"World's Largest Business Card"

Timeline: July 5th, 2017...

After waiting for  almost five years for the Young Centennial Committee to get their ducks in a row, my patience has been richly rewarded. I was on site to capture stunning images of the massive mural installation.

A scissor lift capable of ascending 40' into the air was pressed into service.

A combination electric and hydraulic lift was brought on-site. The large working platform, in tandem with a tractor with fork-lift, made ideal equipment to lift the heavy panels into their respective positions on the massive frame.

This shot gives a good impression of the scale of the frame.

The scissor lift requires outriggers when extended high up in the air.

In the above picture, you can see the huge ( 16" diameter) steel posts that were deemed necessary to hold the 20' x 80' expanse of painted panels. The structure was engineered to withstand very brisk winds. Also, considering the predominant (prevailing) winds come from the northwest, the infrastructure is oriented to "slice" into the wind, rather than face it like huge sail.

The aforementioned tractor and fork lift can be seen to the left, carrying the next panel.

Now that you have seen some of the (later) highlights of the installation, here is the finished product...for your viewing pleasure:

The finished installation of "forever YOUNG" at Young, SK.

Once the "forever YOUNG" mural was completely installed, I decided to create a quick video, on my phone. I posted the video on Facebook that afternoon and within about 24 hours, 9,700 viewers partook of the great fun.

About the Artist/Author:    

  Please Visit www.mrgaudet.com

        

Huge Mural to be Mounted in Young, SK. Summer of '17.

After waiting for about 4 years, it would appear that the Village of Young is ready to mount my giant ( 20' x 80' qualifies as giant wouldn't you agree?) mural this summer of 2017.

I met with a couple of committee members last night and they were making encouraging noises. When I was driving by this morning on my way to dialysis in Saskatoon,

I decided to pull over and make this quick video to show you how really massive the frame is. It allows for the mural itself to be mounted 10 feet off the ground.

View of the partial mural while being painted at the Young Arena. The mural is 20' by 80', so with a 17' high ceiling, I had to  paint it in 2 sections. Do the math.

I was careful to carefully document the "Work-in-Progress" of the "forever YOUNG" mural, as it was the largest mural to date that I ever created.

Selfie...

What a lot of painting! With something this HUGE, there is going to be a LOT of heavy physical work. So. I paused during a typically busy day to take a selfie with the mural as a backdrop.

About the Artist/Author:

To read more, please visit www.mrgaudet.com

1st SGEU Mural Coming Along Nicely

After several more days of concentrated painting, the first of two murals commissioned by the good folks at Saskatchewan Government Employees' Union (SGEU) is coming along nicely.

Now that this mural is up and running, my painting instincts are kicking

This has been a very enjoyable painting process, with a certain amount of flexibility that has allowed me to stretch my creative muscles. I'm finding that my instincts and experience in mural-painting are holding me in good stead as work progresses. With a project of this magnitude, it is important to remember the end-game. These murals will be digitally captured with large format cameras once I pronounce them "finished". The resulting photographs will be enlarged 200% to create highway billboards throughout the province of Saskatchewan. Bearing this rather astonishing fact in mind, my artwork needs to be sensitive to the context. 

You can see that after a few more good days of painting productivity, the images are emerging as quite vivid.

The rendering of the thematic figures needs to be therefore a bit exaggerated, or put another way, the details must be on the "theatrical" side, with very pronounced features. It would not be appropriate, considering the fact that the observers of the highway billboard replications will be whizzing by at highway speed, to be overly subtle with the "visual fingerprints" of the design.

My "Pride of Ownership" rings true with the Saskatchewan-based 

So, it should not surprise you, dear reader, that my approach to this visual spectacle is to paint in a muscular style. I am sure it will be very interesting to see the effect of these massive photographs based on my original artwork. I'm already wrestling with the concept that every brush stroke will ultimately be enlarged to twice its natural size! 

Please stay tuned, I will be updating this project on a regular basis as work continues.

Please visit my website www.mrgaudet.com for more samples of my artwork and to read about my upcoming book, called "Dancing with Rejection: A Beginner's Guide to Immortality".

Mural to Hibernate ( 'til spring '13 )

Mounting this mural will not be easy.

