painting and Decorating, tools of the trade

A good brush is a good investment-not just in better mileage,but in helping to preserve your good temper.a cheap brush is often stiff,making it difficult to avoid ugly brush marks on the finished job.If the bristles are too thin to pick up a decent load of paint,you may be tempted to dip too deeply into the paint-the result will be a clogged-up brush which you cannot get clean and which will drop flecks of old paint on to the next painting job.And a cheap brush will also shed an infuriating number of bristles –at least a couple of which you will not notice until otherwise immaculate gloss paint coat has dried out.

Any professional painters and decorators can tell you that to be good,a brush does not have to be most expensive one in the shop.But its bristles will at least be plump(to pick up a sufficient paint load),soft to the touch(to avoid brush marks),and long(to apply the paint smoothly). The best brushes are those with natural bristle-hair of hog or boar.This bristle has naturally split ends,which provide a grip to hold the paint and help it and hold the paint and help it go on smoothly.Synthetic fibres are smooth and hold paint less efficiently.The bristles on a good brush taper slightly at the end.

General-purpose paint brushes range in width from 13mm(1/2in)up to 102mm(4in). For most indoor gloss paint or varnish work a 50.8mm(2in)brush is easiest to handle,while a 25.4mm(1in)brush is used for detail work,such as drawer handles and narrow edges.

New brushes shed hairs,and often contain odd bits of bristle and factory dirt.To keep this rubbish out of your painting the brush should be ‘filtered’,that is,flicked against the hand,and the washed in warm,soapy water and rinsed in clean water.Lay it flat to dry out.

Most professional painters break in a new brush by using it for priming or undercoating.This allows them to deal with odd stray bristle where it matters least.They also keep one set of brushes reserved permanently for white or pastel paints,since darker pigments left in the ‘stock’(handle)may bleed into lighter paintwork.