The Painting Trade

The history of paint as a decorative tool or a means of spiritual expression dates back to prehistoric times when our ancestors painted animal designs and figures on cave walls, tombs and even on their own skin. The Egyptians are credited for combining crude pigments, natural glue and drying oils to create their unique and mysterious hieroglyphs within their palaces and the great pyramids. The next evolution in the history of paint was marked by the Romans who also used paint to enhance public buildings and private residences of the very wealthy. But with the fall of the Roman Empire came the loss of many innovations of the age, including paint making. It wasn’t until the end of the Middle Ages that the English began to create paint again for use on churches and the estates of the upper classes.

By the 12th century, the painting trade was a widely recognized profession in England. According to Bill Holgate, well-known master painter in the United Kingdom, a prestigious painting guild was established at this time. “The Worshipful Company was founded in London to assure the highest quality among those in the trade and to keep painting jobs among the professionals who lived in the city,” explains Holgate. The Worshipful Company brought high standards and a professional code to the trade. For the next few centuries, any young man wishing to become a professional painter needed to complete nine years of apprentice training until he demonstrated an expertise in the decorative arts such as faux finishes, hanging cloth wall coverings and creating trompe l’oeil. After rigorous training, young painters could apply for membership in the guild. The guild also kept a close rein on available jobs, since the best projects came directly through it.

At this point in history, paint making involved mixing dry pigments with oils such as linseed oil. Advancements in the production of paint came about in the early 1700s when paint mills in England and America were making finely powdered pigments ground with a granite ball. Painters would blend pigments with a solvent on their own. By the mid-to-late 1860s, paint manufacturers began making pre-mixed paints for customers.

The painting trade in England today is quite a bit different than it was in earlier times, but high standards in quality workmanship are the same. “Secondary students can now leave school at 16 to pursue an apprenticeship with a professional,” Holgate says. Although the range of what is taught during an apprenticeship is up to the individual contractor, most focus on teaching the basics, then working up to creating fine faux finishes, wood graining, hanging wall coverings and working with exotic materials for interiors and exteriors. Holgate says that most of today’s apprenticeships last about two years. In addition, many specialty art colleges throughout England offer six-month training courses in professional trade painting. Holgate himself attended an art school while he was learning the trade under a well-established painting contractor. Many years after attending that school, Holgate was asked to teach a special class in wood graining. “I was very pleased to be able to share my knowledge with others just coming up in the trade,” remarks Holgate.

Differences in the British and American Paint Trade are Few
For the most part, being a professional painter in England is not that much different from practicing the trade in America. Painters in both countries rely heavily on their artistic ability and reputation to be competitive. Many women have also entered the field in both countries showing expertise in all areas of the decorative arts.

Perhaps one of the biggest distinctions comes in the scope of work done by painters in England versus America. “There seems to be more specializing in America than we have here,” says Holgate. Holgate notes that in England, painters “do it all”; from typical paint jobs, to fancy faux finishes to hanging all types of wall coverings. In contrast, professional painting contractors in America are more likely to have a specialty in interior/exterior painting, faux finishes or in wall coverings, etc.

Another difference is the influence of England’s revered Worshipful Company, still around after 700 years. Although membership in the guild is not required, many professionals seek membership as a mark of distinction for their expertise. Holgate notes that in the past membership to the guild was a requirement to be employed as a professional painter, but it is no longer the case. “Becoming a member is an honor and not easy to achieve,” says Holgate. Prospective members must apply for admission to the organization and submit samples of work that are judged by peers and others from the fine arts field. “It is a mark of excellence to be chosen as a member,” Holgate remarks. Rather than this type of guild, American painters are familiar with their own trade organization, PDCA (Painting and Decorating Contractors of America) that offers seminars and trade shows to its members.

With these differences aside, Holgate observes that painters in both countries are proud of their profession and strive to bring as much quality to the job as possible. As a well-known expert in the field, Holgate has been invited to the United States many times over the last ten years to teach classes in various painting techniques. “Whether I’m working with students here or back home, they all have a desire to be the best at their craft,” Holgate says.