We received a e-mail from our buddies from Zupi magazine of this recent project involving street artists and graffiti artists on a new sort of display: Elevator wall painting. Yeah, that's it, they're inviting some really badass artist to paint dozens of meters of a elevator ride, just check this one from Crânio. You can check more of this project at Zupi.
Shok 1 is a veteran of british graffiti art having on the early years been one of the most active adn skillful writers of the country. Year after, Shok 1 still trying to reinvent spray art with his last experiments towards transparencies that reminds x-rays. You can see more of Shok 1 at his Flick Gallery
It's really cool to see how an artist create his own universe by assimilating and creating relationships between symbols and images. Smithe got a serious relation with the concepts of construction, destruction, structure and the self as we can see on most of his artworks. You can see more stunning artworks like these at his Tumblr, also follow him on Twitter Smithe @ D.F. - Balbuena from TONY DELFINO on Vimeo.
Ilk is one of this kind illustrator who came across graffiti during the course of his life. You can see how this activity had a major influence on his typography work since it's almost like a blend between modern and flat style type with some more street and funky style. The results are just ridiculously amazing, just check it! You can see more of this outstanding works at Ilk's Website.
Nychos is one of these all time recognizable artists, even when he's not doing some gore illustration or wall painting, his technique just got so much particular that you will know instantly know who's the author. Bunnies, splatter, gore scenes and black humor are some recurring themes on his highly detailed pieces. You should check more of Nychos work, it's definitely worth it, so just check his Website.
Years ago, when I was starting out with illustration and stuff, most experienced artists told me that I should not worry about find a aesthetic and theme, that would simply come with time. Well, when it comes to street art a lot of artist mostly can get random about themes and change their aesthetic often. So I must say Phlegm really knows how to stick with what he do, creating a impressive universe not only on the wall, but also on his comics. For more information and pictures, please acess his Blog. Phlegm from Andy Skillen on Vimeo.
Today I'm going to introduce to you guys this adorable australian couple of graffiti writers, please welcome Dabs and Myla. These fellas have been doing some extremely funky and interesting artworks both on the streets and on galleries. So it's really nice to have a the opportunity to understand more about their story and other topics. If you want to know more about this adorable couple, please visit their Website or their Blog. 1) In the name of the Abduzeedo team, I would like to thank you guys for your time and kindness to answer this interview. Let's start by asking you, when you start getting interest by Graffiti and Illustration? DABS: We actually both started at different points, I had been writing graffiti for about 10 years before we met. We met and fell in love at Art School, and started working together. I taught MYLA how to use spray paint when we met, and the basics of style writing. She took it from there and developed her own skill set and style very quickly! We have both always been interested in illustration and painting though! Even before we studied together we had a similar interest in style and technique. 2) Tell us more about your influences and guys who inspired you. MYLA: I think that we gain the majority of our inspiration from each other. We are really lucky to be able to share our lives and our artwork together, and we are constantly influencing each other and bouncing ideas and new theories back and forth. Outside of that though, I think we get a lot of inspiration from our friends and crew members. That's whats great about being in a crew, working with your friends on a large scale and constantly learning from each other. 3) I find your artworks and graffs really amazing, they're so colorful and happy. So, when you developed this aesthetic and how could you describe it. DABS:Our style is something that has slowly developed bit by bit over the past 7 years. I think it comes from our early influences in illustration and old animation, as well as being a reflection of our attitude and day to day steez! We are really happy people! We love our life and enjoy pretty much every second of it...so I think our artwork and characters has a positive vibe on it just based on the people its coming from. 4) Nowadays, do you think that it's possible to make a living doing Graffiti and Street Art? DABS: Of course!!...If your willing to work your ass off for it and have confidence in your own abilities. 