Summary of the 9th National MURAL Symposium
to teach, learn and share insight in mural art
Presented by Mural Routes in partnership with Waterloo Community Arts Centre
October 27, 2005 – Walper Terrace Hotel, Kitchener, Ontario Canada
Introductions and Welcome:
Carol Knowlton Dority, president of Mural Routes gave everyone a warm welcome to the symposium and
introduced the keynote speaker.
President of the Mural Routes Board of Directors, Carol is a Toronto based Visual Artist who describes her style of
work as that of an imaginative realist. Carol’s recent assignments have included projects with Toronto Special Events,
Toronto Public Health, Mastermind Educational and the World Wildlife Fund. She exhibited at the Red Eye Gallery at the
Distillery District in March 2005 and during the summer of 2005, Carol was the creative designer for the community mural
with the Yonge/Lawrence Village Walk. She is an organizer and exhibitor in the Exploring the Threshold: Art and Theology
in Dialogue at the Toronto School of Theology, University of Toronto, opening in November 2005. Currently Carol is
bringing a new bullying-prevention program to the Toronto District School Board called Journey to Peace.
Session 1 - Creating Place: Keynote address by Glen Murray
Glen Murray opened the conference by sharing his expertise and vision of culturally
dynamic urban centres. Taking a brief chronological overview, using examples from
Winnipeg and beyond, Murray clearly laid the case for creative thinking in
developing communities and using public space. As the stresses and challenges faced
by urban areas increase and population demographics change, the urban quality of
life, as determined by both cultural and economic indicators needs to be nurtured into
a new “urban” economy where creative people and talent gather. Referencing
Michael Porter, Richard Florida and Jane Jacobs, Murray poses the question of how ‘clusters’ of creative people
relate to place.
What defines a sense of place? The answer appears to be that creative people and creative talents generate places
where people want to be; places with ecological and cultural authenticity. Cities with a high “Bohemian Index”
have greater tolerance and thriving economies.
The “creative values” of diversity, unique aesthetics and identity in many urban environments sit at direct odds
with “utilitarian” values of mass producers, standardized function, with little to no public engagement or
provocation. The authenticity that emerges from urban spaces that embody creative values are inherently
complex, historical, engaging and above all, real and relevant. They are critical to maintaining a sense of
identity, civic pride and economically stable and socially dynamic neighbourhoods.
Through expressions of culture and art, we as citizens become part of the ‘lived world’ where stories are told, a
sense of history is restored and authenticity returns. Murray likens public art, and murals in particular, with the
work of healing, a sense of repair to the fractured nature of the fragmented urban environment. “The quality of a
mural,” Murray said, “is to engage people.” Murals create interest, awe and may cause intelligent reaction. They
raise questions, create surprises and can be a catalyst that leads to more creative activities. Murray stated that
“Muralists are healers.” Public art can heal a neighbourhood. It brings back beauty, a sense of place; and is
accessible to everyone in the community.
Ultimately, murals give us positive images of ourselves by validating our visual presence in the community, and
it is through our own reflections and expressions of past and present that we may begin to heal some of the
damage caused by social ruptures, by bringing art and life in closer conversation.
As an urban strategist and consultant Glen Murray works with civic leaders, citizens and cultural groups who know
that successful local economies are increasingly driven by an important mix of assets that range from cultural resources to
immigration policies to its research and development capabilities to their relationship with their environment. His vision
and experience are anchored in practical and very successful experience as the former Mayor of Winnipeg and an urban
consultant.
Glen Murray is Research Associate for the Centre for Urban and Community Studies, at the University of Toronto. He
was a Distinguished Visitor at Massey College in the fall of 2004. He sits as a member of the Task Force on Creativity and
the Public Service for the Government of Canada and is the Chair of the National Roundtable on the Environment and the
Economy. He is a partner in The Glen Murray Group (www.glenmurraygroup.com).
Session 2: A Sense of Place
Visual presentations and discussions about murals that make an impact on the community.
a) The Impact of Murals on Community Space
Karin Eaton, Executive Director of Mural Routes, provided a brief introduction of the topic and an overview of
the work of the organization. She showed graphic examples of some of the projects Mural Routes has taken
since its inception.
The mandate of Mural Routes “to teach, learn, share” is a key component in bringing together and networking
an international body of people who are isolated from one another but are changing their own communities in
creative, passionate ways. Mural Routes connects artists and “mural communities” across Canada, the USA,
Australia and Scotland, amongst others.
Using a visual presentation, Karin showed how murals impact the communities were they are located. Starting
with “Home Base,” the office Mural Routes shares with Scarborough Arts Council, the murals on the front and
garage door add vitality to an ordinary building. The Monarch Butterfly theme creates added interest in the park
setting of the office. Before and after images of murals in the communities of Birch Cliff, Cliffside, Cliffcrest,
Highland Creek Village and Agincourt show how dramatically the urban landscape can be enhanced. Each of
these communities, located in eastern Toronto, engages community members and creates pride of place.
Through some of the murals, which tell stories of earlier times, a new interest and understanding has been
generated in the local heritage of each community. Karin called public art murals, “in your face art” accessible
to everyone in the community. Communities that have been exposed to murals over many years are more
accepting of different themes and styles of art.
Over the past few years there has been a strong interest of funders and communities to be involved in youth
projects. The youth projects tend to have a more contemporary focus that often depict multicultural elements of
the community and different painting techniques. The youth not only receive art education with mentor artists,
they learn to interact with a diverse range of community members and issues.
When Mural Routes started 15 years ago, there were very few murals in Toronto. The initiation of the Heritage
Trail murals in Scarborough sparked many mural projects in the city. Karin showed a small sample of murals in
other communities in Toronto.
