Felix Gomez
Latex paint on drywall
This mural is located in the basement of Harford Hall next to campus donation service Terp-to-Terp. The aim of this piece is to promote sustainable habits and increase Terp-to-Terp's patronage through heightened visibility. The design features several Maryland native plants and animals swirling from two large hands, conveying that the future of the environment is in our hands. The exhibit itself includes a photograph of the completed mural, close-up samples, and a timeline with artifacts from the process behind the project that can be accessed via QR code.
Oct. 2025 - Dec. 2025
During the fall 2025 semester, I reached out to several campus organizations to gauge interest in my project. I had to pitch my idea to the people involved in these organizations, as well as individuals who were knowledgeable about the public art process at the University of Maryland. I emailed organization directors, art professors, staff with Arts for All, and even some students who had worked on similar mural projects.
(Images: Riley Sims, Campus Pantry, Rachel McCrea, College Park Scholars, Arts For All, Office of Sustainability, Clark County)
Dec. 2025 - Feb. 2025
Once I recieved permission from Terp-to-Terp to paint a mural for their storefront, I had to communicate with appropriate building staff to get permission to paint in the building. As Terp-to-Terp is located in Harford Hall - a residence hall on campus - I needed to meet with ResLife staff and fill out a mural contract with them. During this time period, I also visited the Terp-to-Terp location several times to take measurements and survey the area.
(Images: Google Maps, Office of Sustainability, Sustaining Progress UMD)
Jan. 2025 - Feb. 2025
Part of the final approval process for the mural project was to submit a prospective design to ResLife. To brainstorm, I practiced rapid iteration techniques through a series of thumbnail sketches and doodles. After I was happy with a general composition of the piece, I created a few detailed pen sketches.
Jan. 2025 - Feb. 2025
When I was happy with my final thumbnail sketch, I then visited Sherwin Williams to develop a color palette with paint swatches. Based on these colors and the final sketches, I created a final digital design for the mural. The process for this was sketching over a photo of the final thumbnail, adding color to the main figures, and then finally coloring in the background.
Feb. 2025 - Mar. 2025
After my mural design was approved, I had to wait a few weeks for the maintenance team at Harford Hall to prepare the site and wall for the mural. During this process, I also needed to purchase my materials from Sherwin Williams and Home Depot. I had some trouble with the budget, as the original approved paint line only came in full gallons, but I ended up getting approval for sample size paint in the end - much lower cost and much lower waste.
Mar. 2026
The first step in sketching on the wall was to decide on a good size for a grid overlay on the design. I ended up settling for roughly 16" blocks in a 9 x 4 grid. Once I decided on this, I measured and painted the properly sized grid on the wall. The gridding method is standard for scaling images up or down, and through this method, I was able to break the sketch down into manageable pieces. I sketch with watered-down paint as I find it easier to cover up than pencil or chalk in the final piece.
Mar. 2026 - Apr. 2026
The painting process after sketching took about 45 hours in total. I was able to store my materials and wash my brushes on-site, so I could take advantage of gaps in my schedule to work on the mural. After I completed the first coat, I had one of my friends and fellow Art Scholar, Julie Kim, assist me with filling in blocks of the second, third, and fourth layers. After this, I filled in any gaps and painted on details like the animals' faces, separation between petals, and the oysters' shells and pearls.
Apr. 2026
It's difficult to create an exhibit for a mural because it's so location specific. The hallway I painted in was too narrow to get a clean, full shot of the finished mural, so I decided to display a series of photographs both far-away and close-up in addition to my initial design. I took the photos, adjusted them in Photoshop, drafted potential layouts on paper and on Canva, formatted and printed the images, and mounted them on foam core.