5) How's you daily workflow? MYLA: Hectic!!...We always seem to have more to do than we can fit into one day!!..But we love it that way! We love what we do, and love to work hard at it. We spend pretty much 7 days a week from 7am till 11pm working in the studio on our paintings. The only times we really leave is to go outside and paint a wall. We are lucky that we both enjoy the same things and have a similar work ethic which allows us to work like crazy like this!! 6) What's you favorite piece at the moment? MYLA: I think at the moment our favorite piece is a painting that we just made for a show in Miami during Art Basel titled 'You are the light'. It's a bigger scale painting for us, and we are really happy with how it came out. 7) What are your future projects for 2012? DABS:We have a lot of interesting things ahead in 2012. Like most years we will spend the majority of the year working on paintings for shows, but we are planning to take more time to paint more large scale murals this year, and will be traveling a bit too. We also will be curating a show at Thinkspace Gallery in L.A which i think will be pretty epic!! 8) Tell us five lessons you've learned till now on being a successful Graphic Artist. *WORK HARDER AND LONGER THAN YOU THINK YOU COULD EVER POSSIBLY WORK. *ALWAYS KEEP PUSHING YOURSELF AND YOUR STYLE. *MAKE THINGS THE WAY YOU WANT THEM TO LOOK, DONT BE TOO INFLUENCED BY TRENDS OR WHATS GOING ON AROUND YOU. DO IT FOR YOURSELF. *DONT BE A DICK TO PEOPLE!! *THERE IS ALWAYS ROOM FOR IMPROVEMENT...ALWAYS!!! 9) Tell us five site you love. JERSEYJOEART.COM SDMCREW.COM THEWORLDSBESTEVER.COM JUXTAPOZ.COM SOURHARVEST.COM 10) Thanks for your time Dabs and Myla, please leave a final message to everyone how's starting at the creative field. DABS:Its just art...don't kill your self over it!! Enjoy it and have fun!
I'm glad to announce that our friend and graffiti master ABOVE just uploaded his portfolio with some amazing new work. If you are a fan of graffiti work and street art you will love to see these murals and stencils. From art galleries to huge graffiti murals, ABOVE has done it all. Take a look. To visit his website with some fresh updated work go to www.goabove.com ABOVE recently spent some time in Miami and here is what he left behind Here is some more work from around the globe
It's hard to describe the art from the israeli crew, it's a sort of mix of Retro Comic Book, Hardcore/Punk Rock Drawings and Psychedelic Paintings. Anyway, that actually doesn't matter, because they can bring some really stunning results, I just got addicted on their style. If you want to know more about this crew, please access their Website.
Today we have the pleasure to show you a fresh interview with one of the big names in the urban art scene of the world, his name's Alexandre Farto aka Vhils. Alexandre is recognized by his "destructive" creations and in this interview he speaks about his background, techniques, style and other interesting subjects, check it out. For more information about Alexandre visit his Website. 1) First of all I would like to thank you for doing this interview, it's an honor for us to present more about you to our readers. I would like to start asking you about when your interest for art, graffiti and urban art began. I believe that my interest about the expressionist world began with everything I saw in the streets of Lisbon, Portugal while I grew up: a contrast among the decay of the political murals painted around the 70's and 80's, after the 1974 Revolution, and the overlap of the capitalist publicity and its colors and shapes, getting around in full speed by the end of the 80's. I started to do some graffiti when I was 10 years old and started to take it more seriously when I was 13. It was the graffiti that got my interest for art and everything surrounding it. It was the graffiti that made me study art in school, and everything I got to know after it in terms of world arts, contemporary or classic, everything began with my interest in graffiti. 2) Which artists do you use for reference? When I started I really admired artists related to Lisbon's hardcore graffiti, some of them became friends, and I also admired artists from around the world that I got to see on magazines, movies, etc. Crews from Lisbon as GVS R1 3D 2S LEG 1003PV were big references, as the EWC from Poland, SDK from France and many others. After a while I discovered the work of Banksy, which inspired me to take a new direction, not in terms of style but in terms of concept and what to explore in urban art. Nowadays I admire the work of many people, including Gordon Matta-Clark, Katherina Grosse, JR, Conor Harrington, Word 2 Mother, NeckFace, Faile, Blu, Gaia, Barry McGee, Os Gêmeos and more. 3) People recognize you for starting a destructive urban art movement, something new and fresh that nobody tried before. How did you develop this style and how would you describe it? The development of this line of work has essentially two bases: one is graffiti in its most destructive side, which I have been connected to for many years; the second is the stencil technique that I discovered while I was looking for new paths that allowed me to express a new way of communication. From the first one I picked up the concept of destruction as creative strength - based on this idea I developed a way of work that uses the removal, decomposition or destruction. The concept is the idea that we are made by a series of influences that shape us throughout historical layers, etc, that come from the environment where we grew up. In a very symbolic way I believe that if we remove some of these layers, showing other ones, we can bring to surface some of the stuff we left behind, forgotten things that are still part of what we are today. Technology is changing things so quickly that we don't have enough time to think about what is changing (new layers), what is affecting us. I