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She ended the presentation by pointing out that there is a large network of communities that have chosen to
improve their towns through public art murals. Many of these are listed on the Mural Map of Canada which
forms the centre point of the website www.muralroutes.com which links artists and communities from around
the world.
In 1990, Karin initiated the Heritage Trail Mural Routes project for Scarborough Arts Council and was President of
Mural Routes since its incorporation in 1994. In July 2005 she took over the position of Executive Director for Mural
Routes. She was previously Executive Director of Scarborough Arts Council for 11 years. Karin is a founding member or
the Guild Renaissance Group, a Board Member of the Doris McCarthy Gallery at the University of Toronto in
Scarborough, member of the Program Advisory Committee for the Fine Art Program at Centennial College and VicePresident of the Harbourfront Centre Board of Directors.
b) Tour of Lake County, Florida – presented by The Crazy Mural Lady, Alice St. Onge Harrington
Alice is a self-taught artist who also attended a commercial art school. She took delegates on a visual tour of
mural that she has created in Lake County, Florida. She talked about the value of setting up this tour to promote
her work. She has also created a mural tour pamphlet, which she distributed to everyone.
Alice talked about many ways that an artist can market his/her work such as television through instructional
painting videos. She stressed that all artists can be more aggressive in marketing themselves.
Alice recommends taking digital pictures of the finished work and work area, including the floor etc.
Alice’s love of art was evident when as a student in Ocoee, Florida; she was drawing animals and landscapes in class
instead of completing her assignments. Her earliest influence was her mother, noted Senior Artist Emma St. Onge, who
introduced Alice at age 10 to oil painting. Her first works were rich in colour, a sign of the brilliant colors evident today in
her murals.
Alice was trained in Commercial Art under Paul Rungee at the Orlando School of Art and graduated in 1966 where
her originality and color usage won her recognition. She has achieved popular recognition through her Mural Tour in the
three cities of Mount Dora, Eustis and Tavares, Florida. The tour features over 30 murals in a 12 mile loop and is a
favorite activity for tourists and locals alike. Her six week “I Can Do It! Mural Classes” are a popular activity for Seniors,
High Schoolers and Home Schoolers.
Alice has completed over 150 murals for businesses, municipalities and residences. She has been told that her work is a
“mood lifter” and customers say they enjoy her work for its simplicity and lack of hidden messages. She willingly answers
to the nickname Crazy Mural Lady, given to her by her customers.
c) Murals that make an impact
Trudy Turner, executive director of West End Biz, provided a thought provoking and inspiring presentation of
the cultural and economic regeneration of an economically diverse multicultural area that had been deemed at
“high risk”.
The incredible success of mural projects in the area has raised the bar on community pride, participation and
identity, in a region of the city where the isolation of newly immigrated Canadians can be a cause of real
concern. Through various examples including the murals of Adam Beach, Zoohky a local character and Kids in
the Kommunity, a larger-scale project that involved the participation of an entire public school, the choice of
relative content and audience participation, from inception to completion resulted in socially important and
greatly loved works of public art.
The success of murals in Winnipeg was enhanced by using the model of community participation at all levels;
from involving the community in choosing subject matter that is close to the community’s heart, to painting and
celebrations, the ways in which murals bring together in the community creates healthier, safer and more
creative communities.
The following is a summary of the power point presentation - Murals That IMPACT!
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West End BIZ:
 Business Improvement Zone
 Represents the 1,100 businesses in Winnipeg’s West End
 Incorporates 220 city blocks
 Place where most “new” Canadians settle when they first arrive in Winnipeg
 A vibrant, multi-cultural area with no single ethnic group comprising more than 20% of the population
 Serious issues of gangs, prostitution and drugs but . . . .
 Well connected community with many organizations working together to tackle the issues.
 It also features almost 60 murals!
So why do we paint murals?
Our community has told us that murals make them feel safer and makes them proud! They also
love how it reduces the graffiti!
But how much impact do they have?
 Every mural, simply by covering a blank wall, has some impact in the community!
 They cover unsightly walls
 They add interest to the streetscape!
But some murals go right into our hearts!
So what makes the difference between a mural that is simply a “Pretty Picture” and a mural that truly has impact
and enters the hearts of the Community?
Just One Thing!
Community participation!
We Involve Our Community in Many Ways!
Mural Content:
 Communities have great ideas about what they’d like to see. Just ask!
 Choosing a subject matter close to the heart of the community creates a major impact!
 Like Those Based on Local Heroes!
These don’t have to be famous people – just people who mean or meant something to your
community! A little research can come up with a wealth of subject matter.
Involve Your Community in Painting the Mural!
 Each year we do one mural under our “Mural Mentorship” program - involving local youth to work with the
artist to help paint the wall!
 Encourage “Audience Participation”
 Encourage your artists to paint directly onto the wall so the community can become involved on a daily
basis.
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
Celebrate!
Invite everyone - the funders, the community, the media, local dignitaries - and celebrate by “unveiling” the
masterpiece!
Our Most Beloved Projects!
The projects that truly enter the “soul” of our community are the ones that involve the community in more ways
than one!
Two examples are:
o “Adam Beach”
o “Helping Hands”
Adam Beach
 Grew up in the West End
 Still involved in community
 Famous movie star
Community Involvement:
 Residents were interviewed and asked about their local heroes – Adam’s name was big!
 Adam was contacted, interviewed and asked for his ideas – he was thrilled
 Adam gave us names of family and friends – mostly area residents
 Family and friends shared stories and pictures
 Community interacted with artist throughout project
 400 community members, dignitaries, media and Adam and his wife attended the opening
 Adam attended many community events over a five day period and his boasting about coming from the
West End of Winnipeg did so much for our community!
