Wind, Women, Art, Acceptance - Wind Power for the World: The Rise of Modern Wind Energy - page 505

We were also looking for potential solutions for the preservation
of the adhesion of the paint on the dried primary coat of the
towers. The solution was that Enercon would have to deliver the
towers without the normal green coat of paint. It took a lot of time
to solve the difficult task of deciding on the quantity of paint for
each motif and also the special colour mixing in the paint
production company. For this reason a to-scale grid was put over
an artistic paper print, after which all the surfaces of each colour
were calculated and multiplied by the scale. The artists worked
with 42 diferent colours, with which they painted 600 m of tower

surfaces and used 153 litres of paint.
The beginning of the painting process was quite interesting.
The towers stood a week inside the scafolding, but none of the
artists appeared. The artists had between 3 months and 2.5 years
time to identify themselves with the project. Nearly two weeks
had passed after the towers had been put in scafolding and there
was still nobody around. I drove to the tower with my father,
Franz Kießlich, took a brush in my hand and started with the first
strokes. He tore the brush out of my hand and perplexedly began
painting for nearly three weeks. One by one, the other artists
began to appear at the wind farm.

Figure 22.14 Wind turbine in the scafolding.