Untitled - Ron Gist Art and Design

A THESIS PRESENTED TO THE
PACIFIC NORTHWEST COLLEGE OF ART
DREW LIKES TO DRAW
IN PARTIAL FULFILLMENT OF
THE REQUIREMENTS FOR THE
BACHELOR OF FINE ARTS DEGREE
BY
Ronald Gist
[email protected]
student.pnca.edu/~rgist
May, 2006
APPROVED BY:
________________________________
David Ritchie
Research and Writing Faculty
________________________________
Paul Platosh
Thesis Mentor
TABLE OF CONTENTS
Thesis Proposal...................................................................................................page 5
Thesis Abstract...................................................................................................page 6
Drew Likes To Draw............................................................................................page 7
From graffiti writing to Graffiti art: An overview..................................................page 8
From the walls to the web: A closer look at the evolution of graffiti.....................page 11
Graffiti and me: A case study.............................................................................page 17
Bringing you Drew: From concept to creation....................................................page 21
Endnotes..........................................................................................................page 25
List of Works Documented................................................................................page 26
Bibliography.....................................................................................................page 29
THESIS PROPOSAL
It is my intention to create and package a children’s book that teaches and inspires
kids to draw. It is titled, Drew Likes To Draw, and the story will follow my character, Drew, as
he learns how to turn his destructive behavior into a positive skill. Specifically, he is a graffiti
writer who becomes a Graffiti artist. The book is a tool for kids to develop their own Graffiti
styles and an outlet for the expression of their creativity. I want to show the process and possibilities of Graffiti art in contrast to the dangers of illegal graffiti in order to influence kids to
put more consideration into the mark that they put on society.
5
THESIS ABSTRACT
Although graffiti is illegal, it is not all bad. Graffiti, in the form of tagging, writing,
bombing, and piecing can be destructive to other people’s property and one’s own life. But,
it can also be a way for young adults to learn about art and to develop the skills necessary to
becoming Graffiti artists. What once was just writing on the wall has become an art form and
a visual style that represents an entire culture. The letter styles from tagging are being applied
in new ways and on new surfaces. The tags that used to be spray painted on a billboard are
now printed and the artists are rewarded instead of punished. People are making a living with
their Graffiti styles and this gives young people a whole new incentive to create graffiti. It is
necessary for us as a society to educate kids about the form and function of Graffiti art and to
provide them with ways to explore their own art and ideas. Without the art, graffiti will just
be graffiti. But, through education and mentorship, we can make artists out of taggers and
change an act of vandalism into a constructive force in society.
6
Drew Likes To Draw.
Drew Likes To Draw is the story of a young man who is infatuated with writing his
name. He especially likes to write his name many times and on many different surfaces. Eventually, he covers the town with his name. This, of course, is called graffiti. And consequently,
Drew is arrested for vandalism and punished for his actions. Fortunately, one of the things that
he has to do is spend time at a local community center for after school supervision. It turns out
to be a good thing because he is exposed to art and drawing, and is also allowed to practice his
graffiti on the walls there. Through this experience he learns how to apply simple drawing techniques into his writing style and discovers Graffiti art. Drew then realizes that he has created a
whole new way to express himself and, ultimately, a way to help others to do the same.
7
From graffiti writing to Graffiti art:
An overview.
The urge to create graffiti has been around for thousands of
years but it is only recently, as in the last 35 years, that writing and
tagging have become a whole graffiti subculture. The word graffiti can
be any doodle, name, phrase, or mark that is scratched, drawn, painted, or otherwise applied to any surface, and usually without permission. Writers and taggers are usually young adults who love to write
their names on anything and everything. They will use markers, paint
pens, spray paint, and anything else that they can get their hands on.
The main difference between writers and taggers is a tagger will tag
for a crew and a writer will write more for themself. There are crews
of writers but they function to advance each other’s “graff ” style while
a tagging crew cares more about quantity then quality. But, both do
illegal graffiti and, consequently, we as a society are left to pay the bill.
Good graffiti. Bad graffiti. It is over all, costly graffiti.
