Changing the Landscape

Mural Routes and Downtown Midland BIA present
Changing the Landscape
12th National Mural Symposium
October 16 – 18, 2009
Midland Ontario, Canada
Symposium Report
12th National Mural Symposium is generously supported by
Contents
Friday October 16
Session 1: The Big Picture: Current Trends in Wall Art
Walking Tour: The Murals of Downtown Midland
Saturday October 17
Session
Session
Session
Session
Session
2: Keynote address - Mat Hand
3: The Entrepreneur and Mural-Making
4a (For Artists): From the corner of your eye, to the back of your mind
4b (For Administrators): The Fellowship of the Wall
5: Our Space, Our Stories - delegate roundtable.
Sunday October 18
Session 6: Off the Wall
Session 7: The Writing on the Wall
Report Appendix
Friday October 16, 2009
Burgundy Ballroom, Best Western Highland Inn and Conference Centre
Session One: Current Trends in Wall Art
Karin Eaton, Executive Director, Mural Routes
Karin welcomed delegates to Midland, Ontario, and the
opening session of the 12th National Mural Symposium.
She introduced this presentation, “The Big Picture”, as
her personal views on current trends in mural art,
having worked in the field for 20 years. The photos
shown during the slideshow were largely compiled from
work submitted by international artists who responded
to Mural Routes’ call for submissions.
Karin observed that you can trace the changes in mural
trends from the glorification and beautification of
churches, palaces and other institutions, through
expressions of protest and social upheaval to an era of
commercialism, expressions of culture and heritage to
the current time of more freedom of expression and
styles
With the understanding that all murals:
o
o
o
Tell a story;
Change the landscape;
Create a sense of place.
Johanna Poethig, Loop Tattoo,
2006, Chicago IL
Karin proceeded to illustrate trends through a comprehensive slideshow that included
murals in the following categories:
o
o
o
o
o
o
o
o
o
o
o
o
o
o
Glorification & Beautification
Public Art Commissions
Decorative murals
Advertising
Urban Renewal
Community Engagement
Celebrating Heritage
Cultural Expression
Tourism & Economic Development
Youth employment and education
Social messaging
Memorials
Marking Territory
Random acts of wall art
Phillip Adams and David Guinn, Rush of Fall,
2009, Montreal QC
The accompanying slideshow in its entirety can be found in the report Appendix, and online
at www.muralroutes.com. In addition to the Mural Routes website, the following sites are
also good resources to a wide range of international murals:
http://www.danfulwiler.com/muralsaroundtheworld/
http://murals.trompe-l-oeil.info/
http://www.globalartsandtourism.net/global/index.html
Walking Tour: The Murals of Downtown Midland
Led by Bill Smith, author of Midland on Georgian Bay and Ruth Hurdle, artist
The delegation enjoyed a tour highlighting Midland’s
34 heritage murals in the downtown area. Bill Smith
provided details of their significance to town history
and of their creation by artist Fred Lenz, who painted
the majority of the murals. Ruth Hurdle, who worked
on their recent restoration, was able to share
information about efforts by the Downtown Midland BIA
to conserve and repaint these murals.
Clearly, the murals are valued by the town
of Midland, and their strong central
presence gives the downtown a sense of
past and present identity. On a crisp fall
evening, a walking tour was a fitting start
to a weekend of information and
inspiration.
For more information and an online gallery of
Midland’s murals, see their website at
www.downtownmidland.ca
Saturday October 17, 2009
Burgundy Ballroom, Best Western Highland Inn and Conference Centre
A full symposium day began with a welcome to the delegation by Carol Knowlton-Dority,
President of Mural Routes. She introduced Councillor Stephan Kramp, Town of Midland, who
also offered everyone a warm welcome and invitation to enjoy Midland’s attractions.
Session Two: Keynote address
Mat Hand, public and performing artist, Berlin Germany and UK
Following an introduction by Karin Eaton, Mat Hand expressed pleasure in being able to
address the symposium delegation on his first trip to Canada. He began the keynote
address by sharing his background that led to finding a passion for public art.
Following a brief stint as film actor in England, Mat redirected his career and completed a
degree course in contemporary art. The interdisciplinary program at Nottingham Trent
University involved him in the visual, performance and literary arts.
