8 Tips to Apply a Faux Leather Painting Technique

faux leather painting

The faux leather painting technique is an extremely popular faux finish, especially on walls. A common use of the technique occurs when one utilizes the faux leather painting on the lower half of a wall in a darker color, contrasting it with a lighter color on the top half of the wall. It also works well on coffee table tops, desk drawers, and other accents on furniture pieces and decorative accents like frames.

Technique Tip #1: Gather all of your supplies together before you begin your faux leather painting technique. You will need a primer, a base coat, a matching glaze, a flat paint brush and a stippling paint brush as well as a Fitch edge paint brush, painter’s tape and paper towels. If you would like to wear latex gloves or any other protective gear, then do that first.

Technique Tip #2: Before you begin your faux leather painting, tape off the edges of your project. Measure carefully and make sure your lines are straight if you’re doing a half wall or stripes.

Technique Tip #3: Start by priming the wall or the object you are decorating with a faux leather painting technique. Allow it to dry completely.

Technique Tip #4: Next, apply the base coat to the wall when your primer is completely dry. This is applied using a flat brush. Allow it to dry normally and completely before moving onto the next step.

Technique Tip #5: When the base coat is completely dry, it is time to apply the glaze. This is the most important part of the faux leather painting technique. If you are using this technique on a large area, consider doing this part in sections to make sure that it doesn’t dry before you have time to use the brushes to create the faux leather effect.

Technique Tip #6: After you apply the glaze, use the stipple brush randomly to soften the brush marks left by the flat blush during application.

Technique Tip #7: Use the Fitch edge brush along the edges and corners to blend the brush marks again and finish off the faux leather look.

Technique Tip #8: Allow the glaze to dry completely. If you would like, apply a clear and thin sealant on top to protect your work.


Tips for Faux Leather Painting

Paint Technique: Faux Leather Instructions

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Art Book Review: Drawing and Painting Buildings by Richard Taylor

drawing and painting

Drawing and painting can be very difficult, especially for beginners. There are many different art books to help people who are trying to improve their artistic talent, or just give people ideas when they don’t know what to draw. Drawing and Painting Buildings by Richard Taylor is a great book for architectural type drawings. This book is great for beginners, and for those who are a little more experienced as well. This art how-to book can help anyone become a better artist. Here is a review and more information about the art book, Drawing and Painting Buildings by Richard Taylor.

Review of Drawing and Painting Buildings- art materials
Drawing and Painting Buildings starts off with information about the different kinds of materials you can use to create your artwork. It covers all the most common supplies used to draw and paint buildings such as pencil, pen, watercolor, and more. Rather than listing the materials that can be used for your buildings, this art book has information about how to use each of the materials and different effects that can be achieved with them. If you are unsure about how to use a certain material or have been wanting to try one but don’t know what to do, Drawing and Painting Buildings by Richard Taylor will surely help you.

Review of Drawing and Painting Buildings- perspective
Perspective is one of the most important parts of drawing or painting buildings, this is what makes them look realistic and three-dimensional. It’s not a very hard thing to learn and master, but if it hasn’t been taught to you, there’s a good chance you could be struggling with it. Drawing and Painting Buildings by Richard Taylor goes over all the different perspective and explains them so that they are easy to understand and draw or paint.

Review of Drawing and Painting Buildings- building textures
There are so many different types of building and houses and that can be hard to recreate on paper. This art how-to book is great when it comes to teaching you how to do things such as brick, wood, stone, tiles, and even more. There are instructions and examples drawn out to help you make your building look realistic.

Review of Drawing and Painting Buildings- building types
Skyscrapers, cottages, town homes, Victorian houses, and other types of buildings are all discussed in the art book, Drawing and Painting Building by Richard Taylor. There are many examples provided, so you can practice by copying them or create your own using the same technique. There is also a written description that will help you better understand these techniques, so you can either go straight to the drawing or read the paragraph to get a better idea of what you’re doing, or both.

How to draw building books can be hard to find at the typical arts and crafts stores, and for this reason (among others), Drawing and Building Buildings by Richard Taylor is one of the best how to draw building books. It is very detailed, without being complicated, and there are lots of examples provided if you are a visual person. Another great thing about this art book is that there are so many examples, so if you’re out of ideas for what to draw or paint, this can be your inspiration.

