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Archive for the ‘Large Murals’ Category

Four Unusual Guest Rooms in Un-ordinary Locations

1. FOCAL POINT: Red iridescent 1967 Mustang life-size mural. Air-brushed and hand-painted on 42-foot north wall.

Lodging type: Private inn with 8 bedrooms and 5 bathrooms.
Structure: Former Amish farm house.
Location: Northeast Indiana.
Room’s description: Third floor attic suite. Dimensions: 24-feet wide by 42 feet long.
Light source: Two dormers on front and back sides, one on each end.
Floor: Smooth-planed, tongue and groove hardwood. Note: more than 130 years old.
Walls: Drywall. Finish: White Snowfall, Color No. SW 6000 semi-gloss latex.
Ceiling: Drywall. Finish: Two layers of clear faux glaze over white flat base coat.
Paint products manufacturers: Sherwin-Williams; also Liquitex Acrylic Artist Paints.

2. FOCAL POINT: Panoramic re-creation of rare books reading room in Newberry Collectors Library, Chicago. Custom wallpaper mural wraps around 32-feet north and 22-feet east walls.

Lodging type: Hostel catering to travelers ages 60 and over; 8 bedrooms, each sleeping 7-8.
Structure: Abandoned industrial warehouse.
Location: West side of Chicago.
Room’s description: Second floor. Dimensions: 32-feet by 22-feet.
Light sources: 4 large, 18-paned steel-framed swing-hinged windows.
Floors: Wall-to-wall commercial grade carpeting over hardwood. Pattern: Salt-n-Pepper-neutrals.
Walls: 3 – Bare concrete block, smooth floated. Finish: Stain: Softer Tan, Color no. SW 6141.
Mural wall: Drywall installed, then white latex base coat rolled on two weeks before mural hung.
Ceiling: Dropped 18-inch frosted tiles, grid frames.
Furniture: Twin-sized bed foundations made from shortened oblong library tables; small reading tables became bedside/night stands.
Paint products manufacturer: H&C/S-W (concrete block walls); Drywall base coat.

Personal note: At age twelve, I visited the Newberry Library for the first time. Six years younger than the required minimum age of eighteen. I filled out a form requesting a book to read, I was seated at a table. A library concierge brought the volume, and placed it on a small table-top easel in front of me. She showed me how to turn the pages by using a special wand with felt tips. Note: All works had to be read there.

3. FOCAL POINT: Two Brown bear cubs in Wisconsin north woods scene. Life-size mural covers 24-feet long wall.

Lodging Type: Extended-stay family motel, that accommodates traumatic brain injured children.
Structure: Former two-story elementary school.
Location: North Appalachian Mountains.
Room description: First floor. Dimensions: 24-feet by 32-feet, part of 3-room suite plus bath.
Light source: Skylights.
Floors: Wall-to-wall commercial carpeting. Pattern: Houndstooth. Colors: Med-to-forest greens.
Walls: Smooth-floated plaster. Three walls painted Emerald Line: Cotton White, Color no: SW 7104, tinted with Byte Blue, Color no. SW 6498.
Ceilings: Dropped white pearl frosted acoustical tile squares set into flat white grid frames.
Paint product manufacturers: Sherwin-Williams; Liquitex Acrylic Artist Paints.

The Process: I installed the custom woodland mural onto the 18-feet by 32-feet wall facing south. Then I hand-painted and air-brushed both cubs into the foreground, using the designer’s template. By the way, the woods scene was a reproduction of a photo taken by the property owner. He was a freelance nature photographer for The National Geographic Society.

4. FOCAL POINT: View from the top of Jack’s Beanstalk. Hand and air-brush painted.

Lodging type: City inn.
Structure: Former 23-room luxury apartment.
Location: West Central Park, New York City
Room Dimensions: 15-feet by 26 feet
Light source: 2 tall adjacent windows overlooking the park.
Walls: Drywall. Painted white semi-gloss latex base coat; then two layers of faux stippling glaze: 1 part White Mint, color no: SW 6441, 3 parts Cotton White, color no. SW 7104, semi-gloss latex.
Ceilings: Popcorn texture, pin-dot effect. Paint: Cotton White, color no. SW 7104.
Paint products manufacturers: Behr’s; Grumbacher Acrylic Artist Paints.