The end result? - A remarkable mural that is beloved in the community and protected by everyone!
Our second case study . . . “Helping Hands”
 This was the fourth in our Mural Mentorship Series
 Erica Holloway, U of M Fine Arts student hired for summer
 Neecheewam donates the wall and financially supports the project
 Erica together with the BIZ and Neecheewam develop a theme – “Helping Hands”
 Erica then postered the community looking for local youth to volunteer
 A rough sketch was developed but evolved as the youth express their ideas
 Erica taught the kids basic art skills but more than that, they learned to work in a team, and they learned the
importance of community
 The kids developed a real sense of community pride
 AND THEY HAD FUN!
The Impact of This Project?
 Neecheewam – a “new neighbour” has been warmly welcomed to the community
 The project has created a warm, welcoming feel to a sterile “institutional” building
 Residents say they feel safer
 Eighteen youth had the time of their lives and learned about each others’ cultures
 Clients of Neecheewam were given the chance to work with others
 The media were gracious in their support which generated positive stories for our area
 And the end result was . . .
“Helping Hands” - 135’ long, 7’ tall mural wrapping around four sides of the building
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No matter what the project, we really believe that community participation is what will create your strongest
impact!
After15 years in a successful sales and marketing career culminating in senior management, Trudy Turner realized
she needed more from life. Her desire to give back to the community led her to the non-profit sector where she became
involved in charitable organizations assisting with their fundraising and enticing businesses into becoming involved in
their community.
For the past five years Trudy has served as Executive Director for the West End BIZ Inc. representing the 1,100 small
to large profit and non-profit businesses within the geographic confines of the West End of Winnipeg. The goal of the West
End BIZ is to make the West End a better place to live, work, play and do business and Trudy believes that murals are an
integral part of a healthy vibrant community.
Trudy was born in Winnipeg and is the mother of two adult children. Trudy is a regular contributor to the Mural
Routes newsletter Off the Wall.
Session 3: Tools of the Trade presented by Ted Rickard
An important seminar on health and safety issues for artists and arts managers.
The following is a point form summary of the presentation outlining - responsibilities, rights, liabilities,
hazardous materials and safety tips.
Mural Artists’ Planning Tool Kit
• The Law
• Liability
• The Importance of Risk Management and Planning
• Workers, Volunteers and Children
• Ladders and Scaffolds
• Materials
• Personal Protective Equipment
• Lessons Learned
Risk Management
The art of looking into the future, recognizing potential problems and putting steps in place to avoid those
problems or to minimize their impact
Definition of Worker according to the Occupational Health and Safety Act “… a person who performs work or
supplies services for monetary compensation…”
Rights of Workers
• Right to Know
• Right to Refuse Work
• Right to Participate
Self-employed workers are still subject to much of the Occupational Health and Safety Act, and its
Regulations.
Workplace can be defined as “… any land, premises, location or thing at, upon, in or near which a worker
works.”
The Supervisor
• Is legally responsible for the safety of all workers on the job.
• He/she must know about the health & safety issues, as well as how to do the job technically.
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•
•
It would be an excellent idea if he/she gave a short safety talk before the job started, giving expectations
of all parties.
He/she should actually supervise to ensure that people are not working dangerously.
Worker responsibilities: [Occupational Health and Safety Act, s.28]
The Occupational Health and Safety Act requires workers (amongst other things) to:
• Work safely at all times
• Use or wear protective equipment or clothing as required by the Employer
• Report hazards
• Not operate machinery or equipment dangerously
Children and Youth
• Mural painting is meant to be, not only fun but also, a learning experience.
• So you have an obligation to teach young people the safest way to do something.
• This experience could stay with them for the rest of their life.
• You are a role model, and should not be demonstrating dangerous (or potentially dangerous) practices.
Young workers are at risk, if……
• Little orientation or training
• Macho or anti-adult attitude
• Think they are immortal
• Often inadequate supervision
• Vulnerable (don’t want to ask questions or speak up)
The Occupational Health and Safety Act makes you liable for the safety of people you hire:
OHSA: General Duty Clause “…an employer shall, take every precaution reasonable in the circumstances for
the protection of a worker” [Occupational Health and Safety Act, s. 25(2)(h)]
WAIVERS DON’T WORK IN COURT!
The Law says:
• You cannot sign away your rights to a safe workplace
• You cannot sign away other peoples’ rights to safety
• You cannot sign away your responsibility for the safety of others.
Liability
• Identify key “owners”. Who is ultimately in charge of the project?
• Plan and identify responsibilities clearly in writing.
• Identify somebody specifically responsible for health & safety on the project.
• This person must be advised that they have this responsibility, and must follow through and actually DO
IT.
• Documentation is important. Prove It!
• DOCUMENT, DOCUMENT, DOCUMENT!
Bill C-45 - The Criminal Liability of Organizations Act
This new legislation makes even a non-profit organisation liable for the safety of everyone in the
vicinity of the workplace – even passers-by and people who are not involved with the project.
Insurance
• Do not rely on it.
• Often will not protect you.
• Any breach of law or obvious negligence may invalidate it, and will certainly raise your premiums sky
high next time.
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Problem-solving on the job is good, and always necessary.
• But: good planning before you start is even more necessary.
• Risk management and the safety of all must be the Number One goal.
• So think carefully before you start improvising with ladders, scaffolds and tools.
Site preparation:
• Clean up completely under foot (old tires and shopping carts, debris, broken glass, needles, loose earth,
plants, etc.)
Note: many workplace accidents are caused by slips, trips and falls on a level surface.
