Wood Walls and Trim. New interior walls and wood trim should be smoothed with sand-paper and dusted before painting or varnishing. To preserve the grain of the wood, the surface may be rubbed with linseed oil, varnished or shellacked, and waxed. If an opaque finish is desired, semi-gloss paint thinned with 1 pint of turpen-tine per gallon of paint or the primer-sealer previously described for walls may be used as a priming coat on wood. One or two coats of semi-gloss paint should then be applied over the thoroughly dry prime coat, or if a full-gloss finish is desired, the last coat should be a high-gloss enamel.
Eggshell - Traditionally refers to an oil-based paint with a silky finish, suitable for interior walls and woodwork. Water-based alternatives are now available.
Either edge of trim is painted with body color, and is where caulking is applied at most 90 degree angles. Painting trim only, cannot feasibly include caulking, as this fails and opens up over time. Most homes need new caulking when painting the exterior, and a close inspection can determine.
Is the light neutral, sharp, mystical?
Plaster. New dry plaster in good condition, which is to be finished with a paint other than water paint, should be given a coat of primer-sealer and allowed to dry thoroughly before being inspected for uniformity of appearance. Variations in gloss and color differences in the case of tinted primers indicate whether or not the whole surface has been completely sealed. If not, a second coat of primer-sealer should be applied. If only a few "suction spots" are apparent, a second coat over these areas may be sufficient.
There is still no standard labelling scheme for paint. The blue globe label, pioneered by B&Q, led to VOC reduction on the mass market and has been adopted by other brands, while the European Ecolabel, recognised in 15 EU member states, looks like a flower and appears on brands such as Earthborn. Germany also has a Blue Angel label and there is a green Nordic Swan as well. You will find more detailed information on most of the paint company's websites, as well as a wealth of practical and design advice.
First consider the size of the painting. The more impressive the subject, the higher the emotions it appeals to, the bigger it is. Religious, mythological paintings are often huge - their massive energy makes you shiver. It is pretty understandable with figurative paintings like Rafael's "The Sistine Madonna", and more subtle with color field paintings of Mark Rothko. People are often overwhelmed with religious tremor in the presence of his artwork, and the size factors in. Also, the subject often calls for larger canvases - battle scenes need space and cannot be fitted into a smaller painting, while some subjects will get lost unless depicted in a smaller size.