The Process: A graphic designer sketched the Jack’s Beanstalk design on paper first. Then, a projector shot the image onto the wall. The same designer used colored chalk pencils to “trace” that image. Next, she used an air-brush spray system to paint the design. The painted mural was allowed to dry and settle for two days. Last, the artist sprayed on a fine coat of clear glaze mist.
THE EFFECT: Like looking through the clouds.
Paint products manufacturers: Glidden’s; Liquitex Low-Gloss acrylics.

Most painters and decorators envision the unusual and unique projects they’d like to have a hand in creating.

A Few Tips for Getting Started in Design-Mural Painting

1. Explore these outlets during your off days, and hours.
2. Decide which type of creative project really interests you.
3. Practice the special techniques required. If you can afford it, take a high-rated class at your local art school. Opt for a professional artist-instructor. Check out background, credits, awards.
4. Study recognized designers-muralists. Their backgrounds, styles, methods, paint selections.
5. To start out, you may want to work under an experienced creative painter/artist on one of his or her projects. Recommended: Help on your off time. Keep the day job.
6. When ready to “solo,” work on these special projects on the side. Start with simpler designs.
7. Leave your regular painting job behind only if and when you have a solid potential client and project base established. And, if and when you want to make that career change.

My view: Hand-painted murals are a gift to the surface… the atmosphere… the viewer!

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Thanks for being here on this planet. And, thanks for visiting “Painting with Bob.”

Copyright 2017. Robert D. Hajtovik. All rights reserved.

Creating and Painting: Murals by G.B.

A small group of boutique hotels (7) keeps a second painter on the payroll for one purpose. To paint “realism murals.”

 

G.B. sketches what he wants to re-create in a specific area, at a specific hotel. A graphic designer formalizes the painter’s sketches, including chip colors; textures and patterns; depths and reflections.

 

Then, the designer projects, or hand-draws the images onto the surfaces.

 

And, G.B. hand-paints and details the reproduced design. Ten years ago, he still handled every phase, from conception-to-completion. Today, at seventy, he’s content with what he can do.

 

The hotels’ owners keep G.B. very busy. It takes time to create an original mural. Sometimes months. Even when working at it full-time.

 

The finished effect is always captivating. Like his re-creation of the sandy Bal Harbour beach in South Florida. You have to watch where you walk (on the hotel’s sidewalk). That you do not step on a sea turtle, or a live crab, or a washed-up shell. The mural is that real.

 

One of my favorite “Scenics” depicts the tree-top scene from the 1992 film, Medicine Man, starring Sean Connery. The scene overlooks the Amazon jungle, and the winding, densely bordered river thousands of feet below. The hand-painted mural so real that you feel the mist gently pricking your cheeks, and the breeze brushing through your hair.

 

G.B. belongs to an elite group of painters. Commercial painters that sustain a good living as full-time muralists.

 

Sears, Roebuck and Company used to employ a painter to design and hand-paint graphics murals at their high-revenue stores. Macy’s, Bloomingdale’s and others did the same.

 

Karen, an Indiana graphics and advertising artist, designed and hand-painted her first mural in the 1980s. A jungle/animal scene that “grew” along a long corridor in a pediatrician’s office. She applied a special-formulated clear coat over the finished mural. To protect the surfaces from all of the “touches.” By little and big people!

 

I’ve worked on a number of original murals. Mainly graphics, objects, and architectural structures. Each design concept was sold to, or conceived by, the client: hotel/resort, hospital, store, corporation, school, home owner, etc.

 

Artists like G.B. and Karen are the real pros, though. Gifted with the ability to re-create the finest details of any part of nature. A tiger’s coat and claws and a parrot’s feathers and beak. An acacia tree’s small, yellow, puff-ball-like clusters of flowers. A grape vine’s veins and nobs.

 

On Thanksgiving Day, G.B. called from the boutique hotel, where he just started painting a scene from the southwest section of the Florida Everglades.

 

The mural will measure 80 feet long. Wrapping around the lobby like years of “free living and un-tampered overgrowth.” G.B.’s little catch phrase to describe the design, based on his first visit to the Everglades. When he was only nine!

 

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“Free living and un-tampered growth…”

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Thank you, always, for visiting “Painting with Bob.”

 

Copyright 2015. Robert D. Hajtovik. All rights reserved.

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