It comes as no surprise with a mural project of this scale that the permanent mounting will be a formidable undertaking, especially now that the planning committee has decided that the superstructure will be engineered to hold the fifty 4' x 8' panels up so that the bottom will begin ten feet in the air. This means that the top of the mural extant will soar a full thirty feet off terra firma. Considering that the surface of the mural is a whopping one-thousand and six-hundred square feet, it will constitute an engineering challenge to overbuild the structure to withstand the inevitable force of what can amount to gale force winds here on the Canadian prairies. That is a huge 'sail'! 

In the coming months, we will be unveiling the master plan for the dedicated site where the mural will be installed, just south of Young School facing the #2 highway. The plan is to erect the mural on its own site complete with a drive-in access off the highway, a rest stop with washrooms and of course a viewing bench at the so-called 'sweet spot' where the view is optimal. I mention this because you will find that a certain distance is required for the best viewing experience...too close a viewing position will be counter-productive as it is so huge that the whole thing will not be visible. I don't think there will be any issues with distant viewing; I have looked at the mural from as far away as bout 100 feet (inside the rink) and can report that a distance of twice that far would still be well within reason.

Taking this into consideration, the committee has in their wisdom opted to contract with an engineering firm in Saskatoon to draw up and certify the plans for the steel structure that must be over-built by a factor of X10 to ensure that it truly is permanent.

Thankfully, we have a very generous corporate sponsor in place that is underwriting the cost of engineering. Now the trick is to generate the final chunk of financing required to pay for the actual steel, cement and hardware that the engineers will call for with their plans.

Nor will it be cheap.

Word on the street is that the cost of erecting this mural will likely surpass the fees that I have required for my professional services as the designer and painter of the mural proper! 

But it WILL happen. In the spring of '13.

Recalling that the mural was painted inside the hockey rink at Young, it only stands to reason that as the weather evolved from fall to early winter, it was imperative to clear out of that space to allow the rink committee to proceed with preparing the natural ice for the onslaught of the hockey season, as the Young rink hosts a very busy agenda of games starting pdq.

Although I would be the first to freely admit that this 'process' is about as exciting as watching paint dry, I thought I would faithfully chronicle the de-construction of the mural as it came down off its temporary frame and was securely packed and stored in its steel container ( "C-Can" ) where it will hibernate until the spring of 2013.

Dismantling the temporary frame was a fairly tedious undertaking that involved a lot of un-screwing. We planned ahead and used screws throughout in anticipation that it would have to disassembled after the mural's completion.

Shewin and I stacked all of the panels in position in the corner of the rink closest to the exit, in preparation for their winter storage.

I suppose that this picture might seem to be rather anti-climatic...but trust me, it took a LOT of energy to get to this point where all that remains standing is the basic skeleton, ready to drop onto the rink floor for the final dis-assembly. Remember, the frame is a full eighty by sixteen feet, so it represents a bit of work even at this late juncture.

With the help of a couple of very generous volunteers, we were finally able to send the wall back down on its face for the final un-screwing. As you can see, only about three pieces of lumber were shattered in the process. Not bad considering the huge 'boom' that occurred at the moment of impact.

Once all of the panels were removed from the frame and stacked methodically in the corner  of the rink, we recruited several generous volunteers from the community to assist in carrying each panel into the C-Can for winter storage.

All of the fifty panels were stacked with spacers in between and beneath to allow air flow as well as to prevent any shifting over the winter. Great care was taken to ensure that all the panels were not allowed to contact any of their neighboring panels so that scraping or scratching of the precious painted surfaces would be prevented.

A final sweep of the snow, dust and debris was carefully performed by Dennis Sather of the Centennial Committee before the C-Can was sealed for the winter.

Sprinting to the Finish Line

Now that the so-called 'full-spectrum tonal study' is nearing completion, I can start adding the 'native' or 'local' colors. In my opinion, the advantage of using the 'full-spectrum tonal study' throughout the entire composition BEFORE committing to local color is that this approach lends an overall continuity and warmth to the painting. No part of this mural appears isolated from the rest; rather, the whole things hangs together as a unified field.

The richness of the shadowy parts in contrast with the highlighted colors is really apparent as the steam locomotive comes into sharp resolution.

