Most car art chases a colour, a badge or a moment. A laser-laser-cut outline does something harder and more honest: it keeps only the profile view, and asks the 71 Convertible to carry its whole character in a single edge.
The 71 Convertible pieces in our range are laser-cut from steel and delivered ready to mount, with the price stepping from $69.95 at 50 cm to $209.95 at 140 cm — a range that lets the same outline work over a desk or across a full wall.
Size for the space
A bigger outline suits a bigger room. At 120 cm or 140 cm the 71 Convertible takes the back wall without competing with the bench or the cabinets.
- 120–140 cm for a dedicated focal wall behind or above the car.
- 80–100 cm if the wall is shared with cabinets or a window.
- Keep a consistent bottom edge if you hang more than one piece.
Lighting the outline
wall piece this shallow has nowhere to hide. Give it an even wash in the studio and the outline stays crisp from every angle you approach it.
Where it sits on the wall
Put the 71 Convertible where it meets the eye on the way in, not head-on from a metre away. The angle is what makes the outline read as a car.
Keep the wall to a single strong outline so the space reads composed rather than busy.
Pieces that suit a man cave wall
A laser-cut outline is flat, so it lives or dies by the light across it. In a man cave or studio, aim for even, shadow-free light rather than a single spotlight that throws one hard edge.
Most garages have one clear focal wall — above the bench, behind the car, or on the back wall. The 71 Convertible works best where you see it at an angle as you walk in.
Go large in a man cave. A 120–140 cm 71 Convertible piece holds its own beside cabinets and signage because it carries no colour of its own.
An outline earns its place above the workbench or beside the door, somewhere the eye lands before the rest of the room does. The 71 Convertible does that job well.
Size up for a man cave. The 71 Convertible at 120–140 cm reads as intentional against shelving and kit, where a small piece would get lost.
Hang it where the light first catches it — usually the wall you face while pulling in. Seen at a slight angle, the 71 Convertible reads as a car rather than a flat shape.
Cut metal has a weight that printed art lacks. The shadow it casts is part of the piece, not an accident of the light.
Light from the side reveals the cut; light from the front flattens it. Aim for the reveal.
A single strong subject is easier to live with than a wall that argues with itself.
Read it from the doorway, not up close. The whole point is the gesture the line makes at a distance.
An outline travels. Move it between rooms and it still makes sense, because the shape is the message.
Scale matters more than people expect. A piece that is too small disappears; one that is sized to the wall reads as intentional from the doorway.