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Nail Painting: Perfectly Painted Nails

nail painting

To start nail painting, invest in a good nail polish, such as Revlon Colorstay (it runs between $3.00-4.00 a set) and a multi-step nail buffer, such as the 4-step one sold by Sephora (it runs about $5.00)

Start by cleaning any old nail polish off your nails with some nail polish remover and a cotton ball.

Next, trim your nails to the length you desire (shorter nails work because they can accommodate even some of the wildest colors with out looking gaudy or tacky)

Use the filing side on you buffer to smooth out any rough edges on your nails, then find the side that smoothes out your nail bed and rub it across the top of your nail until it is smooth to the touch. (This gives the nail polish an even surface to adhere too)

Now, gently shake your polish a few times to make sure the color is even mixed. Open the bottle and wipe off any excess from your brush on the side of the bottle.

Starting from your cuticle, use long, even strokes to reach the end of your nail. Apply more color to the brush as needed. (Remember it’s easier to add more polish to your nail than to take away. Keep this in mind to prevent getting polish all over your finger. If you do get some on your finger, dip the end of a Q-tip in some nail polish remover and gently rub off the smudge)

Once you have finished applying your color, let it air dry for approximately 5-10 minutes. (I know it’s tempting, but do not blow on your nails to dry them. This actually prolongs the drying time because the water vapor in your breath transfers to the polish, keeping it wet. If you are in a hurry, set your hair dryer on the lowest setting and gently sweep it back and forth over your nails. Be careful not to burn yourself, your hair dryer can get hot on your hands)

Repeat the previous few steps until you have the desired depth and intensity of the color.

Once your nails have dried, apply a top coat and let it set.

There you go! All finished. Your nails should look like you just stepped out of the salon (For a fraction of the price of course….but no one needs to know that. It’s our little secret!)

All of the products I mentioned can be found at most local stores or on amazon.com

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How to Choose the Right Brush for Your Painting

types of paint brushes

Different Types of Paint Brushes

So you’re feeling inspired and gathered your paints and painting surfaces together. Maybe you have a competition you’re entering or are just making a gift for a friend. Knowing what the right kind of brush is to use can make all the difference in your final product. This article will help you get to know different types of paint brushes so you know which to choose in future for different kinds of projects.

Different brushes work best with different kinds of paints and its critical to chose the right one. As an artist, teacher and former art store manager, I have a lot of knowledge on brush types. Follow this easy guide to determine what type of brush is right for your project.

Natural Bristle

Natural bristle brushes are brushes made from animal hair such as horse, ox or squirrel hair. They vary in price from the quality and rarity of the brush hair. Most inexpensive natural bristle brushes are made from ox hair. There are varying textures in natural bristle brushes from soft to coarse. Natural bristle brushes show brush marks as you paint, and are suited well for oils or acrylic paints. They soak up some of the paint as you work and can help you layer paint thickly.

A disadvantage to animal hair is that it is not animal friendly, so that may discourage you from using natural bristle brushes. I prefer to not use natural bristle brushes whenever possible, but do use them for some projects. They can tend to be a bit pricier if you want a higher quality brush as compared to higher quality synthetics.


Synthetic brushes are made from nylon made into fibers. They are suitable for all types of paint and watercolors do especially well with synthetic brushes. Synthetic brushes are usually soft and typically inexpensive. They work great for moving fluid paint along your surface and mixing colors easily. They do not tend to show brush strokes and can be easier to clean. Synthetics also tend to be relatively inexpensive, even for high quality brushes.

However, synthetic brushes are not the best for layering paints thickly and sometimes have a lot of splitting of the fibers. I avoid using synthetics when I need to build those layers or am trying to achieve texture. They are good, however for when using mixing mediums in acrylic paint, because they do not tend to hold onto tiny particles that add texture.

With any brush, keeping it clean is the best way to improve longevity. Use a brush soap to clean your brushes and if using oils, an appropriate paint thinner to remove excess paint. Always dry brushes with the bristles facing upward to keep them from getting smashed and bent. I always recommend to my students to have a selection of both synthetics and natural bristle brushes so that no matter the project they are always prepared for their best work. The right brush can take your project from boring to truly breathtaking. And as always, make sure you practice and have fun as you create art.