try to underline this process in general, my work can be seen as a kind of archeology that tries to understand what is hidden behind things. These ideas found expression when I started to experiment with the stencil technique and understood that I could revert the process to have more impact: instead of creating while adding layers, I explored the idea of creating by removing layers. I experimented with this process using several methods - cutting clusters of posters, corroding silkscreen ink with acid, etc. - and naturally things started to gain a brutal and raw shape. When I passed the idea to walls it was natural to work with this removal concept, this negative field. The process itself can be brutal and violent, but the result in my opinion, is expressive and poetic. The result was visibly interesting and allowed to start to incorporate the wall as one of the physical components to the intervention, unlike what happened to the painting, where the wall was a base. From there, the usage of explosives was another step that evolved after a lot of research and tests. These testing stages are something really nice to do, it's actually a pleasure, and it usually results as a main part of my work. 4) Today there is a big discussion about the legitimacy of urban art and graffiti, what are the limits that an artist must put on his work and what exactly would be the public space. What is your opinion about this issues? As a citizen I understand that this is a complex issue that can't be seen as 'light' or black and white, yes or no - there are a lot of factors involved in this. In a more personal approach, in the other hand, I understand that we shouldn't have limits in art, nor to the space where we apply it. No rules should be applied to art. 5) What do you think about the recent transition of several urban artists into fine arts and galleries? Is urban art still urban art inside a museum? Yes, if the art is honest with its essence and if you take the space "to be what it is" and not be domesticated, which is a natural tendency in closed spaces because art in closed spaces is, essentially, marketable art. The museums may be exceptions to this because they disclose art, but not galleries, which usually are interested in selling art. There is naturally a big difference between things produced freely on the streets and things produced to be showcased in a closed space, but I believe they are not opposites or exclude one another. For those interested in expressing their work both spaces are interesting, we just need to look at the productions inside their context. Street art is in a public space - what is produced for a gallery or museum is essentially a new version of a work, in a new context. What each artist makes with his work is something very particular. 6) How do you describe your daily routine? Actually it's a bit complicated because I never know what will happen... It depends on where I am, and lately I'm always doing something in different places, so things vary a lot. In general I work everyday, in my house, studio or even at the airport - when I'm traveling. I don't have a pre-defined space for work and pleasure, everything happens naturally. My life involves a lot of production, research and a lot of work, which I really like, so I don't separate that. It's pretty normal for me to be involved in several projects at the same time, and it's usually in different countries. I have a base in Lisbon and another in London, it's interesting to always be on the move but sometimes it's hard to manage everything - sometimes I really need to stop everything and take some days off. 7) Which is your favorite piece so far? I'm not sure, I usually like my latest work the most. 8) Tell us five lessons you believe are really important 1- There are no rules 2- There are no small materials 3- Persistence is key 4- In error we find creation 5-Go with the flow 9) Tell us sites that you like to visit woostercollective.com unurth.com notcot.com 10) We would like to thank you again for your time and kindness, have a nice day Alexandre.
I love vector graphics, but I'm also a great fan of the aesthetic side Graffiti. If I could mix something that would be a hybrid between those two kind of medias, it would be something really familiar to the art of Low Bros. I mean, these guys got such a interesting flat and polygonal style with a really good use of colors. They really know how to make some really cool and funky characters, also their canvas and illustration work are pretty neat, so check them out. You can get in touch with more of this awesomeness by accessing via their Flickr.
We must admit we're getting into the point where tradicional techniques and digital techniques start to blend. I mean, just take a look at the pieces o Roid, one of the MSK crew writers, he's galactic and geometrical style remind us a lot of retro futuristic digital art. Yet, he's not doing this on computer, but on walls. You can see more pieces from Roid rigth on his Flickr Gallery.
Weeks ago I got truly amazed when I found out this mates from Montreal. 123 Klan is super creative studio focused on illustration and graffiti. In fact, these buddies have never denied their graffiti background and decided to introduce this aesthetic on their work, the results are just beyond fantastic, check out: You can see more projects form 123 Klan at their Official Website.
