COMMUNITY ART

A workbook of pictures, projects, instructions and resources

www.KeepCincinnatiBeautiful.org

This book made possible by a grant from The Fifth Third Foundation

introduction 2-3 MOVABLE MURALS WALL MURALS STOREFRONT MURALS WINDOW PANELS MOSAICS TRASH CANS FENCE OF LIFE 4-7 8-11 12-13 14-21 22-25 26-27 28

additional resources 29

Cover image: detail of Love Dove, movable mural on Vine Street, Over-the-Rhine

LESSONS LEARNED THINKING ABOUT COMMUNITY ART

Keep Cincinnati Beautiful has created this booklet with the hopes it will educate, inspire and help you in the process of bringing community art into your own neighborhood. Community art is a way to bring people together and create something beautiful. The impact can be quite powerful and felt not only by the people directly involved, but by the larger community as well. Over time, the artwork becomes part of the history of the neighborhood, a landmark, and a testament to what can happen when people work together for a common good. Keep Cincinnati Beautiful is grateful to artists Jen Brenner, Jan Brown Checco, Suzanne Fisher, Myra Messick Simons and Katie St. Clair for their contributions to this booklet and the projects represented within these pages. Their dedication to quality and craft leaves all of us surrounded by more beauty in our everyday lives. We feel fortunate to have worked with them, and Cincinnati is lucky to have such gifted artists within its boundaries. We would also like to extend a special thank you to Jen Brenner for designing such a beautiful booklet. This booklet is broken down into ve major categories: murals, mosaics, fencing, trash cans and window panels. It includes examples of projects already completed, step-bystep do it yourself instructions and supply and resource lists for each category/project. We hope you will have fun using it, and we look forward to seeing the results of your efforts. In the process of participating in and collaborating on various community art projects we have learned a few lessons. Foremost is the importance of quality. Creating community art can be a very rewarding experience with wonderful results. There are many ways to go about it, and it is important that the project produces something beautiful and pleasing for people to look at. As long as your commitment is to quality, you will not be disappointed. Hiring an artist that is familiar with and skilled in the medium you are working with can be a wise investment. They can help coordinate and guide activities, and they serve a valuable role in artistic creation and evaluation. Utilizing their expertise cannot be emphasized enough. Equally important is to take your initial design cues from the community. In Over-the Rhine, residents said they wanted to see murals with bright colors and happy themes. College Hill surveys said that the community wanted an ice cream store. Simple statements like these help provide an orientation to the project, from both a design and project implementation perspective. For a positive outcome, utilize community volunteers in as many ways as possible. Collecting ideas, working directly on the artwork, organizing, promoting etcare only some of the ways to engage your community resources. Call on local businesses to be involved as well. Often they are willing to donate supplies, space or money to the project. Lastly, start small and build on your successes. Some of these projects can be large in scope and you want your rst efforts to work well. Be willing to ask for help, and everyone can have a great time improving the neighborhood!

MOVABLE MURALS
Movable murals are a fabulous way to transform ugly, blighted buildings. Painted on vinyl canvas, attached to plywood on the building and framed with 2" x 4"s, these murals can create an art gallery feel on the street. Utilizing bright colors and wonderful designs, the murals can transform a streetscape from blighted to beautiful. They can be done in any size, tailoring the layout to whatever buildings are at hand. One of the most attractive features is that they are easily moved to other locations as time goes on. A project like this can be created by a variety of ages and skill levels, although it is important to work with an experienced artist who can organize, guide and rene the project.