The cluster of figures is now about ready for 'local' color after the last treatment with pthalo blue strengthens the shadows. At this point all of the colors represent only the 'full-spectrum tonal study'. No effort has yet been expended in introducing the actual colors of the clothing or flesh tones. That will take place in the coming days so wait for it. You will see quite a radical transformation as it progresses.

The horse and buggy now stand out in sharp contrast from the background (more muted) colors. Also, the perspective of the horse creates a convincing illusion that he is popping out of the surface.

The parade of vintage vehicles begins to come into its own as increasing contrast and resolution (those two elements seem to go hand-in-hand with this technique) begin to enhance the three-dimensional dynamic.

A more distant shot of the parade shows the marchers along with historic downtown Young...with the seemingly gigantic cows calmly overlooking the scene. I wonder what they are thinking?

Backing up even further to show the relationship between the horse and buggy and the parade. The diving perspective is accentuated by the sweeping lines of both the parade route and in opposition...the horse's torso that proudly stands in front of the letter 'N'.

Looking back on the lower section of the mural towards the end of the work day.

I think the fairly busy collage of shapes is sorting itself out quite nicely at the lower right-hand side of the composition.

Turns out that the two portraits of our honored WWII vets will be every bit as prominent as the weathered figures at the upper left-hand side of the mural. I was a bit surprised at how large and eye-catching these two figures ended up being. Sometimes it really is difficult to anticipate how things will look until they show up on the wall.

Just modeling the various textures in this vista that shows a clerk at the 'Bean Farm' operation. Again, I was just a bit surprised at how prominent this figure turned out to be. He nicely anchors the middle right-hand side of the composition.

The parting shot of the lower section of the mural shows how the overall continuity holds the composition together in a coherent fashion. Even with such a complex phantasmagoria of shapes and colors there is certainly a visual and conceptual order.

Purple Glaze all in my brain...

Advancing with iron-willed determination with the remaining few square meters of red glaze...already anticipating the rush of 'purple glaze'...

There. That should just about do the trick for the application of the translucent red glaze. Time to crack open my ( probably ) most favorite glaze...purple! Or, more accurately, dioxazine violet if you want to be exact.

Can you spot the encroachment of violet?

Everything really pops with the addition of a translucent violet glaze. Suddenly the shadows start to make themselves known and the earthiness of these first three glazes with all of their infinite intermingling becomes apparent.

You can see the steam engine grows bolder and more powerful looking with the addition of violet. Maybe I am getting just a bit ahead of myself but I thought I would have a little fun with some steely blues to create the beginning of an impression of reflective iron on the front of this huge machine. Rules? What rules? It still has to be fun!

The composition of the first several objects starts taking shape with the gradient blue bits adding incredible depth and perspective.

There's something about atmospheric blue that intrinsically suggests depth and atmosphere. I think our brains via our eyes are hard-wired to accept this color as meaning "far far away", especially when it is a graduated tone from quite light on the bottom to rich as it ascends into space.

The cluster of figures just to the right of the train begin to dramatically come into their own once the violet glaze is applied. This glaze interacting with the previous red and orange glazes set on a base of golden flesh color begins to set up a dynamic surface tension that starts to convince the eye that the various shadows, highlights and contrasting shapes are surprisingly life-like.

Progressing to the right with the violet glaze forces the images to stand out in vivid contrast to their so-called 'negative space'.

I usually start my day with a certain goal in mind. This picture was taken yesterday...the goal was to to tease out the horse and buggy from the background and also to tidy up a variety of smaller details. Mission accomplished!

You can see the steady advancement of the violet glaze popping features out of the golden-flesh field.

One final parting shot from up on the sixteen foot step ladder...we have been here before! I think one more day will suffice to finish the purple glaze. Then it's on to...pthalo blue. Just wait, you will see the shadows and contrast pretty much leap off the page with the blue. But you already know that if you have been following.

One added pleasure for me while working away on the mural is when visitors pop in to check out my progress and (in general) cheer me on...as this is truly a marathon of painting. I try not to think too much about the formidable scale of this piece and just stick to the program...paint, paint, paint. Rest, drink, snack, paint, paint, paint.