u/johnQshearer

You guys like synthetic or natural bristle like hogs hair?

In my early painting days (1990) the synthetic bristles were not very good .. but they have really improved.

This is a process video by Joe Finch of Finch Painting. I met Joe in Vermont through the Fine Paints of Europe certification program, and we’ve stayed in touch over the years talking shop, techniques, prep methods, and fine-finish work.

What I like about this video is that it shows the actual process behind restoring older painted surfaces correctly with Fine Paints of Europe products.

"The correct steps are necessary to get the end results. No shortcuts" Joe Finch

A lot of people only see the final gloss coat and think the magic is in the paint. The reality is:

• surface prep
• proper priming
• filling and leveling
• Swedish putty work
• sanding
• dust control
• understanding film build

That’s where the finish really comes from.

This is traditional enamel work done the old-school way:
primer → prep → Swedish putty → sanding → gloss enamel.

When done correctly, older surfaces can be brought back to an almost furniture-grade appearance instead of just “repainted.”

Joe does very clean work here.

I recently met Ken Michaud, owner of Total Quality Painting, at the 2026 Fine Paints of Europe Painter Certification in Woodstock, Vermont.

Ken is Tampa’s only certified Fine Paints of Europe contractor, and this walkthrough shows the level of prep and detail that goes into a true high-gloss finish.

This project covers:
• before conditions
• surface preparation
• primer and prep stages
• final high-gloss result

One thing I respect about Ken’s process is the emphasis on prep work. With high-gloss coatings, the finish only looks as good as the surface underneath it. Every imperfection, sanding scratch, and texture issue gets amplified once the gloss goes on.

A lot of people focus only on the final shine, but the real craftsmanship is in the hours of prep before the finish coat ever touches the surface.

This is a solid example of what separates fine-finish enamel work from standard repainting.

This project was completed by Shoreline Painting, a Master Certified Fine Paints of Europe contractor led by my friend Chris Polidoro. Paintys provided by dealer Ring's End.

I’ve known Chris for years; we actually traveled together to the Netherlands to tour the Fine Paints of Europe factory, and since 2014 he’s invited me out to multiple projects to see his team’s work and application methods firsthand.

This project features a full range of Fine Paints of Europe systems, including:

• Hollandlac High Gloss
• Hollandlac Satin
• Fine Paints of Europe primers and undercoats
• Traditional European fine-finish enamel techniques

One thing I appreciate about Shoreline’s work is the consistency of the finish quality across different sheen levels. High gloss work especially demands obsessive prep, environmental control, and patience between coats — and Chris has been committed to that level of craftsmanship for years.

It’s always interesting seeing how different Master Certified firms approach:

• surface preparation
• dust control
• flow and leveling
• sanding/de-nibbing
• brushing vs spraying techniques
• long-cure enamel systems

There’s a reason these types of projects still stand out in the painting industry. Properly installed oil enamel and European-style finishes have a completely different depth and appearance than most modern production coatings.

I appreciate about seeing other Master Certified shops work is how different crews approach the same materials. I visited owners Stephanie and Christina at Pro Image in New Hampshire.

This project was completed by Pro Image Painting out of New Hampshire using the newer water-based system from Fine Paints of Europe:

• Universal Primer fully tinted to the finish color
• Eco Satin water-based enamel topcoat

Really clean spray-out on this color.

For people unfamiliar with the system, Eco is FPE’s water-based enamel line. It still lays down with a more traditional enamel appearance compared to a lot of standard waterborne trim paints. Nice flow, nice depth, and it keeps a softer, furniture-grade look without going into a heavy plastic appearance.

A lot of us who came from oil enamels appreciate coatings that still level properly and don’t dry so fast that the finish gets tight and chalky-looking.

Good example here of:

• proper build
• proper tinting underneath
• controlled spray environment
• understanding the system instead of just “putting paint on”

This project started as a typical early-2000s golden oak kitchen. Oak is one of the harder cabinet species to convert to a smooth painted finish because of the deep open grain structure. Unlike maple or tighter hardwoods, oak telegraphs texture unless the grain is properly filled and sealed.

According to their process: • multiple coats of oil-based primer were used to build and seal the grain • primer coats were sanded smooth between applications • two finish coats of FPE ECO Satin were then sprayed • light sanding between finish coats • overnight dry before reinstall

One thing I thought was notable is they used the ECO waterborne enamel over an oil-primed and heavily leveled substrate. That combination makes sense technically: • oil primer helps lock down and fill oak grain • waterborne enamel gives faster recoat/reinstall times • satin sheen is forgiving while still looking refined

Good example of the amount of prep actually required if you want oak cabinets to approach a smoother furniture-grade appearance instead of simply ‘painting over oak.’

A lot of homeowners underestimate how much labor is involved in making oak look clean and modern.”

By John Shearer

Many professional painters trained in traditional oil enamel work still make their own “cut pots” or “enameling pots” from paint cans. In the old days, especially before waterborne trim paints took over, this was standard practice on high-end trim and door work.

What we’re cutting off is the rolled rim at the top of the can — commonly called the bead, chime, or lip. That rolled section is designed to hold the lid on and seal the paint during shipping and storage. The problem is that once you start brushing out of the can, especially with slow-flowing oil enamels, that groove becomes a trap for paint buildup, contamination, and drips.

By cutting the rim off, you eliminate: • dried paint chunks falling back into the coating • paint collecting in the groove • drips running down the side of the can • brush drag against the rim

For fine finish work, especially with long-open-time coatings like Hollandlac Satin or Brilliant, that matters.

One thing many painters may notice in these photos is that this is not a standard U.S. gallon can. It’s the Fine Paints of Europe 2.5-liter can, which is shorter and wider than a traditional American gallon. A lot of enamel painters prefer this format because it’s more stable in the hand and easier to palm while brushing for long periods of time.

From a practical standpoint, I still believe a converted paint can is superior to most store-bought cut buckets or flimsy plastic pails.

Why?

Because the original paint can was engineered to safely store high-end coatings for years. The inside plating resists corrosion; the steel is heavier; and the construction is far more durable than most disposable “ready buckets” sold today. In contrast, many cheap metal buckets begin rusting at the seams almost immediately after exposure to water or solvent.

There’s also an ergonomic advantage.

A proper enameling pot can be pinched between the thumb and palm while the fingers stabilize the body of the can. That may sound minor until you spend 8–10 hours brushing trim, doors, or cabinetry. Comfort and balance matter when your livelihood depends on brush control.

Best practice is to only fill the pot partially — roughly 1/5 full. That keeps the paint fresher, minimizes skinning over, and reduces contamination during long brushing sessions.

When I started painting in 1990 Shearer Painting - Seattle Wa. , virtually every interior trim package was oil enamel. Painters would brag about how long they had kept the same enameling pot in service. Some were name-tagged and maintained for months or years.

Today, most younger painters have never seen this. They’re used to buying disposable buckets for every project and throwing them away afterward.

Ironically, what started as a traditional efficiency technique also turned out to be environmentally practical. Over the years, I’d guess these cut pots have kept thousands of disposable buckets out of landfills on my own projects alone.