SUPPLIES:
- vinyl canvas - exterior paint - tarps to protect the ground surface - paint brushes ranging from 1/2" to 3" - small containers for premixed paint - buckets for water/brushes - tables for set-up - plastic to cover tables - variety of installation materials

PLANNING:
When establishing a location, make sure you get written permission from the building owner. Talk to the volunteers and people in the community, gathering ideas for your conceptual design. Collect images and words that support the ideas. Create a sketch of the concept, complete with colors. A maximum of eight colors per design is a good number to use, as this will help minimize cost and eliminate unnecessary complexity. Present your drawings, sketches and ideas to the community/project organizer/building owner, and be open to suggestions. The design may need to be revised, based on the feedback that you receive. Maintain an open dialogue during this step, reworking the design until a nal review session results in an approved direction.

ARTIST:

Jan Brown Checco jan@brownchecco.com

Vine Street, Over-the-Rhine

PREPARATION:
Measure the site and make notes of the surface, existing hardware and possible challenges you may encounter during the installation process. You want the location for the mural to be as at and clean as possible. In some locations you may ll the entire surface with the mural and framing, while at other sites you might want to paint a complimentary border around the mural and framing. Finalize the projects paint palette, get materials and schedule preparation of the building surface. Mix paint colors and store in labeled containers.
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4 Finneytown H S #2 - Willow Wood 5 Finneytown H S #1 - Honeysweet 6 Wyoming Youth Services Bureau - Wildflower Wind 7 Mt. Notre Dame - Dream Spiral 8 Deer Park - Rising Meadow 9 Seton - Raspberry Touch 10 Ursuline Academy - Frill
Preparing the Frame for Installation
Frame Boards from Back

6 Paint all upper colors first. (do not fill in square where art board will be placed.) 7 Paint the lower Wainscoat band with Lindys Garden. 8 Paint the decorative patterns for each section. Now the wall is ready for installation of the finished art.
Art Board and Frame Assembled
Staple canvas to plywood surface. Art Board

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48 42 36 30

Getting from Concept to Finished Murals plywood top 1 Pre-drill holes from face side of frame 4 x 4 x 3/4
side

Step 24 Step 18 Step Three: Proposals & Drawings by Designers are Presented to Professional Review Panel, Discussion, Suggestions to Designers Step Four: Rework Design Until Final Review Session Results in Approved Design (1-5 weeks) 12 Step Five:
Selected Sketch is Drawn to Exact Proportions of Site Check bottom(Remeasure at Sizing
1 Drill holes 2 from edges of art board Step Six: 2 Hold board in place and Transfer Method (Grid or Projection) Choose transfer holes to the masonry wall. (Suggested Gridding Art for Enlargement 1 = 3 Drill holes in the wall to receive the expandable anchors. 4 Attach the art board to the wall. Site)
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side

on inside edge of stretchers at 10 - Ideas Discussed within One: Conceptual Design increments. boards as marked. the Community are Compiled into Images and Words (1-2 months) 2 Assemble the 4 Two: Apply Colors to3SketchboardsOpaquewith L brackets Attach with together Medium (Gouache, Acrylic Paint, suggesting 8 colors max per design) and wood screws.

1)

Step Four:

Create46 x 6 wide of Working (1 thick) 46 x a Schedule wood frame Hours painted with trompe loeil effect by and Distribute to Mural Team tint & shade. Attached & Project Director Membersto art board with wood screws.
3 overlap of frame on art board

Consideration of Problems/Changes for Installation with Technical Crew Establish Projects Paint Palette Choose Materials, Purchase and Prepare Surfaces for Artwork

Assemble Any Special Tools, Take to the Workshop Mix Your Color Palette & Store in Labeled Containers

IMPLEMENTATION:

Concept to Finished Murals

Transfer your design to the vinyl canvas, either by grid or projection. Determine Design utilizing a You can use the worksheet on how to transfer designs by for Installation/ Framing (Identification of grid. Usually suggested grid proportions forParticipants, Surface Preparation) art enlargement are: 1"=1' (see left). Step Five:
Use Your Best Focus While at the

Create Full-sized Painted Samples to Develop a Primer of Technique for All Participants