Public art performances that followed included many attempts, some successful, to stage
Guinness World Record breaking events in gallery spaces. Because they were presented in a
gallery context, Mat found that people regarded these public performances in a different
way. His “record-breaking” art pieces (www.mathand.co.uk) explored the human urge to be
good at something and therefore remembered. His later public art pieces continue to look at
the issues around our need to “put our stamp on a place” and how the viewer perceives
these visual messages.
Mat asked the delegation to consider the meaning of longevity in
art. He cautioned that designating “permanence” can have huge
ramifications, not just in meaning, but also the status of art in
the community. What is the artist’s responsibility in saying that a
work is ‘forever’? When we put something on the wall, how long
will it actually be there? Mat feels that conceptually, and as an
artist, the merits of temporary art should be considered.
L-R: Carol Knowlton-Dority,
Mat Hand, Karin Eaton
Looking to explore a visual art experience in the community, Mat’s first public mural in
Nottingham was You Are Here, 1999. The delegation enjoyed watching a short video of the
mural project. The boldly rendered mural includes a map that shows the viewer where they
are in town. Community involvement allowed children to participate by providing a print of
their hands.
Mat shared his reflections about
portraiture, and our obsession with
creating images of ourselves. These
representations have different purposes,
so our relationship with them can be
complicated. Portraits evoke emotion, so
we relate to these in a way that we
cannot relate to objects. He screened
examples from popular culture, signage,
advertising and political campaigns that
illustrated how portraiture sends
commercial or political messages.
Reacting to public bombardment by
commercial portraiture, Mat chose to find
a way to represent his own community in
art. He shares this conviction, as quoted from Chekov: “Friend, you don't have to write
about extraordinary people who accomplish extraordinary and memorable deeds…”
Mat finds inspiration in presenting portraits without celebrity – images that provoke ideas
and suggest possibilities. He showed wall images around Berlin that exist solely as artistic
statements, including graffiti art and murals on the Berlin Wall and suggested that we
regard tagging with an open mind, thinking about its progression towards legal graffiti art.
Graffiti happens in areas that are active and vital; therefore it is important to realize its
worth as an expressive art form. Regarding the overabundance of advertising in the public
realm, he asks “do they have a right to put it in our face?”
Acknowledging the inspiration of Kent
Twitchell’s large scale mural portraits,
Mat showed a series of his own murals.
His portraits, best documented on the
website www.handmademurals.com,
often address the cultural invisibility or
misrepresentation of their subjects. They
present simple, but ambiguous images
that challenge our preconceptions about
public portraiture.
He spoke of very rich experiences
working in the community, outside of the
traditional art venues. “Someone To
Watch Over Me” seeks to give older women a positive visual representation. During the
course of this project that raised large public portrait banners on a community building, Mat
was able to speak with older women of South Normanton (UK) about their lives and
community. He feels that the public dialogue is as important as the visual art, and was able
to bridge communication gaps between youth and seniors by celebrating the project with
the entire community.
With walls sometimes difficult to find, Mat showed
some projects “off the wall”. His mural on a
vegetable truck was offered free of charge to its
owner. This gave him space to paint, and the truck
was protected from tagging. His large text-based
mural “Play” used professionals to install a design
on the building face when clients were worried
about a “permanent” installation. He spoke about
the process of finding contractors “that can
accomplish anything” when given a detailed design.
As his public art career evolves, Mat has learned
how to engage his clients in a more progressive way. He advises the artist to present a
concept, explaining exactly what you plan to do, rather than offering many options. If you
believe in what you are painting, you can convince clients to become much more
adventurous.
Finally, Mat shared the story of his recent Toronto
mural Trace. While visiting the city, he wanted to
leave something meaningful behind. He contacted the
Canadian ex-pat community in Berlin, and after
interviewing several people, Mat chose Cathy as
subject of his mural because of her strong feelings for
Toronto. In partnership with Mural Routes, Mat
painted Cathy at the intersection of Gerrard and
Main, and provided her with a sense of presence in
her home town. He expressed his pleasure at leaving
a work here that has conceptual integrity.
Mat thanked the delegation, and left an appreciative audience inspired by an artist who will
continue to make his own mark through his innovative work, shared concepts and great
passion.
Mat would like to continue his projects in North America. He welcomes your comments and
suggested blank walls. For more information about the art of Mat Hand:
www.mathand.co.uk
www.handmademurals.com
Session Three: The Entrepreneur and Mural Making
Serge Malenfant, President, M.U.R.I.R.S.
Serge greeted the delegation and introduced them to his
organization M.U.R.I.R.S., founded in 1998 in Sherbrooke, Québec.
