It Takes a Village to Paint a Wall! Glass and Lacquer!

6 –  Glass and Lacquer!

Referring to the images we have selected, we are now developing the direction for this 30’ high by 16’ wide artwork.  To clearly set the direction for Gorman’s team to start from, we prepared a very rough sketch from which many discussions are based, to start determining scale, position of images, textures etc.

We are now refining the division of panels, colours and materials to use, to best give the effect the Client is after. 

Change of direction!  The Client announces that we must eliminate or greatly reduce glare from the glass panels….not a simple feat to accomplish.

Back to the drawing board we go.  However, in re-thinking the Client’s preference for precious metal textures, colours and applications, we suggest to change the art wall from glass to a lacquer finish. Our panels would be lighter, making mounting methods simpler, less visible, texture could be dimensional in addition to trompe l’oeil adding depth to the piece and gone would be the challenge of dealing with the omni-prescence of glare.

But we must think of an alternate lighting method as – our back-lit glass is no longer an option!

Peter and I firm-up the budget for the work, adding what we now expect will be all the trades and processes. We’re also giving thought to time-line and scope of work we need from the General Contractor etc.

Everybody is happy!

Celine’s rough sketch showing concept/ intentions for image, superimposed on stair elevation.














It’s gonna be seen from up-close, lets make it interesting!

Gorman’s 1st draft image on the left is taking into account all images and concept of composition. On the right with our over layed comments to refine the composition. We want to assure detail interest is positioned to be at best viewing position, considering the Client’s head and eye height location as one will move up or down the stair.




Meanwhile we continue to develop the application methods we now want to use to give the look we are after, the final colour way and actual colours and textures for each of the areas. The blue dot you see on one of these samples is our later documentation of specific areas on the large artwork.