Workshop - Create the Mural! sign - Ideas Discussed within the Community are Compiled into Finalize installation plans and gather needed supplies, identify Images and Words (1-2 months) participants and prepare building surfaces.Writeframe canvas, cutImage To a Statement About the Sketch with Opaque Medium (Gouache, Acrylic Paint, suggesting 8 colors max per design) (one paragraph) to Use for Labeling Drawings by Designers are Presented to Professional Review Panel,4"s with 45-degree angles, making sure the size will work with 2" x Discussion, Suggestions to Designers and Project Publicity n Until Final Review Session Results in Approved Design (1-5 weeks) canvas. DREAMS OF HER CHILDREN least an inch of the canvas to be your VENUS ARTIST,want to allow at You ARTIST KCB 2005 ARTIST, Collect All Names of Participants (Spellings is easier Step Six: under each inner edge of the frame (see above). It Correct?) to paint Choose Transfer Method (Grid or Projection) Step Four: to installation. the framingSchedule of Working Hours prior Dedicate with the Community!!!!! (Suggested Gridding Art for Enlargement 1 = 1) Create a

Site)

Changes Crew ette and k

Write a statement (about one paragraph) about the image to use for Assemble for Special Tools, Take labeling and Any project publicity. Collect the names of all participants to the Workshop and make sure you have the correct spellings and pronunciations. If Mix Your Color Palette & Store in you want, the names of participants/partners can be carefully written Labeled Containers around the framing before hanging the mural.

and Distribute to Mural Team Members & Project Director

CELEBRATION:

Create Full-sized Painted Samples to Develop a Primer of Technique for All Participants Determine Design for Installation/

VENUS DREAMS OF HER CHILDREN ARTIST, ARTIST, ARTIST KCB 2005

Give Framing to everyoneof credit (Identification who sponsored the project, including artist, Participants, Surface Preparation) volunteers and donors. Invite friends and family, parents and Step Five: colleagues to join in celebrating the dedication of your project. Make Use Your Best Focus While at the sure Workshop -visit the site regularly to make any necessary repairs or that you Create the Mural! touch up the paint. It is a good idea to keep small, labeled containers Write a Statement About the Image of all(one paragraph) tothe palette on hand, to avoid the challenge of rethe colors in Use for Labeling and Project Publicity mixing paint colors later.
Collect All Names of Participants (Spellings Correct?) Dedicate with the Community!!!!!

WALL MURALS
Outdoor, painted murals require different considerationsmostly in terms of the surfaces and materials used as well as the cost. You have to gure in the logistics of equipment (scaffolding if working above 5'), weather, surface texture (rougher surface requires more paint) and management of volunteers. Secure an experienced artist to help you. On the plus side, large murals are a way to involve lots of volunteers so everyone feels like they have ownership of the project. If designed simply, even inexperienced volunteers are able to paint and most people surprise themselves as they discover hidden talents. On the other side, outdoor murals can be expensive to produce and maintain.

SUPPLIES:
- Exterior grade primer for the wall - Extra primer for touch up - Exterior semi-gloss paint for the mural - Tarps to protect the ground surface - Paint brushes ranging from 1/2" to 3" - Small containers for premixed paint - Lots of rags - Lots of water for cleanup - Buckets for water/brushes - Tables for set-up - Plastic to cover tables - Scaffolding/ladders; locks to secure; cement blocks to balance - Secure place to store everything in between painting

PLANNING:
Identify a site where you would like to paint a mural. Measure the wall space (both height and width) where you want to paint. Get written permission from the owner of the building on which the wall is located, and be sure to show the owner the nal design for approval. Get feedback and ideas from area residents about the design. This can strengthen relationships and shows respect. This can be done either verbally, by asking residents about what they envision, or by requesting that interested residents draw pictures that represent ideas that can be, with their permission, used directly. An artist can incorporate those elements into a nal design, and create a to-scale colored drawing on illustration board. This drawing will need to be gridded in 1" sections for calculation purposes. Then the design can easily be shown and it will serve as the blueprint for the mural. When picking your site and creating your design remember to consider the height of the design and who your volunteers might be. If they are young, be sure to have many design elements within their reach on the lower half of the mural wall. The mural examples pictured to the left were not higher than 12', a height easily reached with two levels of scaffolding.