WHMIS - Workplace Hazardous Materials Information System
Hazards related to preparation of surfaces • The problem of lead paint
• Chemical paint strippers
• Dusts – eye and respiratory protection
Chemical Strippers and Graffiti Removers (major inhalation hazard)
• Toluene (or Toluol)
• Xylene (or Xylol)
• Methylene chloride
• others…
WARNING: Isocynate-containing compounds can be extremely hazardous to your health
Fire hazard:
• Linseed Oil can spontaneously combust
• Never bundle up linseed oil-soaked rags or paper towel for the garbage.
Scaffolding
• Requires knowledge and competence to put it together properly
• Requires safety rails, proper planking, toe rails, etc., etc.
• If worker is over 3 metres from the ground without guardrails he/she requires fall arrest equipment.
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Proper use of ladders and scaffolding
Fall Arrest Equipment
• A full body harness, properly inspected and installed
• Harness to be properly tied off to a mounting point
• Worker trained in the use of fall arrest equipment
(One day training at Construction Safety Association, North Safety or similar)
Extreme temperatures - Require special protection:
• In heat: workers may need hats, sunscreen, more liquids, more rest breaks, and careful monitoring.
• In cold: they may require hats, gloves, warm clothing, hot drinks, warm rest areas, and careful
monitoring.
CAUTION:
You are at greater risk of injury when you are under stress, in a hurry or suffering from lack of
sleep. “Accidents” are preventable!
Take a break every couple of hours and unwind a little. Respect your important tools –
fingers and eyes cannot be replaced.
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Wrap-Up – the professional way
• A short debriefing or “lessons learned” session immediately after the project is finished – with all
workers participating, preferably on site.
• Make notes, and circulate to all concerned.
• Learn from this session and move forward to the next project better prepared.
Donors and your Community have their own agenda:
• They want good PR
• They want a positive write-up in the local press
• They want to be considered good corporate citizens
• They want to help their local community.
They DO NOT want the bad publicity resulting from an injury or a prosecution!
The basic message:
• If you are unsure about how to do something safely, don’t do it.
• Ask how to do it safely.
Ted Rickard says that everyone thinks of him as AThe Safety Man,@ but actually his job is much more than
that. His graduate degrees are in Information & Library Science but also in Education, and he regards himself
very much as an information resource and an educator. For the past 17 years Ted has been Manager of Health
& Safety at Ontario College of Art & Design, and is accepted as Canada=s specialist in art hazards. He spoke
about the kinds of hazards mural artists can encounter – and what to do about i.t
Session 4a: Fundraising - Major Gifts presented by Louise Aspin
The session covered prospect identification, qualification and the successful "ask." The following is a
point form summary of the presentation
Project Based Fundraising from Start to Finish!
The Case for Support
 Otherwise known as the Project Description
 This document validates the project
 Consider audience when drafting
- Who will this project benefit?
How will this project improve the community, the City, Canada?
Funding and Opportunities
 Identification of opportunities
- Consider the opportunity to also raise start up costs for the next project – be realistic when setting
target
- Can you develop levels of funding?
 Identification of funding needs
- Recognition identification
- Sponsorship vs. philanthropy
Proposal – the elements of a successful proposal!
 Table of contents
 Executive summary – include actual “ask”
 Short project description
 The “fit” – linkages to prospect
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


The “ask”
Benefits
Ensure the 5-W’s are answered - Who, what, why, where, when
The Package Contents
 The “Case for Support”
 The proposal
 Board and or Volunteer list
 Financials
 Artists Bio’s/Credentials
 Samples of successful projects
 VISUALS!!!!
Prospect Identification
 Who has a vested interest in your project?
- Community – neighborhood merchants, business associations
- City – speak to your local Councillor
- Government – MP, MPP
- Corporations with a history of supporting the arts
- Foundations with a history of supporting the arts
- Individuals…………
Campaign Planning
 Define sets of potential donors
 Define marketplace

Revenue streams
Individuals
Corporations
Foundations
Define donors with capacity within stream - who can give at what levels? THEN
Allocate resources and focus
Research Tools
 Information gathered from meetings / informal discussions
 Databases – CCP, BIG, iWave, Factiva
 Internet search engines, newswires
 Canadian Who’s Who, Directory of Directors
 Canadian newspapers and periodicals
When writing your proposal, ensure that it is tailored to the prospect - use the research wisely!
Delivering the Proposal
 Personal meeting
- Use leverage in the community to secure a meeting
- Research your prospect
- Know the answers to your questions before you ask them!
- Personal meetings are always best!
 Mailing package
- Ensure all documentation is included
- Begin the process with an introductory phone call
- Follow up with a phone call after sending the package
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Stewardship
 Thank you!
- Immediately send a thank you note, make a phone call, if appropriate send a small gift
- Always say thank you at public events
- Send invitations to special events, openings etc.
 Recognition
- Plaque or donor wall with levels of funders immediately visible
- Issue press release when gift is secured and when project completed
- Special event to launch the project really important!
Everyone can fundraise!
Louise Aspin is the Director, Major Gifts for Sunnybrook and Women's Foundation. Louise is a member of the Board
of Mural Routes, as well as a member of the Toronto Public Library Board. Prior to her employment at Sunnybrook and
Women's, Louise was the Campaign Manager for the Ontario Science Centre successfully raising $45 million for their
capital campaign and worked for the Banff Centre, fundraising on a national level, as well as the Scarborough Arts
Council, providing program direction.
Session 4b: How to approach the Wall with master muralist, John Hood
A review of fundamental methods employed in the conception and site preparation of painted mural
artwork. The following is the handout prepared by John Hood for this session.
Creating a Mural Production Opportunity
Cold Calls: Scout businesses, corporations, institutions etc. in your area and aggressively pitch ideas. A
restaurant owner might buy themed murals for a dining room, Sports bars often wish to have sports themed
murals. A community centre might want a community themed piece. Carry a well presented portfolio with
colour examples of your best work and contact information. Look for businesses that are renovating and
approach managers. This is a difficult thing to do but it can work.
