If rubber-base paint has been used, the caustic soda treatment may not be effective and it may be necessary to use an organic solvent type of paint remover. Caution: - When using caustic soda or lye, avoid splashing eyes, skin, and clothing. The most challenging question and statement a stylist or colorist can receive is: Can you correct this hair color I applied at home? It looks terrible! I personally love doing corrective hair coloring. A lot of hair stylist do not like this area of our field. Be sure your stylist has plenty of experience in this area of hair coloring if you need this service rendered. I really won't go too in depth here about corrective hair coloring, accept that, usually a botched at home color can be corrected with the following: Time at the salon for the correction. Money, as this service can be expensive. Cooperation with, and trust in, the hair stylist's or hair colorist's judgment. If paints have been allowed to stand and hard lumps or skin have formed, the skin or scum should be removed, after which the paint can be stirred and strained through screen wire or through one or two thicknesses of cheesecloth.
Tools, there is a wide variety of brushes and rollers to choose from, it is critical to select quality tools and maintain them. We will discuss brushes first, I use and recommend only Purdy brand brushes, they will give you the best results in terms of coverage and make the project go much easier and quicker. A Purdy brush is a little more expensive but if kept clean promptly after each use and stored properly, it will last for years and many projects. Most any other brushes out there, especially the cheap ones, are made of far inferior hair and I liken them to using a hand (or whisk) broom to paint with. Using lower quality tools will only frustrate you and lead you to assume that you are incapable of painting. You are capable! and the proper tools, materials, and advise are all you need. If your painting project will be on going for a couple of days, you can wet the brush with paint, wrap the brush up in a plastic sandwich bag and tape the plastic bag to the handle above the metal ferrule. Sealing it up will keep it from drying out, storing it flat will maintain the shape and permit you to use it for a couple of days without cleaning it. Because, after a couple of days or if it has had extended use on a hot day, it will loose its shape and start to collect a lot of dried paint on the hair, you should clean it with warm water and a wire brush. Once you have ran some water through the brush hair, the wire brush will then be used to remove the dried paint from the hair. Always run the wire brush down the entire length of the hair and never across it, to prevent crimping and damaging the hair. After you get the brush clean, spin it between your two hands, shedding as much water as possible from it. Then, using the wire brush again, comb the hair, shape/style the hair with your hands and lay it flat to dry. Once dry, if you will not be using the paint brush again soon, protect it by storing it in the paper shuck/cover that it came in and it will be like new the next time you use it. The stencil must be held very firmly against the surface with one hand, and the stencil brush worked over it quickly with the other hand. Or, if you have an assistant, it is best for one person to keep the stencil steady, while the other does the painting. In removing the stencil, make sure you pick it up without smudging. Step six: once you get all the layers just like you like, let it dry thoroughly for several days. Now take black and apply the shadows with your clean brush in keeping with the laws of shadow and light like you've learned earlier. If you put too much, wipe it back with a Q-tip or a rag until it looks like a shadow. Make sure you're putting shadows on top of only dry under layers. Always clean your brushes in between colors to keep the colors isolated and pure too. You don't want blue in your shadows, for example. Study my paintings if you wish because I do a lot of distinct shadows and I light things like vases, leaves, birds, fruit, etc. in ways that I think will stand out to you. Like if I paint a vase the bottom of the vase is darker than the top. Just like in real life. This applies to any shape whether it be a face or an apple or a vase. Also look at my backgrounds, as I've done a lot of them. Notice how each background is a multitude of layers to give it a finished and complicated look. Glazes allow me to reach this end. When I started out I didn't know what I was doing and friends and family thought I was crazy. And the very same people act like they knew I'd make it now that I have. Oh well, it's the way of the world. But stick with it and you'll be enlightened and inspired over time! Step five: pick your colors and start applying them to your penciled outlined images...make sure to mix the paints with a little Galkyd. Painting right out the tube is probably a bad idea, and it'll take forever to dry. Mix the Galkyd pretty evenly with the paint until you reach your desired thickness of paint. Less Galkyd keeps the paint thick. More makes it thinner. A safe start for a painting subject is a still life, like a bowl of fruit. No matter what you do...within reason...it'll look cool. You do not have to make a twig brown or an apple red just because nature says so. Use your imagination. Do something different. Collectors over time like to watch you evolve painting by painting anyway. So don't worry if your first painting stinks in your mind. It'll be interesting later once you're great. And by the way, most famous paintings have an under drawing, so they've used this layout technique I mention above. Sorry to tell you, most inspired paintings were planned out with pencil first. They did not happen spontaneously. They were built logically and in a defined order so that the end result looks right.