ARTIST:

Myra Messick Simons hanagraphics@hotmail.com

PREPARATION:
Wall: Preparing the wall before you paint the mural is important and will ensure your efforts will last. In the examples to the left, a professional company prepared the walls by removing old paint and covering the surface with good exterior primer. (If you are going to do this yourself be aware of the lead content in old paint and take proper precautions). Tarps were used to protect the surfaces beneath the walls. Remember to obtain extra primer for touch ups later on. Paint colors: Using your gridded sketch, calculate the percentage of each color over the entire square footage to be painted. Talk to professionals that can advise you about color selection and transparency. The greater a colors transparency, the more coats of paint you will have to apply to achieve a good opaque appearance. That impacts the total amount of paint Findlay Market, south parking lot

you need. You will also need to consider the texture of the wall. If the wall is very rough, more paint will be needed to cover the surface. Normally, a gallon of paint will cover 400 sq. feet on a smooth surface. On a rough wall, that coverage may drop to as little as 250 square feet per gallon. The artist in these examples of large wall murals used EXTERIOR SEMI-GLOSS PAINT. The gloss makes it more durable. Full gloss paint is more transparent and will require more coats of paint. Putting design on the wall: Draw the completed design on illustration board, gridded for single square foot sections. You can translate that into 2' square sections on the wall. Grid 2' x 2' sections of the prepared wall using a level and measuring tape. Run a thin brush with paint along the strings so you have a series of 2' x 2' squares across the wall surface. If your design is really detailed in some areas, you can make smaller areas within a specic 2' x 2' square that match the grid on your illustration. Outline your illustration on the wall with darker gray/black paint. Use ladders or scaffolding to safely draw the design at higher heights.

IMPLEMENTATION:
Set up a paint table with premixed paint colors, brushes, small containers, rags and large buckets of water for discarded brushes. Be sure to clean brushes right away so paint does not harden in the bristles. To paint the design you can choose from two different processes. For small groups of older volunteers: Make colored copies of sections of your colored illustration and tape them along the wall in the appropriate places. Volunteers can refer to them as they work and will know which color to paint where. For large groups or younger volunteers: Put dots of the actual color directly on the wall within the design. Then a volunteer can come to the paint table and pick a container of paint that is already poured and nd all the areas on the mural that correspond to that color. This process requires lots of clean recycled plastic containers for paint. Think about leaving some elements in the design free for creativity. Volunteers enjoy making some decisions about color, and they can add some self-made patterns on images such as clothing or plants. This makes the project more interesting to participants. If you have some student artists volunteering, let them play with more diffucult ideas and participate in adding more details to areas.

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CELEBRATION:
Always give credit to the volunteers, organizations and companies that supported the project in any way. You can nd a place to paint their names creatively in the design. Findlay Market, south parking lot

STOREFRONT MURALS
SUPPLIES:
- Installation hardware - Acrylic-based paint (available at art supply stores or www.dickblick.com). Artist recommended brands include Urtrecht, Winsor & Newton and Liquitex. - Canvas - Gesso - Brushes - Varnish College Hill adapted an idea from Seattle and animated the windows of an empty storefront with a painting of a business. This application brightens the streetscape and helps others envision what could be there in the future.

PLANNING:
Decide what kind of store you want in your neighborhood. Get feedback from residents and local businesses by conducting surveys or interviews. If a marketing survey has been done for your business district, it may give you further information about what businesses would most likely succeed in your neighborhood. Identify a site that seems most conducive to what you want to paint on the mural, and get permission from the owner. Measure the storefront, including the length and width of each window. Also look at the interior framing and consider how you will mount the mural. Be sure to clean the windows and the surrounding area prior to the installation.