His background included studies in fine art, graphic design,
illustration, costume and theatre design. Serge was motivated to
apply his experience and skills to public art after realizing that
residents of Sherbrooke did not know the history of their own
community. Blank facades and “holes” between buildings left empty
walls for murals. He realized that by filling this need, he could
combine two passions: art and history.
Inspired by architectural murals of Richard Haas, social heritage
murals in Chemainus, and the illustrations of Norman Rockwell,
Serge founded his non-profit organization with a social and artistic mandate only.
M.U.R.I.R.S. is an acronym for the name (translated from French) Urban Murals for the
Revitalization of Buildings and Social Reconciliation.
Serge detailed the structure of M.U.R.I.R.S. He has found that having a professional team
on the Board of Directors means that there is advice available for every aspect of a mural
project. He outlined how murals can be used to increase tourism, and explained how
promoting this angle has increased political and social support for mural art in Sherbrooke.
Through early projects, he learned lessons that have led to the organization’s success.
Serge shared aspects of project administration that have built M.U.R.I.R.S. into a strong,
creative business model.
Serge outlined his methods of production planning, including project evaluation, planning
schedule, materials list and detailed maintenance manual. His presentation (see Appendix)
included architectural drawings and working sketches that troubleshoot and assist in a
smooth translation of the maquette to the final mural.
A detailed look at Sherbrooke’s murals illustrates the
great amount of research and thought behind each
detail. Aspects of architecture, people, jobs, local
history, signage and attention to fine points like old
coins and newspaper headlines all contribute to the
accurate representation of town history. Stories of
notable personalities are included in the murals, and
add engagement for local residents and visitors.
Mural sponsors are integrated into various details,
and seamlessly integrated into products, window ads,
plaques and posters within the art.
Sherbrooke’s Bicentennial mural, 2002
Serge gave an overview of various sources and methods of project funding. He showed
examples of other commissions and private murals, ending his presentation with future
plans for the organization (including hopes for hosting the Global Mural Conference in 2012,
and “painting the Great Wall of China”!).
The delegation was invited to visit Sherbrooke and experience the outstanding work that
M.U.R.I.R.S. has accomplished. Clearly, Serge’s passion, strong administrative skills and
skillfully rendered work have resulted in international recognition for Sherbrooke’s murals,
and for M.U.R.I.R.S.
Excerpts from Serge Malenfant’s PowerPoint presentation Wall to Wall of Art, History and
Culture can be found in the report Appendix. For more information:
M.U.R.I.R.S.
Murales Urbaines à Revitalisation
d’Immeubles et de Réconciliation Sociale
1401, Desgagné street,
Sherbrooke, Qc J1J 1H6, Canada
Tel.: 819-578-5186 Fax.: 819-565-2171
www.murirs.qc.ca
serge.mal@videotron.ca
Session 4a: From the corner of your eye, to the back of your mind
Cameron Stewart, Sign Specialist, District of North Vancouver
Cameron opened an informative and entertaining session on type and lettering by sharing
his professional background. Currently Sign Specialist for the District of North Vancouver,
he found his inner artist after realizing that this was more gratifying than his career as
mechanical service manager. The delegation enjoyed an introduction by song and banjo,
“Oh Susanna”. The song led to the opening of Cameron’s slide presentation (see Appendix),
and some examples of how not to use type. Below, the effect of too many fonts on one
page:
In thinking about how we look at murals, Cameron suggested that we, as viewers, “peel
away the layers”. First, the iconography is noticed, slowing us down for a look. We then
dwell on the picture with our own purpose in mind. However, the ‘side effect’ is something
that happens less consciously, out of the corner of our eye. Cameron read a quote from
E.M. Forster to underline that point: “The beauty of the painting which is hard to confront
directly begins to be unwittingly taken in. Only that which is seen sideways sinks deep” – to
the back of our mind. The words seen on our murals can become a powerful part of their
understanding.
Cameron introduced the history of type, typesetting, and the use of letterpress. He briefly
explained the anatomy of letterforms, and used slides to demonstrate how we see type.
Below, the top half of the letters are decoded more easily by their shapes; our eyes find
lower case letters easier to decipher.
The delegation saw examples of good and bad use of type in signage. Below, a clean and
pleasant use of type; and how outlining and background can make the same art less legible:
We also learned that Toronto Subway Regular is a unique font designed for the Toronto
Transit Commission.
