A sheet-metal profile strips a 348 Ts back to the one thing that makes it recognisable: its outline. That outline is the whole point, and it is worth understanding before you choose a piece for the wall.
The 348 Ts pieces in our range are 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 by a workstation or across a full wall.
Lighting the outline
Flat art wants soft, wide wash. A 348 Ts piece reads best under a wash from above, not a single downlight that hardens one edge.
Where it sits on the wall
Put the 348 Ts 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 den wall
Size for the space
Size up for a den. The 348 Ts at 120–140 cm reads as intentional against shelving and kit, where a small piece would get lost.
- 120–140 cm for a dedicated statement 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.
Garages reward the larger sizes. A 120 cm or 140 cm 348 Ts outline fills the wall the way a poster never can, and with no colour to clash it sits comfortably next to tools and shelving.
A sheet-metal profile is flat, so it lives or dies by the light across it. In a den or bench room, aim for even, shadow-free light rather than a single spotlight that throws one hard edge.
Go large in a den. A 120–140 cm 348 Ts piece holds its own beside cabinets and signage because it carries no colour of its own.
Hang it where the light first catches it — usually the wall you face while pulling in. Seen at a slight angle, the 348 Ts reads as a car rather than a flat shape.
Light is the whole game with a thin profile. Spread it wide and soft in a den; a tight beam turns one edge to black and flattens the rest of the line.
A profile earns its place above the workbench or beside the door, somewhere the eye lands before the rest of the room does. The 348 Ts does that job well.
The car is the content; the cut is the grammar. Get the grammar right and the rest follows.
Quiet rooms suit a smaller profile; loud rooms need one that can hold its own from across the space.
Lighting decides the mood. An even wash from above flatters the edge; a single hard spotlight only hardens one corner.
Light from the side reveals the cut; light from the front flattens it. Aim for the reveal.
The profile is the cheapest way to own the shape without owning the car.
Read it from the doorway, not up close. The whole point is the gesture the line makes at a distance.
Resist the urge to fill. An empty margin around the outline is what makes it feel considered.