ARTIST:

Katie St. Clair stkatie@yahoo.com

CALCULATING SUPPLIES:
College Hill murals sponsored by: Cincinnati Childrens College Hill Campus Division of Child and Adolescent Psychiatry The mural (shown at right) was painted on canvas. To calculate how much canvas will be needed for the storefront do the following: Measure each window section that will be a panel for the mural. To each piece, add 1/2" per foot to the width and height for shrinkage from the gesso. Also add 2" per side for hemming the edges. (For example, if the window section is 8' wide (96") add 4" more for shrinkage, and 4" for hems. The total width needed would then be 104".) For the height, add enough extra inches to create a pocket for hanging. The example to the right had an additional 3" top & bottom for rod pockets.

DESIGN/IMPLEMENTATION:
Transfer the design to the canvas by the same gridding method outlined in previous mural sections. Another alternative is to use a projector and trace the images directly onto the canvas. Then volunteers can paint in large blocks of color, one at a time. This can make the project progress much faster, and be more fun. After major blocking is complete, it is more manageable for a trained artist or artistically inclined person to complete the detail work. Remember, you want something that is both eye-catching and looks professional.

College Hill business district, Hamilton Avenue

HANGING:
Use hanging elements that are lightweight and strong. The example on this page was hung using a dowel and pocket method. Aluminum piping was used as the rod. You can sew or glue the pocket. Fishing line and duct tape can also be helpful to overcome hanging obstacles.

PURCHASING CANVAS/PAINT/VARNISH:
Canvas: You can purchase canvas from art stores that is pre-gessoed and ready for paint application. It is the easiest, and most expensive option. The other option is to buy the canvas at a fabric store in either 60" or 72" widths. Cost is approximately $4.80-$6.50 per yard. If you do this, you must prepare the canvas with gesso (a white primer designed specically for canvas) which costs $17-$40 a gallon, depending on the quality. Paint: The storefront mural was painted with acrylic based paint. It dries faster and is easier to clean up than oil based paints. Varnish: If the mural is going to be handled a lot, in the sun, or in harsh weather conditions, it should be varnished after the mural is completed. This will protect the paint as well as slow down the deterioration of the canvas.

CELEBRATION:
You can have an unveiling of the storefront and might consider an event that coordinates with the theme of your store. In College Hill, there was an ice-cream social as part of the celebration. Volunteers can promote the project through poster design and distribution, community emails, contacting the media, etc. Remember to acknowledge everyone involved, and take pride in what you do!

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WINDOW PANELS
Painted plywood window panels are another great solution for blighted buildings. Designed to beautify already boarded-up structures, they are relatively inexpensive and easy to produce. Feel free to follow the provided patterns or use the worksheet to design your own.

SUPPLIES:
- 1/2" or 3/4" plywood - Kilz primer or similar oilbased primer - variety of high-quality exterior house paint colors, depending on the design(s) youve chosen to use - chalk line for gridding - pencil - ruler - compass and t-square - variety of paintbrushes or rollers - installation hardware - ladder - tube of silicone sealer

PLANNING:
Decide on a site and get permission from the building owner. Measure the window or door where your panel will be installed. Decide if you want it to ll the entire space, or if you want a colorful border painted around the edge. Your local hardware store can cut the plywood down to size. The Department of Buildings and Inspections uses standard 4' x 8' sheets of plywood to barricade buildings.