Cameron discussed the use of Photoshop and digital typography for editing. He showed
some applications:
The delegation saw the transformation of a wall in a Vancouver skate park, one of his first
wall projects:
Everyone enjoyed viewing Cameron’s signs in North Vancouver, demonstrating that humour
is an effective way to communicate any message, even Vancouver city bylaws. This series of
signs have been successful, not only for enforcement, but in gaining international attention
for their originality:
After a short video and demonstration, the delegation was able to try their hand at brush
lettering with paint. Cameron’s passion for his craft was felt by everyone. His enthusiasm
will inspire others to think more closely about the meaning of their writing on the wall.
For Cameron Stewart’s complete PowerPoint presentation, see Appendix.
Session 4b: The Fellowship of the Wall
Led by Karin Eaton, Executive Director Mural Routes
This breakout session for administrators was a
group roundtable about the roles and
responsibilities for a successful mural project
team. Karin led the roundtable discussion
through the following project stages:
1.
Initiating the Mural Project
¾
Who owns the idea?
¾
What is the purpose?
¾
Building a team
2.
Administration
¾
Budget and financial management – It was agreed that this subject needs more
time and detailed discussion
¾
Assigning roles and responsibilities
¾
Contracts and permits
¾
Human resources
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Insurance
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Health & safety – risk management, liability, keeping the project site safe
¾
Communication
¾
Documentation – photographs, written reports, community and artists’ feedback
¾
Maintenance plan
3.
Project management
¾
Creating a schedule – time management
¾
Day to day supervision; monitoring the project
¾
Special event(s)
¾
Reporting and communications
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Artist and community liaison
¾
Troubleshooting
Some of these roles may be delegated or part of the function of the administrator
4.
Partners and team members
¾
Defining roles
¾
Written agreement(s)
5.
Community engagement
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Outreach: Access the informal networks that communities have, including family,
friends and visitors
¾
Roles – identify and assign roles to community leaders and volunteers
¾
Consultation – opportunities for input before and during the mural painting
¾
Communication – door to door, flyers, volunteer contacts
¾
Celebration – mural unveiling, community party, acknowledgments
¾
Social networking: social platforms and networking tools available to us now like
facebook and blogs. This makes the participation of community members far
more accessible, as well as granting accountability to mural producers.
6.
Financing
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Develop a realistic budget. Do not forget such items as administration, promotion,
insurance, materials, artists’ and other professional fees. Also take into account
size and complexity of the art work to be created.
¾
Partnership contributions – these might be cash or in-kind goods and services.
¾
Grants – each community has access to different grant opportunities. Research
those appropriate to your area and also consider partnerships with other
organizations that might extend the granting scope for your project.
¾
Cash donations: organizations can solicit funds from community members, even
donations of as little as $10 add up. Set targets and running tally so that visitors
and donors can see how they have contributed. This gives people an immediate
response to the happenings related to proposed mural. If your organization has
charitable status, tax receipts can be issued for donations.
¾
Sponsorship (know the difference) Sponsorship includes a promotional component
for which tax receipts are not given.
¾
In-kind goods and services – items such as scaffolding, paint, refreshments etc.
¾
Earned revenue (sales of merchandise etc.)
¾
Lottery funding – Bingo, Nevada and raffles. The opportunity for these will
depend on local legislation.
7.
The wall or other mural location - matters to be addressed:
¾
Visibility
¾
Wall construction and surface: It is very important to choose a wall that is
suitable for the type of mural that you are planning. This is the basis for the
artwork. Repairing and maintaining the wall will add to the budget and frequently
causes unexpected delays.
¾
Condition and environment – know the danger signs, such as water damage,
peeling paint, snow build up, leaking eaves troughs etc.
¾
Ownership – finding the owner and understanding the ownership and
responsibilities of the final product.
¾
Negotiating the site: In community projects, it is helpful if the artists are involved
in selecting the wall.
¾
Contract / roles and responsibilities
¾
Services e.g. water, storage, access
8.
Choosing mural material
¾
Paint directly on surface
¾
Panel (plywood/aluminium)
¾
Non-woven media
¾
Other….
9.
Selecting a theme
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Open (artist’s choice)
¾
Community consultation
¾
Goal directed – purpose of the mural project
¾
Relevance to mural location and architectural setting: The theme and style of
murals will depend on the goals of the project and the participating artists.
