3D Epoxy Wall Murals in Abeokuta & Across Nigeria

Types of mural we produce

• Printed image murals — a high-resolution photograph or artwork sealed under clear resin
• Relief and textured murals — raised forms built up in resin and filler, then coloured and sealed, so the wall has genuine physical depth
• Metallic and marble effect walls — pigments worked through the resin for a stone-like surface with no repeating pattern
• Logo and signage walls for reception areas, cast into the surface rather than mounted on it
• Scripture, calligraphy and decorative panels for churches, mosques and event halls
• Feature panels — a framed section of mural rather than a whole wall, which keeps the cost down

How the work is done

Vertical work needs different resin behaviour from floor work: the material has to be built up in thin, thixotropic layers so it does not run, which is why a mural takes longer per square metre than a floor of the same size.

• Design consultation, with a scaled visual of the wall for your approval
• Wall preparation — removing loose paint or wallpaper, filling, and sanding flat
• Priming, then a base coat in the background colour
• Print installation or relief build-up, layer by layer
• Hand detailing and colouring where the design calls for it
• Clear protective top coats, in gloss or satin

Working vertically in Nigerian humidity

Gravity is the difference between a mural and a floor. On a floor, a thick coat self-levels and helps you; on a wall, the same coat runs. Vertical work is built up in thin thixotropic passes — material formulated to hold its position rather than flow — and each pass has to be thin enough not to sag and cured enough before the next goes on. That is the whole reason a mural takes longer per square metre than a floor of the same area, and why relief work sits at the long end of the range.

Heat compounds it. Pot life roughly halves for every 10°C above the 20 to 25°C a datasheet assumes, so in a closed Abeokuta room at 32°C a batch stiffens on the hawk before it has all been applied — and on a vertical surface you cannot simply spread it out faster. We mix small, work in the cooler parts of the day, and ventilate the room during application.

Humidity is the risk that costs most when it is missed. A resin layer curing in humid air can develop amine blush, a hazy and slightly greasy surface film. On a floor it is obvious. On a wall, part-way through a build-up of six or eight layers, it looks like nothing at all — and the mural then delaminates in a sheet months later, at whichever layer was blushed. We wash and abrade between layers rather than assuming they will bond.

Timings: each build-up layer needs its cure before the next, the mural is touch-dry within a day of the final clear coat, and it reaches full hardness at about seven days. Washing it down before then will mark it.

How murals fail, and how we avoid it

• Sagging and curtaining — a vertical layer applied too thick for the temperature slumps into runs that cannot be sanded out of a clear finish. Avoided by building up in thin passes and mixing small batches.
• Intercoat delamination — a blushed layer buried mid-build lets the whole face of the mural release later. Avoided by washing and abrading between coats rather than trusting them to stick.
• Working over a damp wall — a wall with active rising or penetrating damp pushes moisture out behind a sealed resin film and blows it off the plaster. Avoided by checking the wall before quoting and repairing the damp first.
• Coating over loose paint or wallpaper residue — the mural is only as well attached as whatever is under it. Avoided by stripping back to sound plaster.
• Ambering on a sunlit wall — clear resin yellows under prolonged direct sun and shifts the colours beneath it. Avoided with a UV-stable clear top coat on any wall that catches direct light.
• A design approved on a screen and regretted on the wall — a mural is permanent, and removal means grinding back and re-plastering. Avoided with a scaled visual signed off before any material is ordered.

Practical advantages over paint and wallpaper

Nigerian humidity is hard on wallpaper — edges lift, seams open, and mould gets behind it. A resin mural is bonded to the wall as a continuous film with no seams and nothing for moisture to sit behind.

Cleaning is the other real difference. A painted mural in a restaurant or church foyer cannot be scrubbed without taking the paint with it. A resin-sealed mural wipes down with a damp cloth, which is why we do a lot of work in hospitality and high-traffic public spaces.

Cost factors and timeline

Murals are quoted per project rather than by a flat rate per square metre, because the design work varies so much. What moves the price is the complexity of the artwork, whether it is a flat print or a built-up relief, how much hand detailing is involved, the wall area, and the condition of the wall before we start.

A single feature wall usually takes four to seven days, with relief work at the longer end because each build-up layer must cure before the next. Design and approval happen before we arrive, so the time on site is the installation itself. The mural is touch-dry within a day of the final coat and fully hardened after about seven days.

Where murals work well

• Hotel and office reception walls where the brand needs to be felt immediately
• Restaurant and lounge feature walls
• Church and event hall backdrops behind the stage or altar
• Living room and bedroom feature walls in private homes
• Children’s rooms, nurseries and school corridors
• Retail interiors and photo-backdrop walls