While I was in Barcelona I had the opportunity to see a lot Pez artworks on the streets of the city. It's quite undeniable that the first reaction you got when you see this little fish on a wall is to automatically smile, it's so cheerful and vibrant. It's really funny to think that it all started with a simple tag from the artist that with time just morphed into this remarkable fish. If you to know more about Pez and his artworks, please access his Website.
Seriously, I believe El Mac and Retna are probably the best partnership since Batman and Robin. These two guys can make some really outstanding mural paintings, it's like one completes the work of the other and the result is a powerful combination of colors and striking lines. You should definetely check more about both of them, so here's some links: Retna Website and El Mac Website. Gracias La Vida (2009) Hollywood & Western (2007) The Voice of Reason (2006) The Knight (2009) Young Scribe (2008) Collige, Virgo, Rosas (2010) El Mac & Retna - COLLIGE, VIRGO, ROSAS (2009) from ELMAC on Vimeo. La Reina de Thai Town (2010) El Mac & Retna - Thai Town, L.A. (2010) from ELMAC on Vimeo.Skid Row (Blessed are The Meek) (2010) EL MAC / RETNA / Estevan Oriol - LA Skid Row mural (2010) from ELMAC on Vimeo.Of Our Youth (Chato) (2010) Miracle (Cada Pequeño Milagro) (2011) Let The Arts Roam from I Am Los Angeles on Vimeo.
It might be seen as vandalism, but for street art appreciators, trains are potential canvases. When artists come up with good looking art, it just makes cities a little happier. The first 4 images are in Abduzeedo's home town, Porto Alegre. All the others are from several cities around the globe. These are very creative, and I gotta say that for these, usually the most colorful ones are simply the best, but of course, it also depends on the overall style. Well, don't forget to visit each one of these! I hope you enjoy them. Cheers!
As some of you, I always noticed the graffiti on the streets of my town, and I used to do that since I was a kid. I always wanted to understand what those letters meant. Part of not understanding is due to the fact that I didn't know much about graffiti and its culture, but as soon as I got in touch with some graffiti artists I started to understand how they do their work and why. So, my goal with this tutorial is not just to showcase and explain a bit of graffiti typography, but to help to break the prejudice that a lot of people, even in the creative area, got with this kind of artwork. I know that, even If you don't like graffiti at all, you will not look at it on the same way after this post. Before we begin, let me inform that our main goal is to teach new techniques, tips and share our knowledge. We're not sponsoring vandalism or any type of crime, we just want to explain and teach how to do this kind of typography. We deeply trust in our readers, so what you're going to do with this knowledge is really up to you. Do the right thing. Letters styles on Graffiti There's many classifications for the letters you see on the street, although most of they may look the same, they're all produce by different techniques and got levels of difficulty. To simplify things, I decided to put them on three categories: Tag, Throw Up and Wildstyle. Before I can show you some tricks on creating them, I gotta teach more about them. Tag / Pichação Tag is the most basic form of graffiti, is basically the graffiti artist signature. There's even a classification for the one who just do tags: tagger. A tagger is considered, in most of the cases, a inferior graffiti artist who tag he's street name everywhere, but lacks in drawing skills and/or creativity. Most of the street artists start their career as a tagger, then start developing a style from that. Tags can be done in such a enormous range of styles because they can be done with a large range of tools, from spray cans to markers or even clay. Let me show you some classic and stylish tags: Os Gemeos's TagRisk's TagAmarzz's tagIn Brasil we got a really unique type of tag, we call it "Pichação". Pichaçhão or Pixo is quite different of the tags developed in north america and europe, mostly because of the media that it was originaly produced: the paint roller. By the time the first graffitis started to appear, spray cans were very expensive in my country and so it was way better to use latex paint mixed with water, in order to last longer and do more tags. The taggers tried to develop an unique typography, influenced by CD and book covers, helped to create what some call the "Pixo Reto", a squared and thin tag, only seem on Brasil. Here are a couple of "Pixo Reto" examples: Marco GomesPhoto by Fórum Latino Americano de FotografiaMost of the tags / pichação are illegal, except the ones used in legal walls or at exibitions. The interesting thing is to observe the styles of caligraphy that can be developed, Evan Roth even made a study about it, take a look at the video bellow: Graffiti Taxonomy: Paris, 2009 from Evan Roth on Vimeo. Throw Up / Bomb / Scrub Most of you may reconize Throw Up as a bubble letters type, indeed most of the writers who practice this type of letter use round