10. Selecting artist(s)
¾
Outreach to artists - post calls for artists locally and/or through arts
organizations such as Mural Routes
¾
Selection process (open, invitational, limited, commission)
¾
Scope of work – this should be made clear in the call and the final contract.
¾
Fees
¾
¾
Creating a call for artists
Responding to calls for artists: (this discussion came out of questions raised about
concerns some artists have with requests for proposals that seem to be onerous
in requirements.) There was discussion about the complexity of competitions
particularly those being managed by municipalities who have stringent
requirements and regulations. Before submitting proposals or applications, artists
need to weigh up the cost benefit factors. They should also make a self-analysis
of their own readiness to apply for the large requests for proposals. If unsure
about questions, ask for clarification.
11. Contracts
¾
With wall owner – have this in writing
¾
With artist(s)
¾
Copyright – belongs to the artist, but frequently the right for promotion is given
to the organizing group.
¾
Permits – check on local requirements
12. Insurance
¾
Personal accident insurance for the artists – usually the responsibility of the artist
and may be a requirement in some contracts.
¾
Comprehensive liability insurance – this covers such risks such as injury to third
parties.
¾
WSIB (Workers Safety and Insurance Board)
13. Creating the mural – this is the artist’s job, but know the steps:
¾
Research
¾
Design
¾
Wall preparation
¾
Painting
¾
Coating (if required)
14. Maintenance Plan – develop a plan that includes the following:
¾
Budget and responsibility for maintenance
¾
Condition reports
¾
Maintenance schedule
15. Marketing/Promotion
Local outreach
¾
¾
Putting your mural on the map – Mural Routes offers the opportunity for group
members to have their mural projects represented on the online Mural Map of
Canada at www.muralroutes.com
16. Closure
¾
Mural is completed to satisfaction of the client
¾
Final payments
¾
Mural launch or community celebration
¾
Reporting to appropriate parties
Session Five: Our Space, Our Stories
Delegation roundtable, facilitated by Carol Knowlton-Dority, President,
Mural Routes
The final session on Saturday was conducted as an open floor question and answer period.
The delegates had the opportunity to learn from the experiences of one another, and
contribute to the considerable group knowledge. All were able to take part in the discussion.
The following issues surfaced during the session:
Is it feasible to have one source for the purchase of mural supplies and
equipment?
While it would be beneficial to have ‘one stop’ shopping for materials, it was agreed that
artists work differently, and choose supplies according to personal preferences. There would
be value in compiling this information from a survey sent to mural artists. The results could
be made available to all.
A discussion then followed that a common bank of resources for mural artists would be of
great value. There is no easy way to research different materials, surfaces, suppliers, etc.
Mural Routes volunteered to investigate the best way to make this available, as well as
trying to set up a forum that is accessible to the membership.
What is the preferred mural top coating?
A delegate explained that his project contract stipulates the requirement of a top coat with a
reliable anti-graffiti coating that is non-yellowing and offers UV protection. He wanted the
opinions of other artists. Suggested products came up for discussion:
Flecto Varathane Diamond Water-Based Polyurethane: product remains clear, needs to be
recoated every couple of years
Automotive clear-coat: aerosol that works on all surfaces, but does wear out and needs
maintenance
3M Paint Protection film: used on automobiles, not warrantied for signs or other use
A discussion about anti-graffiti coating explained that its use is still controversial, with no
available proof that it will not affect the painting. For this reason, this type of coating is
generally not recommended for outdoor murals. Opinions varied: there was general
agreement that Varathane Diamond will provide some longevity and UV protection. It was
suggested by some that after clear coating, a sacrificial coating of Liquitex varnish could be
applied that could be wiped and/or removed, but no one supplied evidence of it being used
successfully on murals. It is often a less expensive option to repaint areas where graffiti
vandalism has occurred. It should also be noted that murals are seldom tagged but in fact
provide a type of protection against vandalism.
There was concern voiced by all about signing a contract that stipulates a “guarantee” about
longevity. It was expressed that the wall owner should take responsibility for mural
maintenance, and this should be in the contract.