IMPLEMENTATION:
First you will need to prime both sides and all edges of the plywood. Plan on 2-3 coats, depending on how much the primer soaks into the plywood. A paint roller will make quick work of the primer step. If you use an oilbased primer, keep in mind that it can take up to 24 hours for each coat to dry. If you are planning a volunteer function, make sure to prime the panels ahead so there is plenty of time for them to dry. Mark off 1' sections with a pencil along the vertical and horizontal edges. Use a chalk line (it is easier to do with two people on each side of the plywood panel) to snap grid lines along the primed surface of the panel. Draw the design on your panel with a pencil. This job will be easier if you use a t-square for straight lines and a compass for circles. After the design is drawn, it is time to start painting. Paint the lighter areas rst, leaving the darkest colors for last. Use good quality paintbrushes and always rinse your brush out between changing colors. You will want to paint a minimum of two coats to ensure that colors are solid and not streaky.

ARTIST:

Jen Brenner jen_brenner@hotmail.com

INSTALLATION:
14

For an easier installation, pre-drill holes into the corners of your panel, at least 2" from the edge. Screw the panel to the existing structure using wood screws that are 1" to 2" longer than the depth of your panel. When securely attached, add a bead of silicone sealer around the edges to minimize warping and rotting of the wood.

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COLOR PALETTES:

COLOR PALETTES:

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COLOR PALETTES:

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MOSAICS
Mosaics are a great art medium for community projects for several reasons. When proper materials and installation techniques are used, mosaics can last forever, and require little maintenance. They will not fade or ake, and the beautiful surface is touchable and glimmers as you pass by. Also the simple designs that work so well in mosaics are conducive to participation from all age levels.

BASIC SUPPLIES (things you may have at home):

- tacky glue or Elmers - masking tape - roll of paper to draw nal design on - paper or cardboard to draw initial ideas and designs - matt knife - markers - 4 x 8 tables to work on - clear plastic sheeting - plastic buckets - stir sticks - rags - hammer - rubber gloves - goggles - small plastic or cardboard containers to put broken tiles and other mosaic elements in - pillowcase and /or cardboard box to smash tiles in - work gloves to pick up broken tile pieces out of smash box

PLANNING:
Before you design your mosaic you need to think about where you will install the nished piece and how big it will be. Existing surfaces that are perfect for mosaics tiles are cement and brick. Walls are much better than oors/sidewalks. If you wish to make stepping-stones, plan on bringing them inside over the winter. To begin your mosaic, rst you need a design. That process can take a variety of forms. One way would be to discuss and decide on a theme, and then brainstorm ideas and images that relate to it. From that list, the ideas can be further edited, or people can select one of the ideas to illustrate. Think how to maximize the colors and images you want to create. Since mosaics are made up of lots of little pieces, the drawing itself does not need to be too detailed. The background color needs to be in contrast with the main color of the form, or you will not be able to clearly make out the design. Think about the color of the surface the nal product will be mounted on. Remember to create contrast between that surface and your design as well. One way to do that is to create a mosaic frame around your design. Imagination Alley, 13th Street & Vine Street

IMPLEMENTATION:
Once the design is nalized, make a full-scale color drawing. The design can be enlarged at an ofce supply store or copy center, or you can redraw it to the nished size you want the mosaic to be. Be sure to color it in, as this will be the guide for construction. Place the nished drawing on a table top where you will be creating the mosaic and tape it down. You could also tape the drawing to a piece of board that is bigger than the mosaic so you can move it around if need be. On top of that, place a sheet of clear drop cloth. This keeps glue from sticking to the drawing. On top of that, place a piece of berglass mesh the size of the drawing. Tape this to the plastic so it wont move.

ARTIST:

Suzanne Fisher suzzysh@aol.com

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SPECIALIZED SUPPLIES:
- berglass mesh (what you will attach the tiles to) - Carpet Shield - cement backer board (optional) - masonite board slightly larger than mosaic (optional) - thinset cement (for outside mosaics) - sanded grout - tile nippers - trowels - oats - grout sealer & silicone caulk - tiles or mosaic pieces (any of the following): porcelain glass or high re ceramic tiles if mosaic will be outside any kind of tile if it will be inside glass gems mirrors (tiny round mirrors or broken mirror pieces) handmade clay elements (if created with stoneware clay and glaze red to cone 6) shells (if able to withstand grouting process without crushing) pebbles