Follow Arts Media: Watch arts magazines, major print media, cultural websites, bulletin board postings, in art
faculties you may be attending, for advertisements concerning mural art competitions. Follow submission
guidelines to the letter and always try to present only your strongest work.
Networking: Try to establish a community of like minded interested people who can facilitate your search for
mural commissions. Let your friends know what type of work you do and ask them to lookout for opportunities
for you. Join professional associations and attend seminars and conventions.
Advertising: The muralist may wish to consider a range of media options to advertise his or her abilities. Such
options as local newspapers, printed flyers, personal websites and postings in art supply stores and painting and
decorating centres, cultural centres etc. are all viable. Few muralists may be able to afford major media
campaigns involving high end key placement print ads in colour or television spots. The muralist must make a
careful calculation regarding the cost of any advertising undertaken against its ability to generate income
producing commissions. That said, a certain amount of time is required to assess the effectiveness of, for
example, a small spot in a community newspaper. One commission at a thousand dollars would generally easily
offset a year of ads in a local weekly, but does the ad produce that commission? Word of mouth remains a
strong method of generating work for muralists.
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Undertaking a Commission
Let’s now assume you have secured a commission to paint a wall mural. You are now faced with the sometimes
daunting task of moving from conception to execution, from idea to actuality. Let’s consider the (relatively
unlikely) case in which a client has asked you to develop a mural project from scratch as it were; there is
nothing in place except the bare wall and the desire on the part of the client to see an image on it. In order to
conceive an image and move towards the practical considerations of executing the work, it is helpful to have a
methodology in mind with which to develop your ideas.
Theme: This is a logical starting point. You and your client need to discuss thematic content. What is the mural
going to say? Will it be political, commercial, decorative? For instance, “Public Art” as a theme does little to
narrow the range of potential imagery whereas “The Dignity of Labour” suggests strong imagistic associations.
A strong thematic direction, once established will tend to in turn suggest ideas or directions concerning subject
and pictorial style.
Having decided on thematic content, and begun to consider the question of appropriate imagery and stylistic
treatment, other factors emerge that will condition your choices in these areas;
Format is perhaps the most important primary consideration determining style, imagery, subject and treatment.
By format we mean the strict area on which the mural art will be executed. What are the exact dimensions
(length x height) of the pictorial area. Is it a square, a horizontal rectangle, etc? Are there windows, doors etc.
and if so exactly where are they located relative to the edges of the format? Is the surface flat or curved or both?
What is the composition of the surface? (e.g. brick, stone, corrugated metal). One of the very first tasks to
undertake is to obtain a strictly measured map of the surface with correct measurements locating all such aspects
of the mural area. This is as important from a practical point of view as theme is from a philosophical one.
A consideration of the format together with the available budget will help determine the breadth of treatment
and style. For instance, given a moderate budget, a large size, simple graphic image superimposed on a coloured
background would be a more logical choice for a four thousand square foot mural on corrugated aluminum, than
would a highly rendered landscape with a lot of anecdotal detail. The client will in all probability wish to impose
time constraints which will impact further on these considerations.
Once you have a firm thematic content agreed upon, and a complete understanding of the mural format,
including a scale map of the surface, You are ready to begin drawing to develop artwork that can be applied to
the site.
Designing the mural
At this point the muralist goes back to his or her studio. Now begins the applied work of developing the imagery
that will comprise the finished piece. There are a number of factors to take into consideration in order to begin
drawing, having established the theme and become conversant with the format.
Environment is a key consideration for all mural work and particularly with regard to exterior murals in public
spaces. It is essential to at least consider the environment in which the artwork will be situated. A consideration
of the surroundings of the potential mural, in terms of buildings and building materials in the vicinity,
architectural styles, sightlines, zoning regulation and neighbourhood usage will in all probability have a
significant impact on the choices of style, treatment, colour scheme and content that the artist will suggest to the
client.
Research: The amount of research required depends to a considerable extent on the type of mural; a historical
mural will by definition demand thorough research, but any type of imagery generally indicates the need for
reference material. Further, what is the history of the mural environment, in the broader senses of nation, city,
neighbourhood or in a more specific context such as the immediate history of the site itself These considerations
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do not only bear on historical murals, e.g. a strictly conceptual contemporary style mural may employ images
related to the history of the site as a point of departure or organizing principle for other disparate imagery related
to the chosen theme.
An involved period of research will usually generate ideas and provide the muralist with a range of reference
and pictorial material to be used as building blocks to design a composition suitable for the particular format and
theme. I like to generate useful images by research and then spend time simply thinking and imaginatively
visualizing the space for a while before I begin to draw. How much time you have to do this will vary
considerably, but will usually be less than you would like. Once you have assembled a complement of imagery
and treatment ideas these images suggest, you should be ready to begin drawing.
Thumbnails are the first essential drawing requirement of almost any design project you can conceive. A highly
useful method is to take a sheet of paper (I use typing paper) with several boxes drawn on it that represent a
scale rendering of the mural area. Make 20 or 30 copies and begin to very simply sketch into them,
experimenting with the placement of the various images that you and your client have decided to incorporate.
This presupposes that there is some consensus of opinion regarding imagery at this point. Communication is
essential to obtain this consensus.
