Carol's routine was to arrive as early as possible (sometimes 7:00 a.m.), load brushes, paint, stir sticks, and rags into a bucket and climb the scaffolding to the level she had left off the previous day.  She would then hoist the bucket up to the platform where she was to resume the art work.  Since the painting progressed at different rates at different levels, the artist and her husband would have to move the planking up or down to reach the next area to be worked.  At 3:00 p.m., or later (earlier on swelteringly hot days) the work would be done for the day and the tools lowered and put away.

Sometimes standing, (mostly sitting) Carol mixed colors directly on the wall to match the original painting,  keeping the one pint cans of paint readily available.  At the highest level, there were no side braces to for hand rails, so a double row of platform planks was laid for her benefit and safety. ( In retrospect, the project should not have been done without a safety harness.)  Never-the-less, Carol is nimble and agile and did quite well with the tools and scaffolding available at the time.
 

The original oil painting, with grid, and shrink wrapped for protection, was always at hand to be referred to for color, scale and detail. A grid was also marked off on the wall.  To check perspective and accuracy, Carol would climb down the scaffolding and cross the street to view it. When the mural was completed the original oil was framed and donated to the City of Centralia Murals Project Committee.  The artist completed the mural in about six weeks time.  It can still be seen on the south side of the Fox Theater in Centralia, Washington.

Carol began the mural about the middle of May when the weather was generally warm and sunny.   Showers would come up from time to time which caused momentary delays.  On rainy days, (there were a couple)  the artist stayed home and mentally worked the project.  One day, a team of photographers and a reporter from a Seattle television station came to do an interview as she worked.  They, too, climbed the scaffolding, and seemed to really enjoy the challenge.
 

As the mural neared completion, the details were checked and rechecked to be true to the original.   The difficulty of painting on a brick wall was that the horizontal and vertical lines of the brick distracted from the diagonal lines of the barn roof and sides.  Details of the figures, trees, and haywagon had to be accurate when viewed from afar. 
 

From the photograph, the artist painted the colored oil painting approved by the committee.  It was determined that the mural should be 20 feet by 32 feet, starting 15 feet up from street level. The original was 20 inches by 30 inches, or, 1 inch equals 1 foot.  (To balance the placement on the wall, the final piece was stretched slightly to be 32 feet wide, which did not detract from the composition or design.)  The scaffolding was removed in July, and a "meet the artist" gathering was planned by the city.