Alternative products:
There were several questions about alternative materials and products. The discussion
included:
A styrofoam product was seen in Serge Malenfant’s presentation that can be carved or
shaped, and applied to exterior walls. It is available from many manufacturers, also known
as “synthetic stucco”, and needs to be professionally installed. In the construction trade, the
material is called Exterior Insulation and Finish Systems (EIFS) or DEFS (Direct-applied Exterior Finish
Systems). Canadian information can be found at (http://www.eifscouncil.org/)
No one in the delegation had any firm recommendations about organic paints, but it is hoped that
trials can be reported in future. A product that is being considered:
Totem coatings – http://tradetecinternational.com/totemcoatings.com/index.html
On wall repair products:
Moorlastic 100% Benjamin Elastomeric waterproof coating has been used to repair
crumbling brick. According to the manufacturer, the product is meant to “bridge minor
surface imperfections”.
Simply using cement plaster on the area needing repair was successful in some cases.
Hydraulic cement was suggested for wall repair. It expands as it dries to fill cracks, and has
an adhesive in it.
Mural Maintenance:
A delegate asked for suggestions about maintaining a mural on porous block and brick that
pulls away from the wall every two years. It was suggested that an inspection may reveal a
source of moisture that needs to be sealed. Silicone can be used to fill every crack around
the mural. The roof should be inspected, as water can travel from a small leak and work its
way down to the wall.
Safety:
A discussion about scaffolding safety showed that regional safety standards need to be
checked in order to meet insurance requirements. It is sometimes difficult to find a
scaffolding company that will install their equipment because of liability issues. It was
suggested that a fence barrier be erected around the scaffolding in order to satisfy
requirements, and keep onlookers at a safe distance.
Artist fees:
A question was raised about rate of payment for artists. It was agreed that there should be
guidelines depending on a variety of factors, but each job needs to be estimated separately.
It would be helpful to have a base pay scale for those beginning in the field. No one knew of
any existing guidelines specifically for muralists.
Muralists need to be recognized for their contribution to building design, and as part of a
contractor team, should be paid at least as much as wall painters. One delegate offered his
formula of adding all the project costs, and then adding 50% to the total in order to prepare
a fair quote.
One international source of information about artists’ fees is IFACCA, the International
Federation of Arts Councils and Culture Agencies in England. Their website has tools and
guides that help artists determine rates of pay.
(See http://www.ifacca.org/publications/2007/08/23/fees-and-payments/).
Other useful information about arts business practices in the UK and internationally can be
found on their website at www.ifacca.org
Session summary: The group voiced the need for ways to continue to share information and
opinion. Mural Routes is committed to finding avenues that link mural artists and
administrators, as well as communicating updated information to all. They are currently
looking into utilizing their website and internet as a way to connect the mural community.
Mural Routes welcomes your questions and opinions anytime, and invites participation on
the blog at http://muralroutes.wordpress.com/
Sunday October 18, 2009
Burgundy Ballroom, Best Western Highland Inn and Conference Centre
Session Six: Off the Wall
Continuing from 2008 Symposium’s Off the Wall session, this
year the delegation was presented with more alternative
surfaces for mural painting by two working artists.
Part I: Sarah Collard, painting on utility boxes
Sarah began her presentation with a colourful slide show of
her work on transit controller boxes located on Portage
Avenue, the main downtown street in Winnipeg, Manitoba.
The slides (see Appendix for complete show) demonstrate a
vibrant way to include art in urban renewal. Sarah’s painted
boxes are integrated into the surrounding streetscapes, yet
include aspects of historic and contemporary culture. She
proceeded to share her working process with the delegation.
Sarah discussed how Winnipeg’s transit signal
boxes were previously covered with tagging and
posters, spurring the City to find a solution. The
Downtown Winnipeg Business Improvement
Zone (BIZ) commissioned several artists to
paint murals that reflect the history and
diversity of the downtown.
BIZ contributed to the project by preparing and
priming the boxes, then put out a call and hired
the artists. They promote the project and
artists, and assume the responsibility for
coating and maintaining the boxes.
Sarah shared her design process, and criteria. Her designs reflect the character of the
downtown, and show the diverse character of Portage Avenue. She did a great deal of
research from City archives, as well as her own photography.
Sarah took the delegation through the
process of working on a recent transit box
project, demonstrating her research,
composition and painting of the box. She
considers all elements of design, and treats
the four sides as one composition by
wrapping the design around the entire box.
Materials:
Primer: Zinsser Bulls Eye 1-2-3 (works on all
surfaces)
Paint: Sign Painters’ One Shot Lettering
Enamel (brilliant colours)
Sarah Collard’s complete PowerPoint presentation A Window to Winnipeg can be found in
the Appendix.
