The constraint
80 artworks, proofed and colour-matched in a day.
Every cube had its own design, and every side of every cube was different — 80 artworks in all. The files arrived a week before delivery, leaving under 24 hours to check them and send the client final proofs.
Alongside the proofs, we ran a colour test print. Artwork that looks right on screen can print differently in large format, so production matched every panel to the client's colours — and to the right side of the right cube — before anything was scheduled.
Every LED tested. No surprises on the day.
Before anything was packed, we tested every LED and fitted each frame with its cradles, so the two LED tubes in each cube hook straight in.
The order arrived labelled so the client's own staff could set it up: five cartons each holding four bags of frames and LEDs, one carton with all twenty stitched skins. Setup instructions went out by email the same morning. The frame snaps together, the LEDs hook in, and the fitted skin slips over the top.
Stacked, square and tight on the day.
The cubes at the conference. Every skin sits tight on its frame and holds a sharp edge — the precision the stitching was for. This was our third project with Westpac. It started with two 6m SEG backlit walls, and the cube job came as a referral from their marketing team.
