Painters apply paint, stain, varnish and other finishes to buildings and other structures.  They select the right paint or finish for the surface to be covered, taking into account durability, ease of handling, method of application and customer's wishes. Painters first prepare the surfaces to be covered, so that the paint will adhere properly. This may require removing the old coat of paint by stripping, sanding, wire brushing, burning, scraping, or water and abrasive blasting.  Painters also wash walls and trim to remove dirt and grease, fill nail holes and cracks, sandpaper rough spots and brush off dust. On new surfaces, they apply a primer or sealer to prepare the surface for the finish coat. Painters also mix paints and match colors, relying on knowledge of paint composition and color harmony. They also cover walls and ceilings with decorative wall coverings made of paper, vinyl or fabric.
Portrait paintings are representations of a person, in which the face and its expression is predominant. The intent is to display the likeness, personality, and even the mood of the person. The art of the portrait flourished in Ancient Greek and especially Roman sculpture, where sitters demanded individualized and realistic portraits, even unflattering ones. One of the best-known portraits in the Western world is Leonardo da Vinci's painting titled Mona Lisa, which is thought to be a portrait of Lisa Gherardini, the wife of Francesco del Giocondo.[40]

In a previous article, we discussed how to use the strategy pattern to dynamically change an object’s behavior at runtime. Classically, polymorphism in object-oriented design is static and achieved through inheritance; however, with the strategy pattern you can accomplish the same goal dynamically. Indeed, this is an excellent way to handle situations when you need an object to exhibit different behavior at different times. However, it’s worth noting that the strategy pattern requires mutation of the object you’re working with. By using the strategy pattern, you are necessarily changing the algorithm that an object uses for a given behavior. In some situations, it may be preferable not to mutate a given object. Or more likely, you won’t even have the option of mutating an object because it may come from a codebase over which you have no control (such as an external library). Such cases are relatively common; however, it’s still possible to enhance an immutable object’s behavior. One effective means to do so is with the decorator pattern.
In general, functions in Python may also have side effects rather than just turning an input into an output. The print() function is a basic example of this: it returns None while having the side effect of outputting something to the console. However, to understand decorators, it is enough to think about functions as something that turns given arguments into a value.

This code works for our purposes but it’s not exactly dynamic. If we wanted our initial simpleMsg object to sometimes act excited and sometimes quizzical, we could only do so by instantiating entirely new objects from the relevant subclass. Moreover, the ExcitedAndQuizzicalMessage is really just a combination of ExcitedMessage and QuizzicalMessage and probably shouldn’t have its own class. To fix these problems, let’s now return to the decorator pattern and see how it might help us.
Component Interface: The component interface is an abstraction describing the behaviors of the components that you will eventually use in your program. Any objects that will use these components will do so through the interface, meaning that they are principally concerned with the abstraction (not the actual object). This is what allows both objects and wrapped objects to be considered to be the same type.
The primary objection to this form is that it requires "peeking inside" the method body to determine the decorators. In addition, even though the code is inside the method body, it is not executed when the method is run. Guido felt that docstrings were not a good counter-example, and that it was quite possible that a 'docstring' decorator could help move the docstring to outside the function body.
Painters deal practically with pigments,[6] so "blue" for a painter can be any of the blues: phthalocyanine blue, Prussian blue, indigo, Cobalt blue, ultramarine, and so on. Psychological and symbolical meanings of color are not, strictly speaking, means of painting. Colors only add to the potential, derived context of meanings, and because of this, the perception of a painting is highly subjective. The analogy with music is quite clear—sound in music (like a C note) is analogous to "light" in painting, "shades" to dynamics, and "coloration" is to painting as the specific timbre of musical instruments is to music. These elements do not necessarily form a melody (in music) of themselves; rather, they can add different contexts to it.