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Making a Mural
 for the new Boutique Inn
     ‘the Independent’

   © www.kimsenior.com 2008 all rights reserved
this is my digital
      maquette
  for a 30 x 8 foot
  vertical triptych;
    a mural to be
painted on canvas.
It has been decided
   to use mounted
canvas, rather than
 painton location.
This is the painted sketch.
    acrylic on canvas,
  about 12 x 40 inches.
Heavy roll of 15 yards of canvas;
opening the 10ft6in long box.
I triple check all my measurements
           before cutting.
My ceiling is shorter than that,
so I need to trim some inches,
so I can stand the roll, to be
able to unroll it sideways.
I cut through the roll with an snapoff knife,
going around and round, trying to keep the cut
as true as possible. I have to rotate the roll a
little to reach all round, and can feel a twinge in
my back from bending over it. Its heavy and
awkward.
I cut the thick cardboard core with my Japanese
saw. Works great, though I know cutting paper is
dulling the blade faster than cutting wood.
I leave enough length on the tube, so I will clear
the baseboard when I unroll.
We manage to hang it evenly
along a snapped charcoal line,
 i cut to length,and we repeat
             3 times.
the vertical shadows are
                       pressure marks from the roll
                       laying in the carton, and will
                              come out later.




 I cut the canvas 14 inches larger than the frame
  size, to allow sufficient for the stretching. The
stretched canvas will not have an external frame,
its called a gallery wrap when the paint continues
                  around the sides.
I snap a horizontal center line, and put dots of
tape at the foot marks.
I look at the sketch/plan on
my laptop, and I have
superimposed a scaled grid
on it, to help me draw my
design large, in charcoal.
For a mahl stick, ( a guide) I
   have a super light and
   strong one, made from
carbon-fibre golf club shaft,
         by my dad.
I have a slender 3 ft
                                 piece of bamboo,
                               into the tip of which
                                is a bit of soft vine
                                 charcoal. This is a
                                   great tool for
                               sketching this large
                                 a size; I can really
                                see what I'm doing
                                over a larger area.




The charcoal is soft enough,
and my pressure light
enough, that I can erase
mistakes.
I am painting each section sideways, each will
 just fit on the wall.




I have wiped all but a light layer of the charcoal off anyway,
   before painting, so the paints don't get contaminated.
Imitation gold leaf must be sealed with a
topcoat,or it will tarnish.
Rolling the completed middle section onto a cardboard tube.
Two completed sections. To view them together like this, I
  have to view photos of them on the computer. I traced
several inches of the left side of the first one, to make sure
    of the correct position to start the second section.
wet in wet blending for first layer of sky colors
top section, work in progress
applying leaf; it is the predominant visual
       element in the top section.
Painting and gilding done. Digital
         preview of how
   the panels will look when
 installed. Next step, mounting
canvas to custom built stretcher
             frames.
     ©www.kimsenior.com 2008 all rights reserved

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Makingamural

  • 1. Making a Mural for the new Boutique Inn ‘the Independent’ © www.kimsenior.com 2008 all rights reserved
  • 2. this is my digital maquette for a 30 x 8 foot vertical triptych; a mural to be painted on canvas. It has been decided to use mounted canvas, rather than painton location.
  • 3. This is the painted sketch. acrylic on canvas, about 12 x 40 inches.
  • 4. Heavy roll of 15 yards of canvas; opening the 10ft6in long box. I triple check all my measurements before cutting.
  • 5. My ceiling is shorter than that, so I need to trim some inches, so I can stand the roll, to be able to unroll it sideways.
  • 6. I cut through the roll with an snapoff knife, going around and round, trying to keep the cut as true as possible. I have to rotate the roll a little to reach all round, and can feel a twinge in my back from bending over it. Its heavy and awkward.
  • 7. I cut the thick cardboard core with my Japanese saw. Works great, though I know cutting paper is dulling the blade faster than cutting wood. I leave enough length on the tube, so I will clear the baseboard when I unroll.
  • 8. We manage to hang it evenly along a snapped charcoal line, i cut to length,and we repeat 3 times.
  • 9. the vertical shadows are pressure marks from the roll laying in the carton, and will come out later. I cut the canvas 14 inches larger than the frame size, to allow sufficient for the stretching. The stretched canvas will not have an external frame, its called a gallery wrap when the paint continues around the sides.
  • 10. I snap a horizontal center line, and put dots of tape at the foot marks.
  • 11. I look at the sketch/plan on my laptop, and I have superimposed a scaled grid on it, to help me draw my design large, in charcoal.
  • 12. For a mahl stick, ( a guide) I have a super light and strong one, made from carbon-fibre golf club shaft, by my dad.
  • 13. I have a slender 3 ft piece of bamboo, into the tip of which is a bit of soft vine charcoal. This is a great tool for sketching this large a size; I can really see what I'm doing over a larger area. The charcoal is soft enough, and my pressure light enough, that I can erase mistakes.
  • 14. I am painting each section sideways, each will just fit on the wall. I have wiped all but a light layer of the charcoal off anyway, before painting, so the paints don't get contaminated.
  • 15. Imitation gold leaf must be sealed with a topcoat,or it will tarnish.
  • 16. Rolling the completed middle section onto a cardboard tube.
  • 17. Two completed sections. To view them together like this, I have to view photos of them on the computer. I traced several inches of the left side of the first one, to make sure of the correct position to start the second section.
  • 18. wet in wet blending for first layer of sky colors
  • 19. top section, work in progress
  • 20. applying leaf; it is the predominant visual element in the top section.
  • 21. Painting and gilding done. Digital preview of how the panels will look when installed. Next step, mounting canvas to custom built stretcher frames. ©www.kimsenior.com 2008 all rights reserved