The obvious solution would be to arrest these vandals, make
them pay a fine, and then make them clean it up. This can be a deterrent but it can also be just another obstacle that makes it more
dangerous, and more fun. It is like a game of “catch me if you can”
between the vandals and the cops. To some, it has become a war. A
war for public space and freedom of expression. A war of words that is
acted out on the walls and in the media. And as long as society continues to fight this “war on vandalism” then vandals will continue to fight
back.
8
Society is not really winning this battle though and war can take
its toll on everyone. Innocent business owners have to pay to clean their
walls, taxpayers shell out for the graffiti task force, and vandals keep getting busted and put through the system. Not much has really changed in
the dynamic between illegal tagging and law enforcement. The illegality
of graffiti actully makes it more dangerous, and more fun. Motivations
may range from recognition to power but they all do it for fun. And this
can be a powerful attraction to young people. It is a direct way for disenfranchised youths to take out their aggression and express their opinions
about society.
The basic forms and functions of tag scripts have not changed
much but some writers have turned a graffiti letter into something entirely different. Some want to write bigger and better. They want to “one
up” the next writer. They start making bombs and doing throw-ups, using
fat letters and bubble letters to stand out. They can do quick “scrub” fills
and cover a wall in no time. They might even use a character or drawing
to accentuate their name. Some will try to cover a wall while using many
colors and elements. Then it is called a piece. It becomes something that
makes people stop and notice. It makes them more important. Through
art techniques, writers have found their own way to turn a negative into
a positive and changed the way society looks at graffiti. Some people even
say that they are artists and can make money with their talent.
9
The evolution of the graffiti artist is a progression of style and it tends to happen natu-
rally on the streets and among writers. Instead of a quick tag they start taking anywhere from
several minutes to several days to complete a piece. Through experimenting with large shapes
and various letter forms, 3-D effects, icons and images, and color, they cease to be vandals.
The dynamic new letter styles capture the attention of the mainstream and we dub it Graffiti art. Though it can still be illegal, many more people appreciate the talent that goes into a
good piece. And, that is when artists start to get paid for their work. Graffiti does not have to
be illegal to be effective. The artist Cope 2 would agree,
Today, in 2000, graffiti is totally different. I mean everything
now is permission walls. You still got writers doin’ street
bombin’ but the City is really trying to clean shit up a lot.
I’m 33 years old now and i’m married and have 2 kids…
It’s not the way it used to be. Today, everything is productions.
Everyone gets together to go do a piece, a wall, whatever…
(Murray 142)
10
From the walls to the web:
A closer look at the evolution of Graffiti art.
One of the first writers to be attributed with starting the graffiti movement is Corn-
bread. As a young man in Philadelphia he began writing in the middle to late sixties to get the
attention of a girl. By the 1970’s he and Cool Earl had covered Philly with their tags. Then
word got to New York where other kids began doing the same thing. Taki 183 was a bike
messenger who traveled all around the city, scrawling his name everywhere he went. In 1971,
the New York Times ran a story called, “‘Taki 183’ Spawns Pen Pals” and the writing craze
began. The streets and subways of New York where bombarded with tags from young adults
looking for fame and recognition. New York city officials were faced with a graffiti problem
such as history has never seen before. It was not just for gangs and the occasional bathroom
wall, but hundreds of young adults were writing just for the fun of it and for the status that
they could gain among their peers.
11
Very soon, writers realized that, to stand out among all the other tags, they had to
do something different. Some of them formed crews to hang out and help each other to keep
watch or to work on pieces together. This led writers to create bubble letters, fat fonts, and
intricate scripts that incorporated other aspects of art to express themselves and to get noticed.
Writers began bombing whole train cars and covering large walls with a single piece. Some of
the early Graffiti art pioneers are Lee 163d, Stay High 149, Mico, Phase2, Futura 2000, Lady
Pink, Seen, Zephyr, and many others. These vandals were feeding off of each other and the
vandalism that they created looked more like art than graffiti. This started the birth of Graffiti art and the world could not help but notice. As the form of graffiti advanced, so did the
function. In 1973, the New York Times, created the Taki Awards and featured their favorite
pieces while some galleries started showing graffiti works on canvas. The purpose of Graffiti
art became more about creation and less about destruction; even the illegal graffiti was meant
to be a display of skill and talent. Whether legal or illegal, Graffiti artists continued to explore
new letter styles and new applications.
