Ideally, you want as much paint on the brush as you can control without making drips or blobs. To do this, Doherty dips his brush about 1 1/2 inches into the paint, then taps (not wipes) each side of the brush against the side of the can. Tapping knocks off the drips and forces the paint into the bristles. "The brush releases the paint just like a fountain pen," he says. Weeks agrees, saying, "Just be sure to keep your brush moving, or it'll start to drip." For more delicate work, such as when you're painting trim or window sash, you'll want less paint on the brush. Doherty again dips and taps his brush, but this time he also scrapes the sides against his can. "The outside bristles are drier and easier to manage," he says, "but there's still plenty of paint on the brush."
Joseba and María are a very special partner. They have marked the character of the house. He is a renowned painter (www.sanchezzabaleta.com) who comes from Basque country to Gaucin attracted by the position and the views of the city. He needed a place to work and looked for an architect who understood his ideas of the lights and the space. The work developed shared the client and the architect ideas