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The 5 Most Common Exterior Painting Mistakes

exterior painting mistakes

Exterior Painting Mistakes #1: Using the wrong paint

Making exterior painting mistakes can hugely affect the look of your property or personal outdoor items. A bad exterior paint job is easy to spot. You can see the paint peeling off the walls or blistering up in certain areas. Sometimes the color is not uniform or appears to have run. The first step is always to choose the right paint. The Home Depot website guides you in purchasing the right kind of paint. Use a water-based paint to paint the exterior of a mason home or a home with siding. Use an oil-based paint on wooden or metal exteriors. And, of course, don’t forget to always apply a primer first.

Mistake #2: Using the wrong painting tools

Ever notice a stained wooden door covered in white paint along the edges or a different color paint along the roof line of a home? Getting the job done as quickly as possible is just as important as getting it done right. You can find all the right tools at your nearest Home Depot. Painter’s tape and plastic sheeting are a must in order to cover areas that are not to be painted. Be sure to have a roller tray, roller frame, high density roller brush cover, a brush set of various widths and styles, and plenty of shop towels.

Mistake #3: Painting under inappropriate weather conditions

Watch the weather before painting the exterior of your home. Painting in direct sunlight or with strong wind will cause your paint to dry too quickly. Cold weather will not allow your paint to dry properly, and humid or wet conditions will also delay your paint from drying and may cause it to streak or run.

Mistake #4: Not preparing the surface to be painted

Be sure that the surface that you are going to paint is not peeling or blistering. If this is the case, be sure to scrape these areas. If the house has more than four coats of paint, you may want to consider sandblasting it before reapplying any additional paint. Sherwin Williams has some excellent tips on preparing exterior surfaces for painting.

Mistake #5: Overworking your paint

Finally, when painting with a roller, apply your strokes evenly and in the same direction. When reloading your roller, be sure to continue painting in the adjacent area while working your way back to the painted area. This prevents extra paint from building up and causing streaks. These tips should help you resolve many exterior painting mistakes before you make them!

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Teaching Young Children How to Paint

pallete of watercolors

With so many types of paint available, it may seem overwhelming when choosing what to buy for children. A boxed palette of watercolors can teach a child about mixing colors as well as how to take care of their arts and crafts supplies. Tempera paints offer more intense colors that work on paper as well as other surfaces

Materials for Young Painters Ages 2 to 12

Even a toddler can use a palette of watercolors. A palette of eight-to-ten colors is actually better for children than a palette twice that size because then the child has to mix colors to get lighter and darker colors than the kit offers. Children ages nine or ten and up might want to try using tube watercolors that require they squeeze a small amount of paint onto a plate or palette. Kids can try a variety of techniques with watercolors.

Tube paints are easier to mix and are good for children who like mixing colors and creating seventeen shades of green. Children eight and up may also enjoy exploring watercolor pencils since they can create a precision drawing with a pencil but soften the look with a brush and water.

Tempera paints are used directly as opposed to being mixed with water. Washable tempera paints are okay for painting on paper but if used on other surfaces and they get wet then the project is ruined. Use acrylics with children who possess the dexterity to manipulate a paintbrush and keep a neat work area.

Paintbrushes for Artwork

Purchase some inexpensive paintbrushes that are a better quality than the short, stiff-bristle brushes that come with watercolor palettes. Soft-bristled brushes require more control but they cover a surface (whether paper or wood) more smoothly.

Look for flat-edged brushes, pointed brushes, angled tip brushes, and even fan brushes. Quite often, sets of five brushes with different tips are sold in inexpensive sets. These brushes give more flexibility in creating different results and should be purchased for kids ages seven and up.

How to Use a Paintbrush with Watercolors

Dip the tip of the brush in the water and then in the paint. Rinse the brush thoroughly when switching colors. Change the rinse water frequently (which isn’t the same thing as providing a larger container of water). Have a rag or a stack of paper towels nearby to dab excess water off the brush. If using the same color, it isn’t necessary to dip the brush in the water between strokes.

At the end of a project, dip a clean paper towel over each cake of paint to absorb the excess water and mop up any dirty water. This way the paints will be clean for their next use. Show children how to clean up their paints at the end of a project. By age seven or eight, most children should be able to connect the act of cleaning up to the benefits of finding their supplies in the condition they wish to use them.