At this stage you are trying to establish the basic thrust of your composition, a general organizing spatial
principal that relates chosen thematic imagery to the edges of the pictorial format in a satisfying way. You are
considering the distribution of the large masses of chosen imagery across the available area, thinking in terms of
establishing movements across the surface that will lead the viewer’s eye around the pictorial material in a
pleasing manner. This is the essential art of composition. At this stage we may point out that your desire to do
this is sometimes at odds with the inclinations of the client. Decisions the client may make on the basis of their
perceived agenda may not always lead naturally to a sound composition, but it is up to the artist to try and “hang
tough” on these points as much as possible, since a good design is always preferable to a poor one, even if the
poor one seems to somehow answer more of the agenda requirements of the commission.
I generally sketch out a large number of little simple thumbnails like this until I begin to arrive at a
compositional motif for the organizing of the pictorial material that pleases me. Then I move to the step of
making more elaborated sketches, but which are still very simple and direct and which are essentially still
thumbnails, albeit of a larger size. Typically, I now create a scale drawing of the outer edges of the pictorial
format, as large as it can be and still fit on one sheet of typing paper. Doors and windows etc. are indicated.
Make 20 or so copies and begin to refine your design conception. I work in black and white at this stage, trying
to determine the placement of pictorial motifs more precisely and pin down the distribution of light and dark
masses and the overall tonal values of the picture. This is the first type of drawing I will show to the client,
unless there is a set of submission guidelines that indicate otherwise. (e.g. you may be asked to submit only a
scale finished rendering or “Maquette.”) Drawings presented this way may be coloured with pencil, watercolour
or other media to demonstrate potential colour schemes.
I sometimes employ a little strategy at this stage. I have usually promised to show the client a number of
possible design alternatives (I often suggest three). I will develop these alternatives in the manner just described,
but inevitably I will have a design concept that I am most pleased with. In order to enhance the likelihood of the
client giving me the green light to execute the conception I am most pleased with, I will show them three
similiar design motifs; one will be conservative, another will be more radical, but the middle option (the one I
wish to execute) will seem like a very logical, satisfying presentation by comparison. Just hope they don’t bite
for the tame option! The intention is to try to show directly to the client why the design the artist favours is a
good one, how it better serves to bring out the theme and suit the format and environment. The endpoint of this
process is to come away from a meeting with the client with an approved scale rendering that shows fairly
precisely the imagery selected and its exact location on the surface of the pictorial area. The muralist should
make clear that at this stage there is to be no more discussion concerning the composition and ideally the colour
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scheme should be definitive as well. The intention of this is to obviate the need to make time consuming
changes to a finished rendering or “Maquette”. The design is now finite and not open to further interpretation.
Rendering/Maquette: At this stage the muralist must execute a finished artwork in exact scale. The scale used
is dependent on individual preference; I prefer to make the rendering in a scale that is as small as possible while
still allowing adequate detail. I typically employ a scale of 1cm = 1 foot for maquettes. Media for renderings is
also a matter of personal choice, however it may be logical to use the same media for the maquette as will be
used on the mural.
Artists will understand the requirements of producing a small scale finished artwork, so suffice it to say that
what we need to move to the execution stage is an exact scale, fill colour artwork that includes all relevant
features of the mural format, and one, of course, which has received definitive approval from the client. The
artist may wish to reserve the right to have the client allow minor changes of form or colour on a mutual
approval basis as local conditions may dictate, but the content, theme and style are decided. The artist should
make clear to the client that the interpretive or developmental period of design is over at this point, and that the
artist is no longer responsible for further refinements, unless a new contract is negotiated. Armed with
references, sketches, photographs, templates for any print elements and a sealed colour copy of the maquette, the
muralist is ready to prepare the site and begin to execute the mural.
Site preparation-”Approaching the Wall”
Let’s assume for the purposes of discussion that we’re dealing with an exterior wall. The issues of site
preparation are generally the same for interior walls, but usually less demanding. To allow the muralist to begin
working the site in an orderly, regularly scheduled fashion, it is useful to assign time to lining up everything that
will be needed to conduct the work, rather than attacking the artwork without being fully prepared.
Critical Path: Some artists may be of a temperament to benefit highly by the creation of a critical path. By this
I mean the commitment to paper of a daily schedule that breaks the production of the mural into a series of
discreet tasks and assigns related time values to each task; e.g. you may designate one work day for priming,
two work days for applying a line drawing to the wall etc. The number of discreet tasks and the time designated
will vary depending on the artist’s techniques and methods and can be estimated fairly accurately given ample
prior experience. Without generous prior experience, the artist is called upon to make a “best guess” when
assigning time values. It is important to remember to factor in time for equipment delivery if required, on site
liaison, and all aspects of site prep we can anticipate, and for down time due to emergency and weather
conditions.
The creation of the critical path may begin at the commencement of the design process, and if so provides a
useful tool for giving the client a quote. Some artists may feel that the critical path is too limiting or structured;
however, it can be a very helpful resource to allow the work to progress efficiently and provide clients with a
meaningful estimate of progress. I will say here that I am leaving aside the issue of negotiating a contract and
providing a quote or estimate, as well as securing financial arrangements and the legal ramifications of mural
contracts, such as liability. These arc topics for another dedicated discussion.
Liaison/Support: It is now of great importance to ensure that good liaison is established. You will already have
a working relationship with your client but at this juncture you must ensure that there is a designated resource (a
liaison) at the client’s location. This must be a person you can contact easily and as often as necessary to ensure
a continued efficient conduct of the work programme. They must be able to address requirements and exigencies
that may develop and should have access to someone with executive authority in the client office. Further, you
must also establish good communication and liaison with individuals at the mural site itself (assuming that they
are not contractually related to the client). In short, your liaisons at both the clients location and at the mural site
will need to be able to provide the necessary support required to execute the commission.