Gather the tiles, pebbles, plates etc. that you will be using in the mosaic, and sort them by color. Use plastic boxes to hold the various pieces. If you smash bigger size pieces in a pillowcase to create smaller ones, wear safety goggles, and do not smash the tiles too small. When handling, remember the tiles are sharp and can cut your ngers. If the mosaic is going to be outside, it can only be made of porcelain tiles or glass. Place the tiles on top of the mesh, following your design underneath. After you have determined you like the way they look, glue them down lightly to the mesh surface. Get small bottles of Elmers/tacky glue and use one dot of glue per tile. Fit the tiles next to each other like a puzzle, leaving a little room between them for the grout. You can use tile nippers to shape tiles to t into specic places. Books on mosaics illustrate the variety of ways you can lay tile down to create different effects. If you are working with small children, sometimes it helps to outline the main shapes rst with pebbles or small tiles. Then they can ll in the form. Remember to use just a little glue for this stage of the process.

Grouting lls in the spaces between the tiles, further cements the pieces and adds another color element to the mosaic. The grout can either enhance or detract from the mosaic. In most cases a dark gray or charcoal grout is a better choice. Avoid white grout. Only use sanded grout. Do not use, premixed grout or a premixed grout/cement mix. Mix the grout according to the directions on the box. Apply with a spatula or a oat. Do not apply too much grout all at once. Use the oat to put the grout into the cracks and to spread it across and off the surface of the tiles. Press the oat at a 45-degree angle to the surface. After you have removed as much as you can with the oat, let the excess on the surface sit a while to make it easier to remove. Wipe away the excess grout with rags. Resist the urge to use water; you will just spread the grout around and make more of a mess. Once it is all cleaned, let it sit for about 15 minutes. A haze may reappear; this is part of the drying process. Clean it off again with a dry rag. A week or so later you can apply a grout sealer with a rag. Follow the directions on the container. This will keep moisture from being absorbed into the mosaic and behind the tiles. Also apply a bead of silicone caulk to the edge of the mosaic. Reapply the sealer every year before winter.
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INSTALLATION:
When the mosaic is complete, it needs to be attached to the wall, or stepping-stone or cement surface. (If the mosaic is larger than 2' x 2', you will need to cut through the mesh and create several mosaic puzzle pieces that will t together later.) To carry them to the wall, place them on a piece of board and carry like a pizza. You can use diagonal strips of masking tape across the surface or Carpet Shield (a sticky clear lm) to cover the entire surface of the tiles so they will stay in place while you transport and lift the mosaic to the nal surface. You will use thin-set cement in order to adhere the mosaic to the wall surface. Trowel the cement on to the wall/other surface. Lift the mosaic up by all four corners and press it into the cement. Make sure every piece of the mosaic is making contact by pressing each one by hand or with a oat, which is a tool with a handle and a rubberized at surface. If the mosaic is covered with Carpet Shield do not try to remove it until the cement is dry. If a piece falls off, just pick it up and imbed it in the cement. Twenty-four hours later, the carpet shield can be removed, and the piece can be grouted. If there are pieces that did not hold, they can be cemented in with the grout, or you can mix a small amount of cement and cement them in. If you do the latter, wait another 24 hours before grouting.

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KEEP CINCINNATI BEAUTIFULS

TRASH CANS
SUPPLIES:
trash cans pencil tape measure variety of acrylic paint variety of paint brushes With some planning and a few supplies, everyday items like trash cans can be turned into public art.

Vine Street

CAN paign
green can color

2005

PLANNING:
Work with your group to brainstorm ideas, making notes and small sketches that convey the main ideas. Draw the nal design on the worksheet, including color choices.