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Mona Lisa as Leonardo Painted Her: New Louvre-approved Images of Painting in CA Exhibition: An Overview

Mona Lisa

Mona Lisa by Italian High Renaissance master Leonardo da Vinci (1452-1519) is arguably the most recognizable image in the history of Western art. But did you know that the portrait originally had eyebrows? Mona Lisa Secrets Revealed (October 17-December 31, 2007), a new component of Da Vinci: An Exhibition of Genius (August 4-December 31, 2007) at San Francisco, California’s Metreon, reveals facts about the artist’s mysterious masterpiece heretofore unknown. Recent scientific studies sanctioned by France’s National Laboratory and Paris’ Musée du Louvre, the painting’s keeper, irrefutably confirm 25 discoveries about the composition’s original appearance.

Da Vinci: An Exhibition of Genius

This breathtaking interactive presentation, a decade in the making, surveys the wondrous accomplishments of painter, draftsman, sculptor, architect, engineer, scientist, anatomist and inventor Leonardo da Vinci. The intellectual interests of this quintessential polymath included: fauna and flora; mathematics and geometry; physics and mechanics; civil, military and hydraulic machinery; flight; musical instruments; and philosophy. Taken from designs in some 6000 intact pages from his personal codices (notebooks), 65 of 120 full-scale modern recreations of Leonardo’s inventions are on display, many fabricated by Rome’s Anthropos Association using 15th-century Italian techniques and materials. Among those on view are da Vinci’s glider, parachute, ball bearing and gear systems, early helicopter and military tank, bicycle, automobile and submarine.

Also exhibited are remarkable color reproductions of many of Leonardo’s famous works of art: the Litta Madonna (ca. 1481-97); anatomical drawings; and preparatory sketches for the Battle of Anghiari (ca. 1503). They’re joined by interactive presentations on the Last Supper (ca. 1492/94-98), Vitruvian Man (ca. 1490) and Equestrian Monument to Francesco Sforza (1493), explaining the artist’s experiments and achievements in painting, drawing and sculpture.

Mona Lisa Secrets Revealed

This recent installation illustrates the work of Pascal Cotte for the first time in the United States. The passionate French engineer invented the 240-megapixel Multi-spectral Imaging Camera to take multiple photographs of Mona Lisa using patented infrared technology and intense illumination. Over an almost three-hour period, Cotte photographed the portrait, his session resulting in 13 original images. Two years of technical analysis allowed Cotte to document precisely what pigments Leonardo actually used, where the artist made changes to his composition and where restoration efforts have occurred. This innovative kind of photography permits the viewer to see Mona Lisa as it originally appeared. The show features a high-definition color recreation of Cotte’s work alongside an accurate replica of how the painting appears today. Oversized copies of the portrait and its various sections, enabling one to examine the painting better, are also on display. Its original blue sky, vibrant mountains, green trees and Mona Lisa’s pinkish face are now visible to the human eye.

Some of the verifiable revelations about the painting’s composition are startling.

  • The painting was never cut to be framed.
  • The top of the sky, sitter’s eyes and lips were restored.
  • Mona Lisa had eyebrows.
  • Glazes or glacis (semi-transparent layers of paint) in Mona Lisa’s veil reveal the order in which Leonardo painted the portrait.
  • The artist changed the position of the left hand’s index and middle fingers.
  • Her dress had lace that has vanished over time.
  • A blanket, rising above the wrist of Mona Lisa’s left hand that holds it, covers both her knees and stomach.

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The psy-link between painting and photography

Today we are going to learn about The psy-link between painting and photography. When you think of American photographers who have made a difference, the names of Ansel
or Robert Mapplethorpe may come to mind. But the first American to spur change by
tripping a shutter was Alfred Stieglitz, who also ran a painting gallery. He was the first to define
photography as a fine art. Stieglitz mentored Adams. He gave him the idea of making photography
the “equivalent” of painting. And Robert Mapplethorpe, whose lens art is celebrated for its poetry,
began his career as a student of painting.