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Clear Access: By clear access, I mean the achievement of a condition in which all obstacles that may limit or
prevent the physical access to the work format (the actual wall surface itself) and to utilities, as are required to
conduct the work, have been removed. In the first sense, a site inspection is required to ensure that garbage,
debris, vehicles etc. are clear of the site in order to allow the installation of any required lifting devices e.g.
scissor lift, scaffold, boom truck, ladder etc. The same for rooftops if a swing stage is required The type of
lifting platforms or height access are determined by the size and shape of the mural wall and immediate vicinity,
in tandem with a consideration of the budget allowance. You will need to ensure access to a parking
arrangement for your own work vehicle, and entry to areas designated for storage of your required materials, as
well as access to power connections and washroom facilities with running water. If you need identification or
site clearances to be on the work site, these must be obtained. Your liaison people will be the primary aids in
establishing “clear access”. It is to some extent incumbent on the artist to attempt to anticipate obstacles that are
inherent to the site and notify support individuals of these potential problems, with a view to obviating crises.
Good communication is essential.
Kit Preparation: After a couple of years of mural work on site, I began to conclude that my working materials
were not systematized enough. I began to try and apply a more systematic mentality to my approach to the
media, and to this end I began to develop my own ideas about what would constitute a workmanlike mural
painting kit. The primary purpose of this was twofold. First, to allow the easy delivery of media (artist colours)
to the site and to the palette, and second, to ensure a maximum conservancy of expensive media. My solution
was to use plastic condiment bottles (found cheaply in restaurant supply stores) in a carrying case selected for
easy portability that would accommodate one full bottle for each colour in my palette with an extra container of
white. This also had space for water (rinsing containers). I also developed a tendency to construct special tables
out of wood that were designed on site to fit into whatever lifting platform or scaffold I was using. This turned
out to be a tremendous aid in maximizing my efficiency on site. The muralist needs to be able to create a
condition at the site in which all required supplies and media are readily to hand and secure from wind and
weather. Sturdy portable cases for all related tools and hardware are very handy, if not a strict necessity.
After a sufficient supply of the chosen media (paint), elements to be found in my kit include but are not
necessarily limited to:
• An ample supply of well maintained brushes of all sizes and shapes
• Rollers with trays and a selection of roller poles up to 18 feet
• 4 ft and 2 ft level
• Several measuring tapes and rulers, yard (metre) stick, T-square
• Coloured and regular pencils, Chalk lines with chalk , ballpoints, note and graph paper
• Paint scrapers (all sizes), “five-in-one”
• Electric drill, jigsaw, circular and hand saw, sander, frame’s hammer
• Stud finder
• Masking tape of various widths, duct tape, plastic ties, box cutters (knives)
• Acetate and permanent markers, various point sizes
* Complete selection of screwdrivers, drill and saw bits, various pliers and tin snips
• Wide range of wood and metal screws and fasteners, tapcons (masonry screws), nails
• Wood fasteners and connectors (for constructing work tables)
• Variety of large and small water containers
• Portfolio, binders (for art, sketches, photos, references, contracts, invoices, receipts)
• Selection of power cords (50 - 100 foot interior, exterior)
• Supply of lumber and blocks (for chocking, levelling scaffold and work tables)
• Comfortable work shoes and clothing, headgear for sun, cold weather clothing
• First aid, Aspirin, drinking water
• 5 foot stepladder, folding stool, portable scaffold
• Rolling platform designed to hold paint kit and extra media
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What have I forgotten? While this list seems extensive, I have used all these items on one mural site.
Preparedness prevents wasting quality work time. You don’t want to lose hours of good conditions due to the
need to obtain kit items; inevitably there will be hours when conditions do not permit work on site when you can
perform other tasks. The main theme here is to apply a level of conscious systematic thought to how you
organize, transport and maintain your tools and materials in such a way as to facilitate and expedite the work.
Media and Equipment: Just a brief word about these factors; the choice of media is dependent on the artists
methods and inclinations as well as on the architectural characteristics of the site. It is critical to establish that
the media selected is compatible with the architectural or structural character of the site. Mural Routes has
undertaken dedicated discussion in the past concerning appropriate media and format choices and will no doubt
do so again. By equipment I mean heavy equipment such as scissor lifts and spray equipment, compressors etc.
The choice to employ a spray technique may be appropriate but implies procedures not within the scope of this
discussion. It is absolutely necessary however, to ensure that whatever equipment and methods are chosen, the
muralist is conversant with the proper safety procedures for their employment. We are all saddened to hear that
an emerging mural artist of approximately 40 years of age was crushed to death by a lifting platform at his work
site recently in Ontario. Let’s all be sure to employ the proper precautions to ensure that such tragedies do not
occur!
Conclusion
So we may sum up by saying that having created or been given a mural production opportunity, that by a careful
and thorough discussion of theme and an understanding of the format, that by a careful application of sound
design procedure and methodical site and kit preparation, we may arrive at a juncture where we have
“approached the wall.” We are now ready to begin the exhilarating and challenging procedure of executing an
original mural artwork.
How to carry out the work is a matter determined by the instincts, training, imagination and skill of the muralist.
That said, in my experience, the best way to carry the work through successfully is to establish a regular work
schedule, with appropriate time allowances for breakfast and lunch routines. I have found that I accomplish
more work if I can stick to a fairly regular work schedule and maintain an even blood sugar level; don’t skip
breakfast! Good luck in your artwork endeavours.
John Hood began drawing avidly almost as soon as he could hold a pencil and has been drawing ever since. He was
a relatively accomplished draughtsman by the age of around twelve when, with paint lent by his mother, painter Noreen
Mallory, he attempted his first oil paintings, one of cartoon character Asterix and one of a diesel locomotive. Sadly these
two important works have been lost to history (probably just as well) but the damage was done and John had got the
painting bug for good.