12
They incorporated all aspects of art, from realism to illustration, but it was the wild
style letters that established a distinct style and set Graffiti art apart from other art forms.
These intricate, and often illegible, pieces became synonymous with Graffiti culture and a sub
genre of the B-boy and Hip-hop movements. Where hip-hop was the words and B-boys were
the dancers, the artists were Graffiti artists. Together, these styles defined a distinct culture of
young people and provided a dynamic network for the underground to influence the mainstream. By the early 80’s Graffiti art was gaining world wide influence through B-boy battles,
Hip-hop album art, and documentaries like Style Wars and The Freshest Kids: the History
of the B-Boy. Graffiti found its way into movies like Flash Dance and Beat Street and also on
television shows like Graffiti Rock. The idea of putting your mark on society and influencing others went from a phenomena to a way of life in ten short years. Graffiti art can even
be described as a movement to alter the perceptions of popular culture. It did not stop there,
though, because Graffiti artists discovered a whole new world to tag, the virtual world.
13
The growing accessibility of computers has allowed Graffiti artists to take their art
into a new dimension. They can more readily scan their photos and take digital pictures of
their graffiti to share with the rest of the world. Pieces that were once hard to find and seen
by very few are now shared freely with online crews and anyone else who is interested. People
are free to share ideas and develop networks while creating dialogue through blogs and posts.
From computer generated graffiti designs to the application of art through graphic design,
many artists have traded a spray can for a mouse. Styles and concepts from the aerosol art are
filtered through the computer to be mass produced on any surface imaginable. Graffiti artists
are now making urban apparel, marketing tools and printed media, magazines, books, videos,
movies, toys, skateboards, video games, custom detailed car designs, web sites, energy drinks,
and on and on. Elements from Graffiti art have invaded almost every aspect of society. This
directly changes the face of popular culture and gives Graffiti artists an infinite number of possibilities to apply their art. The downside is that this cheapens the ephemeral value, spontaneity, and original intent of graffiti and the major criticism is, “that is not graffiti!”
14
My response is, “no, it is Graffiti art.” It can be the same image or style as illegal graf-
fiti but it is being applied in a different way. The artists are also getting paid. Illegal graffiti,
no matter how good, is still illegal. Writers, bombers, and piecers can graff all they want but
they have to accept the responsibility of their actions. If they want to make a living doing
what they love and influence society then they have to find legal ways to apply themselves.
Many successful graffiti artists still make illegal pieces but then they can turn around and use
that art on a poster or in a tattoo. Graffiti artists can choose not to do illegal pieces exclusively
and if they do then they can often be very beautiful. Some illegal Graffiti art is so awesome
that it hurts to see it buffed. This has pushed people to provide free walls to artists so that they
can continue to make their art on walls without vandalizing. This also creates an environment
where beginning graffiti writers and taggers can safely learn styles and techniques from each
other. It is a way for young people to develop their art and ideas and learn about the possibilities of Graffiti. And, they don’t have to worry about getting shot at or arrested.
15
In todays world it is completely possible to become a successful Graffiti artist without
having ever done an illegal piece. Artists can simply draw in their sketchbook and scan their
image to make a screen print design or a digital font. Writers and taggers often have a sketchbook to work on designs and plan out pieces. The basic drawing tools are essential to developing advanced Graffiti art styles. There is freedom to sketch, play, alter, or discard thoughts. It
is a place to develop ideas. But, drawings in a sketchbook are merely a means to an end and
a sketchbook is no substitute for making a huge mural as far as detail, size, and impact. As a
society, we have to encourage drawing and painting while also giving young artists a place to
further their skills. Free walls, computer labs, educational tools, and art supplies. There are
many ways in which we can further the talents of young writers. Without any education or
mentorship writers will keep on writing and taggers will keep on tagging. But, through Graffiti art kids can pursue a positive skill that can lead to a fulfilling career.