Part II: Sonja Rathke, on working on non-woven media
The delegation was eager to hear Sonja explain the process of working on non-woven
media, a polyester and cellulose fabric that is used for working off-site. She was fortunate
to have apprenticed with U.S. muralist John Pugh in California, and learned techniques for
using the material for his large scale murals.
Non-woven media is being used for indoor and outdoor murals in the U.S.A. by an
increasing number of mural artists. Sonja shared the method that is favoured by John Pugh
in painting large-scale outdoor murals comprised of multiple sections that are joined on site.
John’s finished murals have thus far withstood a variety of outdoor locations and weather
conditions.
Key points:
Non-woven media:
o Also known as Polytab - 320 weight
o Inexpensive – 46” wide/70¢ yard; 60” wide/90¢ yard (U.S. price)
o Can be purchased in 250 yard rolls
o Distributed in U.S.A. by QST Industries (Chicago), or contact Mural Routes
Advantages of working on non-woven media:
o Can be painted off-site, in studio
o Can be easily rolled and transported
o Found to be as durable as any outdoor mural
Preparation of media:
o Studio wall to be smoothed wood, primed with oil based paint
o Hang length of media from nailed wooden wall support with clips
o Prime media with 3 – 4 coats of Nova Mat Urethane, 10 parts urethane/1 part water
(first coat will soak through and seal media)
o Pull surface of media away from wall during first coat when it sticks, remaining coats
are easier to handle
o Be careful not to crease media
o After the primer has dried, media can be rolled around PCV tube
o Plumb line wall to ensure straight hang
o Primed canvas hung on wall with (blue) Scotch 8 day painter’s tape
o Tape top and sides; burnish pieces firmly
o Hang subsequent panels with 3” overlap on plumb line
While
o
o
o
painting:
Mural can be painted without further priming
Do not allow paint to bleed under overlap, lift edges
Move tape strips over after paint has dried to fill unpainted taped spaces
Hanging/mounting:
o Wall should be professionally plastered, finished - scaffolding up for large murals
o Wall to be primed with Nova 205 Urethane Mat
o Use professional wallpaper hangers using Nova 207 Mat Gel Urethane to adhere
o Overlap cut and removed when hanging
o Top coat with Nova 205 Urethane Mat to seal
A primer to working on smaller murals on non-woven media written by Susan Durgin,
Pennsylvania Art Education Association (USA), can be found online at
http://www.ucarts.com/fabric_mural_basics.doc
For information about purchasing non-woven fabric in Canada, contact Mural Routes.
Session Seven: The Writing on the Wall
Presentation and workshop by WonG, Soul Image
The final session of the symposium was a fun and informative session with WonG (Dwayne
Jardine Jr.), who presented an overview to the background and creation of graffiti art. He
made it clear from the outset that graffiti is an art form, and in no way related to illegal
vandalism, as is often perceived. His overview included an excerpt from a video about TATS
Cru, the New York City-based graffiti artists that began their careers creating subway art.
(video trailer at www.themuralkings.com).
WonG’s presentation identifies graffiti as a
style of urban art: art that has been
inspired and affected by the city and its
environment. It is simply a reflection of the
artist’s perception of his/her surroundings,
expressed often with a spray can. The
commonly held notion that graffiti is gangrelated is false, and outdated. Graffiti art is
one of many contemporary creative outlets
for an urban artist.
His company, Soul Image, seeks to channel
the energy of urban art in a positive way.
To this end, he takes workshops and
projects to youth, breaking down stereotypes and providing art skills. Starting out as a
program to curb vandalism, Soul Image has evolved into a company that works with City
authorities to showcase urban art and youth talent. It works in the community and also
takes on commercial projects.
WonG’s slideshow (see Appendix) showed his work on indoor and
outdoor walls, T-shirts and vehicles. He is successfully bridging a gap
between graffiti and its negative perception, and plans to continue
promoting the art form in as many venues as possible.
WonG led the delegates through a workshop to create their own
tag/signature. He demonstrated that a tag is simply the
deconstruction of our alphabet, reinterpreted with the strokes of a
marker, brush or spray can. Everyone enjoyed creating and
practicing their tag. For many, the session was a valuable
demystification of tagging and graffiti, leading to a better
understanding of
the art.
This final session
was a fitting way to wrap the weekend,
and in many ways highlighted the best
reason for an annual mural symposium:
it gathers a diverse group from across
the continent, and despite different
backgrounds, styles and views of public
art, finds the common language that
connects us all.
For WonG’s complete Soul Image
presentation, see Appendix.