The psy-link between painting and photography
“Projeto mural” – photograph by Ansel Adams

And just as photography learned its art lessons from painting, the reverse ultimately took place with
the advent of photo-real painting, also known as super-realism. The photo-realist movement in
painting also showed up in sculpture and Tampa Museum offers examples from the Martin Z.
Margulies Collection, as well as its own example in paint: Ralph Goings’ “Collin’s Diner.”

Collin’s Diner outside view
Collin’s Diner outside view

If you think super-realist painting is just naturalism in cinematic Technicolor, you should see
“Collins Diner.” His is not the stuff of representational imagery. It’s about what a camera sees.
Paintings in this case take on the look of good quality color slides, often made section by section
and sometimes upside down, the aim being the look of reproductions, not interpretation.

Ralph Goings - inside Collin's Diner
Ralph Goings – inside Collin’s Diner

In Goings’ 48-by-68-inch oil painting, there’s more to the eatery than meets the eye. Even with
20/20 acuity, human sight isn’t designed to record the amount of detail that Goings records.

So you’re looking at something beyond realism. Intensity, in the glare of polished diner chrome, is
everywhere: from the precise, razor edge of the tapering second hand on the concave crystal casing
of the diner wall clock to the discernible thickness of a diner patron’s eyeglasses.

With these details, the painting seems to reflect urban life in its seemingly endless facets of
scrubbed metal and glass – monuments to industrial hygiene and sterility. Like a still life, “Collins
Diner” also enumerates the furnishings of our time: paper cups, fast food, swivel stools and the
inevitable clock by which we live.

Signs of the human condition are no match for the overriding crispness of high gloss. A snapshot of
newlyweds on a shelf cannot minimize the bland, neutral anonymity of the whitewashed,
untouched-by-human-hands environment. Man looks like an intruder in his own man-made space. It
is as if in exchange for a high-tech world, he traded off his leading role for a bit part.

Out of this painter’s extraordinary exactness, then, comes social commentary, not only reporting.
Just as omission is a form of editorializing, an opinion also is expressed when nothing is ignored
and everything is emphasized.

And therein lays both Goings’ appeal and his significance. If focus is so sharply defined that
everything in sight looks magnified and underlined as if in red, what you have is a kind of
expressionism – not realism. When Goings flawlessly projects what a camera faultlessly sees, rather
than what the human eye perceives – peripheral blur and all; when art looks like a high-quality color
slide rather than pigments brushed on by hand, he only reiterates the message: Next to precision and
spic-and-span shiny smoothness, people look grimy and beat.

We at Paintings Studio hope you enjoyed reading the article about the psy-link between painting and photography. Feel free to contact us if you have any further questions.

Water Dreaming (Lungkata Tjungurrayi)

We at Paintings Studio today are pleased to present to you information about Lungkata Tjungurrayi, or in its full name “Shorty Lungkata Tjungurrayi”. is a Pintupi man born at Walukuritji (c. 1920 – 1987) south of Lake Macdonald, and is best known as an artist, and important member with Papunya Tula Artists.

Children’s Water Dreaming 1972, 62 x 44 cm, Shorty Lungkarta Tjungurrayi
Children’s Water Dreaming 1972, 62 x 44 cm, Shorty Lungkarta Tjungurrayi

Aborigines used Australia’s wealth in ochre colors (iron oxides) to paint their mythologies on sand, cut bark of stringybark tree and their bodies. In 1972, acrylic paints and masonite boards were made available to a few Aboriginal men congregating in a ‘painting club’. While the usage of contemporary materials served to adulterate, it also helped to popularize Australian Aboriginal art.

Classic Pintupi Water Dreaming 1972, 62 x 42 cm, Shorty Lungkarta Tjungurrayi
Classic Pintupi Water Dreaming 1972, 62 x 42 cm, Shorty Lungkarta Tjungurrayi

Last year, early ‘Papunya’ boards were shown at the Grey Art Gallery, NYU. Paintings from the exhibition are reproduced in a book icons of the desert that also provides anthropological information on Aboriginal art and artists.