16
Graffiti and me: A case study.
By the time I was fourteen I knew three distinct tag scripts. Growing up near L. A.,
it was hard not to see tagging everywhere. I thought it was normal. Once in a while though,
I would see a work of art that would make me stop and appreciate the possibilities of graffiti.
Unfortunately, there was no classes or courses on graffiti and there was way too much competition on the streets and at the yard. There was cops and gangs to worry about, so I never really
got into making illegal graffiti or Graffiti art. But, my art has always been influenced by it. I
had even developed my own tag throughout the years. My own monogram. It seemed natural
to do so, but I didn’t use it very often. Mostly, I drew cartoon characters, comic book figures,
and real people. I just thought of it all as doodling. For me, learning to draw and paint was
much more exciting than pursuing graffiti as an art. But then I had not been given the chance
to actually try spray painting a wall.
17
My first experience with Graffiti art, as a culture, was in a San Francisco gallery around
Y2K. I had met a New York artist, Dalek, and was blown away by his unique style and creative applications of graffiti. I really thought of it as art rather than graffiti. The word vandalism didn’t even cross my mind, even though I was surrounded by vandals. But here, we were
artists. Most of these “kids” even had a sketch book. And no matter what kind of graffiti they
did, they all had a tag. They had books filled with hundreds of tags from all over the world.
We traded signatures, doodled, talked about art and graffiti, and watched the DJ and dancers.
I was surprised to see how graffiti could be used as a way to travel around the country, meet
people, and party all the time. They were actually able to make money with their art. Many
of the writers had traveled from city to city, spreading their name and causing general havoc.
This was the first time I had experienced graffiti as more than just beautiful vandalism. It
became a way of thinking, a culture, a way of life. The energy of their work and the beauty of
their style started to influenced my art and I filled up sketchbook after sketchbook with pen
and marker drawings and tried new styles of painting. But, I still thought of my self as an artist and not as a Graffiti artist.
18
Recently, I moved to Portland and one of the first things I noticed was that there
was no good graffiti. Other than at New American Casuals, it was mostly just tagging everywhere. Occasionally there is a nice bomb here or there, but it all gets buffed up pretty quick. I
had decided to join the Graphic Design program at P. N.C. A. in order to expand my horizons
as an artist and use a computer to apply my art. While working at an art store I met a young
Graffiti artist from Albuquerque. He had recently worked for a screen printer and acquired a
screen press He started putting his graff on shirts and selling them at Saturday Market and
Baffalo Exchange. We developed a friendship and a natural business partnership. I had graphic
design skills, he had the production and sales abilities, and we both could draw. Our art was
different but some of our designs became collaborative because my illustrative style blended
very well with his graffiti style. When we had a design I would scan it, clean it up, and do the
color separations with Adobe Photoshop or Illustrator. Then we would print it and sell the
shirts. Pretty soon, we had a third person come in to help with finances and production and
that is when Hart Mind Soul Custom Apparel, L.L.C. was born.
19
We were artists helping each other put our art out into the world. Through H.M.S., I
met and worked with many taggers, writers, bombers, underground artists, and culture jammers. And we did our best to make a living with our art, while also creating a voice in society.
Fortunately it worked because I haven’t had a real job in over two years. But to really make
it work we had to develop a whole new skill, and that was business. We had to learn about
taxes, marketing, assets & liabilities, wages & royalties, copyright laws, and advertising. We
started networking with business owners, photographers, models, business consultants, and
sales representatives. But, as busy as I was with school and running a business, I finally got
the chance to do some real graffiti. My partner in crime and I rolled HMS across the top half
of New American Casuals, in the middle of the day, and in full view of traffic from M.L.K.
and Morrison. The N.A.C. was the main free graffiti wall in Portland (it has recently gone out
of business) but it was still fun to do and it was exciting to see our name so large. It was then
that I realized how important it was to have more free walls for kids to make graffiti on.
20
Bringing you Drew: From concept to creation.
Originally, when I started my thesis, I wanted to come up with a way to provide a
free wall to kids who are interested in doing graffiti. I also wanted something that would be
seen by everyone. So, I came up with the concept of using a billboard truck as a graffiti wall.