John has numerous large scale public mural commissions to his credit as well as private and corporate commissions,
both for murals and small works, and has experience in book illustration, editorial drawing, scenic painting and art
teaching. With more than 15 years of experience in the field of mural art, John Hood’s understanding of materials and
methods of large-scale paintings is well-developed. His murals grace the walls of communities throughout Ontario
including Athens, Welland, Collingwood, Fort Frances, Kenora and Toronto. He is a member of the Program Advisory
Committee for the Fine Art Program for Centennial College. and an advisor to the Mural Routes board of directors.
During the summer of 2005, John provided guidance as artist mentor for Mural Routes’ Project Maintenance 2005
Mural Planning Session led by John Hood
An evening session was held to prepare design sketches for a mural to be painted over the following two days as
a post-symposium event at The Button Factory. Sher DiCiccio, Executive Director of WCAC, and volunteer
WCAC librarian, Mike gathered photographs of activities at WCAC over the past 12 years. “We would like
images that represent the five major artistic disciplines offered at WCAC” DiCiccio told the artists during the
meeting. By the end of the evening, the mural design was agreed on.
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October 28 – Waterloo Community Arts Centre - the Button Factory
After a casual continental breakfast, Sher DiCiccio took the group on an informative site tour of the facility. She
explained how the organization has evolved in the restored industrial building. It is a vibrant space with many
different groups using the facility for rehearsals, performances, readings, meetings, classes and exhibits.
Waterloo Community Arts Centre (WCAC) is a not-for-profit, volunteer-run, charitable organization that
exists to promote all forms of art programs in the community. WCAC is a people place that stimulates creative
expression in all who practice, appreciate or have yet to discover the arts. Artistic activities include:
performances, classes, workshops, special events and art exhibitions. WCAC offers programs for children,
youth, adults and seniors of all artistic disciplines and level of achievement from amateur to professional at
affordable cost.
Sher DiCiccio is a founding member of the Waterloo Community Arts Centre where she has worked for the past 11
years. She is a published author and former President of the Waterloo-Wellington branch of the Canadian Authors
Association. She has volunteered on over a dozen community arts groups in the past 15 years. Currently she sits on the
Community Arts Ontario Board. When not fulfilling an administrative role, she enjoys playing piano, recorder or guitar,
reading and jogging with her dog. Her passion is music in all forms and mentoring emerging artists.
Roundtable Discussion:
Robin Sokoloski gave and update on the initiative called Beautiful City Billboard fee that has been initiated by
Them.ca. Them.ca is the flagship of the Foundation for Advancement of Young Urban Artists. Co-founded by
Devon Ostrom in 1997 it has grown to over 30 emerging to established artists. They operate in Toronto with
artists located in all parts of the world. Over time they have evolved into a federally incorporated NPO (NonProfit Organization) but still integrate many of the ideologies of collective behaviour. To find out more about
this initiative please go to the website http://bcbf.them.ca/Content.asp?id=15
Robin Sokoloski is the interim Executive Officer of Them.ca. She is also the coordinator of Lakeshore Arts' youth
group: YAM (Youth Arts Movement). Robin has just recently graduated from Humber College's Art Administration
program. Her background is strongly rooted in community arts and working with youth in the arts. Before moving to
Toronto, Robin acted as a dynamic participant in Ottawa's local art community by getting involved in projects such as
"Piece Park" (a project that is lobbying to save a legal graffiti wall by building a park around it.)
POST SYMPOSIUM - Mural Painting at the Button Factory
Several artists from the 9th Annual mural symposium in KW gathered to create a new mural at WCAC. The
project was designed and executed under the direction of mural artist John Hood The artists included Alice - the
Crazy Mural Lady from Florida, Danuta of Hamilton, George from Toronto and Mitzi, Gina and Sheila R from
the WCAC.
The arts portrayed in the mural are literary, visual art, drama, music and dance. The blue section depicts senior
author, Edna Staebler, who was the subject of biography by WCAC member and writing instructor, Veronica
Ross. The green section depicts a visual art instructor and child. The drama section portrays actors taking their
final bow. The sepia tones highlight young musicans from a KW Chamber Orchestra performance. And the
final panel illustrates a member of Choreographers’ Collective, one of our original dance troupes who were
resident groups from 1994 to 1998.
The mural was unveiled to the public, November 11, 2005 at a reception for the opening of an exhibit at the
Waterloo Community Arts Centre.
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The participation of WCAC in the 9th Annual Mural Symposium was sponsored by the UpTown BIA and City
of Waterloo Recreation and Leisure department.
Alice and Danuta start work on the mural at the Button Factory
Mural Routes and Waterloo Community Arts Centre would like to thank everyone who participated and helped
make the symposium such a great success. With special thanks to Kitchener Downtown Business Association,
City of Waterloo, Recreation and Leisure Department and the Walper Terrace Hotel.
Mural Routes is a not-for-profit volunteer organization whose purpose is to facilitate the creation of public art
murals for the benefit of communities. Through its website, artists’ database and annual symposium, it helps to
maintain a network of individuals and groups who have an interest in murals. Mural Routes is responsible for
the Heritage Trail and Urban Trail murals on Kingston Road in Scarborough, (Toronto) Ontario and consults
with other communities to assist with the creation of mural projects.
Mural Routes depends on grants, memberships and donations of time and money to continue its work. You can
support the goals of the organization by becoming a member. Membership fees are $25 for individuals, and $50
for non-profit organizations. Member artists and towns are listed on the website. For more information and for
secure online registration visit the website at www.muralroutes.com.
Mural Routes • 1859 Kingston Road • Scarborough, ON • M1N 1T3
Phone: 416 698-7995 • Fax: 416 698-7972 • Email: info@muralroutes.com
www.muralroutes.com
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