Shorty Lungkarta Tjungurrayi, detail of a group portrait, Men’s painting room, Papunya, 1972
Shorty Lungkarta Tjungurrayi, detail of a group portrait, Men’s painting room, Papunya, 1972

Shorty Lungkarta Tjungurrayi, then 52 yr old, was a member of the 1972 painting club. In his ‘Water Dreamings’, he painted the distant region of his youth. Water Dreamings can be openly shown unlike secret men mythologies that were displayed during the NYC exhibition in a separate room. At the entrance, a message warned Aboriginal women not to enter there. These secret boards are reproduced in a separate, removable folder within icons of the desert. (Women, too, possess secret mythologies).

Researching classical pigments, a British journalist visited Australia on her quest for ochre. In her book COLOR, a Natural History of the Palette she writes about contemporary Australian Aboriginal painters, many of whom are women. She also visited the schoolteacher who created the 1972 painting club and thereby provided the impetus for popularizing Australian Aboriginal art.

An explanation of Dreaming is given in COLOR, a Natural History of the Palette:

Traditional Aboriginal life only makes sense in the context of the time when Ancestors first arose out of the original mud or sea or sky and brought the first sunrise with them. In English it is articulated as the “Dreaming” or “Dreamtime” – a dream in the sense that it is not set in the past, but a kind of parallel present universe, rather like the one that we operate in while we are asleep. In Aboriginal lore, the Dreaming is the reason for everything that has ever existed and ever will exist. And its stories are told in layers, depending on how ready, or authorized, the listener is to understand them. It is said that your personal Dreaming depends on where your mother was when she first felt you in the womb. The Ancestors who live in that place have given you “anima” – they have animated you – and when you grow up their stories and songs will be in your trust, and you in theirs.

How to Paint a Mural for Your Child’s Bedroom

child's bedroom mural

Painting a mural for your child’s bedroom can create a unique environment for your son or daughter. The choices for mural topics are endless. My wife and I have painted murals in two bedrooms in our house. If you would like to do the same, please consider the following tips based on our experience.

Tip1: Choose a Theme for the Mural

Themes can range from bumblebees to trains to Disney Princesses. The sky is the limit! However, when painting a mural for your child’s bedroom, consider how long the child will enjoy the theme. Your five-year-old daughter may love Little Einsteins now, but will she two years from now?

When our daughter was born, we painted a jungle theme for her bedroom, complete with a pink elephant and a yellow giraffe on the walls. Our daughter is almost four and still loves her bedroom. We just finished another mural of Mulan in the spare bedroom because we are expecting another daughter in three months.

Tip 2: Get your Equipment

Painting a mural for your child’s bedroom is so much easier when you have access to an overhead projector. Using an overhead projector allows you to draw your mural on a smaller scale, like 8 ½ inches by 11 inches, which is much easier than drawing on a wall free hand. Also, using an overhead projector allows you to just print a template off the internet, if you find something you like.

I am a fairly artistic individual, but when painting a mural in my daughter’s bedroom, it still would have been difficult for me to get the proportions correct when drawing large figures on the walls. Using an overheard projector allows you to get these proportions correct and also allows you to appropriately space out figures, trees, and other objects on the walls.

Tip 3: Trace in Pencil

Yes, it is quicker to just start painting, but my tip is to trace in pencil first. This is time consuming, but so is painting a mural for your child’s bedroom in the first place. If you wanted to save time, you would have just bought some border and some large wall clings and called it a day instead of spending hours working on a mural.

Tip 4: Pick your Paint

Many different paints can work when painting a mural for your child’s bedroom. Much of the decision boils down to personal preference. We have used both Dutch Boy Dirt Fighter acrylic latex paint and Apple Barrel acrylic paint. Both paints applied well, but they required two coats, as expected. We used a variety of brushes, including traditional brushes, rollers and sponge brushes. My tip is to buy a variety pack, especially if your mural includes very intricate details.

Tip 5: Outline Correctly

Unless you are going for a bold, comic-book type mural (think Superman bashing through a wall), do not outline the characters and details in black. The outlines will be too harsh. For a softer, more organic feel, mix the color with a little bit of black.

In our daughter’s bedroom, the pink elephant is outlined in a darker shade of pink. The yellow and orange giraffe is outlined in a dark orange. This technique works with all but the darkest colors. With very dark greens, browns and blues, you may need to use black to outline the details.

I hope you consider these tips when painting a mural for your child’s bedroom. Your child will appreciate a special bedroom of her very own!

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