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Trompe l’oeil Building wrap at Crockford Casino, Mayfair, London.

Crockford Casino, Mayfair, a great example of a Trompe l’oeil Building wrap.

The word Trompe l’oeil is French and literally means ‘deceives the eye’. Visual illusions in art, especially as used to trick the eye into perceiving a painted or printed detail is as a three-dimensional object. We think you would agree this building wrap Project Print Management produced is a very effective example of a Trompe l’oeil Building wrap.

Getting the Artwork ready for Building wraps

The key with any Trompe l’oeil Building wrap (also known as printed scaffolding wraps) is getting the artwork right. First we need to get an image of the building. Ideally the photo is taken head on, in the middle at first floor height. This will help getting the perspectives looking as accurate as possible. If the building is very wide it will need to be taken in sections. Then at the design stage the photos will need to be stitched together as one image. For this Trompe l’oeil Building wrap we used a Sony RX100 III camera, set on the highest resolution. This took a perfectly good image of the building.

The photos were uploaded to our designer who stitched the images together as the photos were in sections. They had to work hard on producing the artwork colour the same as the original building. Getting the colour accurate is very important otherwise the printed Trompe l’oeil Building wrap will not blend into the background.

The History of Trompe l’oeil

With widespread fascination with perspective drawing in the Renaissance, Italian painters of the late Quattrocento such as Andrea Mantegna (1431–1506) and Melozzo da Forlì (1438–1494), began painting illusionistic ceiling paintings, generally in fresco, that employed perspective and techniques such as foreshortening to create the impression of greater space for the viewer below. This type of trompe l'œil illusionism as specifically applied to ceiling paintings is known as di sotto in sù, meaning "from below, upward" in Italian. The elements above the viewer are rendered as if viewed from true vanishing point perspective. Well-known examples are the Camera degli Sposi inMantua and Antonio da Correggio's (1489–1534) Assumption of the Virgin in the Duomo of Parma. Similarly, Vittorio Carpaccio (1460–1525) and Jacopo de' Barbari (c. 1440 – before 1516) added small trompe-l'œil features to their paintings, playfully exploring the boundary between image and reality. For example, a fly might appear to be sitting on the painting's frame, or a curtain might appear to partly conceal the painting, a piece of paper might appear to be attached to a board, or a person might appear to be climbing out of the painting altogether—all in reference to the contest of Zeuxis and Parrhasius.

Though the phrase, which can also be spelled without the hyphen and ligature in English as trompe l'oeil, originates in the Baroqueperiod, when it refers to perspectival illusionism, trompe-l'œil dates much further back. It was (and is) often employed in murals. Instances from Greek and Roman times are known, for instance in Pompeii. A typical trompe-l'œil mural might depict a window, door, or hallway, intended to suggest a larger room.

For more infomation on Trompe l’oeil Building wrap please visit www.projectprintmanagement.co.uk

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