It's a big subject, and for beginners, trying to generalise may be more confusing than helpful.

Pierre's words "experienced players" mustn't be taken lightly. There's a lot to it. Some orchestras publish pre-marked parts. The Dulwich Symphony Orchestra used to, but they are tightening up their act. I was going to post a link so you could examine the sort of thing, but that's no longer possible.

Mostly advice concerns double and quadruple time. Pierre's on this is good advice, obviously. But triple and complex time is rarely looked at, and it can be tricky. Sometimes you can get away with down up down, up down up, but other times it has to be down up up, down up up. And the sarabande usually has the second beat stressed, so you might use up down up, up down up

Benjamin Britten can be a law unto himself. But he's pretty good and his stuff is often intelligently marked for you.

And then there's the matter of prosaic bow management/distribution. You might use hooked bowing for that. E.g. in Britten's simple symphony section 2 (see link below - 2nd half of the page) it's best to hook every measure, although Britten doesn't say so explicitly. (and although it's pianissimo, so you aren't going to use much bow anyway).

https://www.all-sheetmusic.com.....7551_3.JPG

Section 3 second measure you're given a helpful upbow mark, then you play the next measure on one down bow, then the next measure has a square bracket over it. That means play the whole measure on one up bow, and so on. Heavy stresses are best played with a downbow, but there's a lot of stuff out there with a heavy stress on the upbow at the tip and you just have to give it the necessary force. Indeed the last two lines call for crescendos on the downbow and diminuendos on the upbow.