E & A RTI S

ARTIST:

Jan Brown Checco jan@brownchecco.com

DESIGN/IMPLEMENTATION:
Tape any areas that you want to remain free of paint. Using a tape measure and pencil, mark a grid on the can. Transfer the large shapes of the design onto the can surface, and then paint those shapes with the acrylic paint. Use at least two coats of paint for solid coverage, allowing a minimum of one hour drying time between coats. With a pencil, transfer the smaller details onto the dried painted areas, and then paint those details as well. Touch up all edges and surfaces. Revisit the installation site regularly to gauge public interaction and make any necessary repairs as quickly as possible.
28.5

TS

& A RTI S
TS

& A RTI S

KCB logo

TL

Can Lid (Top View)

This area can be overpainted pattern band

green can color

Design wraps around the cylinder and should meet left to right sides in a good way!
.5 hinge

68.5
3 10 10 10

9.5

9.5

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green can color

Wrap-Around Design Area (flattened for design work)

Title of Design:___________________________ Designer:________________

Blair Avenue, Walnut Hills Vine Street, Over-the-Rhine
How can you be reached?_____________________________________________________________________

TS

TI

solid color

28.5
latch

FENCE OF LIFE
SUPPLIES:
- 1/2" or 3/4" plywood - exterior grade primer to seal wood - exterior acrylic paint - sealer - 2" x 4"s to mount panels onto existing fencing (if needed) - assorted nuts/bolts to connect front of panels to the fence (directly or using 2" x 4"s) Students from IMPACT OTR, under the art direction of Eliza Combs, created The Fence of Life. Initially planned to be a picket fence to brighten the streetscape and hide a vacant lot, the project changed scope after a metal security fence was installed. Students designed personal panels with a set theme (heart-minddreams), working rst on paper, and then transferring the designs to 4' x 8' sheets of plywood. Geometric design elements were added to compliment and unite the individual panels and provide a cohesive whole. The panels were mounted using 2" x 4"s on the other side of the metal security fence, and large screws/nuts/bolts to connect the pieces in place. Make sure to thoroughly coat all surfaces of the plywood (especially along the edges where water can erode the wood) with exterior grade primer. This will seal the wood and prevent corrosion.

ADDITIONAL RESOURCES
PLACES TO BUY SUPPLIES:
Doppes Hobby Lobby Home Depot Lowes Mees Tiles in Northside (great selection of unsold porcelain tiles from the 1970s in the clearance section) Michaels Miller Bros. Paint stores Porter Paint Stores Queen City Awning (for vinyl canvas) Sherwin Williams Suders Art Store Wilson Art Store A complete PDF le of this booklet, along with other supporting materials, can be viewed and downloaded at: www.KeepCincinnatiBeautiful.org Please share your stories, projects and pictures with us. EMAIL: Robin Henderson, robin.henderson@cincinnati-oh.gov MAIL: Keep Cincinnati Beautiful 801 Plum Street, Room 16 Cincinnati, OH 45202

ARTIST:

Eliza Combs

ON THE WEB:
www.smalti.com (for smalti tiles and mileori rounds) www.meshdepot.com (for berglass mesh) www.mosaicartsupplies.com (for 1" glass tiles)

INFORMATION ABOUT MOSAICS:

Complete Guide to Ceramic and Stone Tile, Black and Decker Making Mosaics: Designs, Techniques and Projects, Leslie Dierks The Art of Mosaic, Caroline Suter and Celia Gregory Urban Art Chicago, Olivia Gude and Jeff Huebner. Also check out their web site for the Chicago Public Art Group: www.CPAG.net The Encyclopedia of Mosaic Techniques, Emma Biggs Making Bits and Pieces Mosaic, Marlene Hurley Marshall

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Content and photos provided by: Robin Henderson, Keep Cincinnati Beautiful Jan Brown Checco Suzanne Fisher Myra Messick Simons Katie St. Clair Designed by: Jen Brenner jen_brenner@hotmail.com

Vine Street, Over-the-Rhine

2007 Keep Cincinnati Beautiful

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