shapes, however there are many variations of it, let's see some. Ricardo NKS's Throw UpOs Gemeos's Throw UpRimeA throw up is called Scrub when the lines inside the letter body are not complete filled, like it was done on a hurry. In fact, most of the throw ups are illegal, that's part explain why they are not so elaborated as a wildstyle piece. Take a look at the one done by Revok: RevokSo, I hope you understood a bit about throw ups, here's a good gallery with you want to see some samples. Wildstyle / Burner In my point of view, the wildstyle pieces are the ones that make Graffiti so memorable, because they are big scale pieces with 2 hours to even a month of work. There's no rules or a pattern when comes to wildstyle, but there's a lot of techniques that are commonly applied when you're learning how to use spray paint. 3D, Shadowning, Glows, Gradients are used by most writers while trying to develop a unique and memorable style. So, let's see some of this pieces: PoseToniolo by Sei LáHolie NSKDilkNychosRimeHere's a good glossary of terms used in the graffiti area, you should read in order to understand some slangs and terms used to describe and categorize pieces. Tips on creating your own graffiti type Well guys, I will try to explain to you how to do a simple process of a wildstyle piece. Of course, is really up to you to define what effects and calligraphy you're going to use, there is so many ways to do it, so this will be just a quick introduction. I know most of you probably never touched on a spray can, so what are we going to do is to try to simulate the dinamics of a street situation, using a spray can in Adobe Photoshop. However, you should try do it on real life, that's the only way to understand and learn such aspects as spray hardness, types of cap, gradients and other tricks. But I hope the following exercise can help you on some way. Sketch Ok, so the first thing we should do is to know exactly what we will write. Most graffiti artists write their own nick/street name, for this sample I'm going to write just "Abduct". The Sketch is basically a simple structure of the future typography, you should from now on use only the brush tool (the shortcut is the letter "B") on this exercise, no eraser or ctrl + z / command + z, you will understand it soon. Set a color for the background, try using white on, somehow it seems to be easier to create on it. Now, define 4 colors to use, think it as spray cans, on the beginning is way better and cheaper to use just a few colors. Always use the same color of the background, because this will be used as a eraser in real life. Let's try to draw the letters using a close tracking, use a 10 px brush, If you have a tablet this will be way easier, but If not you sould try it with mouse, it's not that harder. Use the color you want to use for the letter fill to do the sketch, why? Because in a real situation you would save ink by doing it. You should try some more round or really squared shapes, as I'm doing here. Remember: don't use the eraser, If you fell it's not straight or round enough, do it over the other trace, forget about ctrl + z. Fill Now let's fill the letter with the color we used for the sketch, don't be afraid, you will remember what part is each letter. Let's add a second color fill inside them This may look really horrible by this point, but we're going to fix it on the next step. Add a really thin black stroke, just to identify each letter. Cutting Lines Cutting lines are probably the most used and basic technique on graffiti, why? This is actually the way to reach sharp and squared shapes, also is by doing this, you're going to make layers over in order to fix some mistakes. Let's see a simple example, I created this square with blue and red inside. I want to create two red triangles, so this is actually what I should do: Do you get it? You're actually using the brush as a eraser to make shapes straight and hide mistakes. Although this may take a lot of time to master, you gotta try, because the results are solid. So now you're going to adjust the second fill using cutting lines. Stroke You may be asking yourselves: "Why should we do the strokes after the fill?" Well, pretty simple, because of the dripping. If you start by doing the stroke, chances are you're going to redo it many time because of the fill that may drip or blur over it. To adjust the stroke, do the same procedure here, cutting lines and patience. Glows and Lights Most graffiti artist really enjoy adding some glow and lights to the pieces, it looks really cool indeed. Let me show you just a simple tip: make an "X" with a white color, then use a blurry brush and here it go. This is quite simple, but as you keep evolving you can learn a lot about lightning and shadows. Final Considerations I hope you learned a lot today, not just the types of graffiti, but also learned a bit how to do this kind of typography. There're no rules or guidelines when it comes to graffiti, the most important thing it's to try and push things to another level. That's it folks, I will try to make another posts about the subject, explaining other techniques and stuff, work hard and have fun.