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Old 12-05-2011, 05:00 PM   #1
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I've been reading in the pro painter's forum about customers who aren't happy with the ceiling cuts from various guys. They explain their reactions and how they appease the homeowners. My question has to do not with technique or prowess in cutting, but what exactly are you looking for? Do you consciously paint to the 90 degree angle and stay wholly on the wall, or do you allow even a miniscule amount of paint on the ceiling? I've seen where the wall color doesn't meet the ceiling and there is a visible gap between the two. I realize this a finesse thing, but it may have more to do with what your intended outcome is. In addition, the pdca viewing of 36 inches makes sense, but the vantage point is crucial. The cuts will look different from the middle of the room than they would from underneat, say sitting on a chair or sofa. I hope I'm not being too verbose here.

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Old 12-05-2011, 05:10 PM   #2
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It depends on the situation.

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Old 12-05-2011, 05:13 PM   #3
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Ultimately you are looking for clean and straight.
There are a variety of ways of achieving this, and it makes a huge difference if it is a textured wall, or ceiling or both.
Paint on the ceiling I think is the worst solution, a hair under sometimes works.
How much contrast makes this more/less important too.
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Old 12-05-2011, 08:27 PM   #4
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I agree with both you guys. In a perfect corner, the choice is easy, and so is the line. However, not every corner is perfect, and you have to decide where the line gets cut. The killer of the line is the inconsistency. Regardless of where you put it, it has to stay there. A cut line is less faulty for its location than for its inconsistency. If it's up or down, as long as it is consistently, your eye will be pleased. The eye gets disturbed by deviation, so waviness is out. I've put lines on the ceiling by necessity and the customer was very pleased, because it was consistent, it was hard to tell where the line was. When I paint shoe molding fused to the floor, I take the paint a sixteenth inch consistently onto the floor, and once it's done your eye can't tell where the floor begins and molding ends, and vice versa. I've even pointed it out to the customer and they couldn't tell I had done it. Vantage point is key, and it usually works that the hardest wall is the one with the long parallel view. This is where you don't want to be on the ceiling. Vantage point is critical on chair rail with a sill, as the line has to be straight from two views, and it stands out more than a ceiling line. I find it easiest to do that kneeling with the sill at eye level. Brush, I did a job where I was cutting deep sapphire blue against white trim and ceiling. I almost went blind, what a job, probably the hardest I've done. You have to remember, though I never do, to charge extra when doing high contrast cuts. Painting is a lot about playing tricks on the eye.
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Old 12-06-2011, 10:15 AM   #5
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Now that's what I call a reply! Once again, "spot on" (but not on the ceiling! Thanks so much.
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Old 12-06-2011, 11:16 AM   #6
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Quote:
Originally Posted by igneous View Post
Now that's what I call a reply! Once again, "spot on" (but not on the ceiling! Thanks so much.

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