It would be a place for kids to gather and learn about Graffiti art while hanging out and
networking. There could have been contests and events that revolved around it. Then the art
would be free to drive around the city, and on to other cities. Unfortunately, within the scope
of the thesis I could not raise the money needed for an ad truck. Though I believe it would be
a great way to teach art and graffiti, it will have to wait. Instead, I decided to illustrate the
story of a writer who learns how to make Graffiti art. I wanted to create something that still
teaches children, but I also wanted to stress the importance of legal graffiti. Through the story
and the character, I felt I could give kids an incentive to develop their drawing skills while
warning them about the dangers of vandalism. With a book I also knew I could reach more
people and influence a younger audience.
21
I began with the sketchbook and a pencil. First I had to create the look of the char-
acter so I started with the most generic sketch of a character. It was purely gestural and more
about capturing the feel of his motion. He had no features at first, but as I drew him more he
started to take on a personality and a face. In retrospect, he kind of looks like a cross between
Calvin and Fido Dido. I had also settled on the title, Drew Likes To Draw, very early on in the
process because it is basically about learning to draw, within the context of graffiti of course.
And the character looked like a Drew. The title also has a catchy self-referential ring to it that
reminds me of the Brothers Grim fairy tales and Sesame Street. The rhyming convention came
out of that love of children’s educational tools. It makes it fun to read and adds a musical element. The beat structure also reminds me of rap artists, like Run D.M.C., Sir Mix-A-Lot, and
the Beastie Boys. You can actually rap the story, if you so desire.
The first line is, “Drew liked to write”, and I started this way to show his initial con-
nection to graffiti. It is an innocent impulse of creation, he just happens to like the way his
name looks. It’s more like doodling really. The development of his doodle (the little stick man)
becomes its own element through the story, since Drew’s drawing also represents his maturing
as an artist. I also wanted to capture that feeling of sneaking out at night to be mischievous
and getting busted by your parents. After all, disobeying your parents is as good of a reason
as any to start a behavior. I sketched out the idea and, when I was happy, I inked it with a fine
sharpie. Then, I scanned the image and treated it much the same way I would a T-shirt design.
I cleaned up the image in Photoshop and experimented with various Illustrator Live Trace
treatments to retain the marker look and allow me to play with sizing.
22
It was not until much later in the process that I settled on a size format and binding
style. I only knew that I wanted it to look like a big horizontal sketchbook because the black
book is common among Graffiti artists, but a horizontal one is rare. Once I had a digital line
drawing I could play with adding color and texture. But, I also had each panel broken down
into elements (i.e., background, Drew, and other characters) to give me more liberty with
composition. I tried different coloring techniques like computer fills, scanning textures as fills,
and coloring with markers, but then I realized that as a kid’s book it might be more fun for
them to color it. I settled on grey tones to suggest shadows and moods. I like the fact that it
feels empty and you actually want to add color and trace the words.
After I had decided on an overall look, the other panels came much easier. I had the
basic idea of the story but I went through many drafts of lyrics to match the words to the pictures. Sometimes, it was easier to match the pictures to the words. I spent a few weeks on just
creating a good rhythm and a flow with the wording and image. And each panel had to visually tell the story as it was happening. Every action, gesture, and line had to be considered. The
coloring book aspect also provided a hurdle because I had to be careful of overlapping shapes
and convoluted lines. Everything had to be simple and easily discernible in order to color it.
The other thing I wanted to have is a lot of white space so kids can doodle in the margins or
write on the walls in the story. But, as simplified as it is, it still took me about seven weeks to
create all 41 panels and the covers.
23
I finished the story and tried printing it at different sizes, using different formats. I
settled on 14” by 8.5” because I could work down from a 11” by 14” format. Since the book
would eventually be post bound, I also had to work with a large gutter and balancing the
panels within the page. Early in the process I had played with moving the panels, so they
“bounced around” as you read it, but opted to simplify to a steady format because it detracted
from the flow of the story. I had to simplify the borders of the panels for the same reason.
Lastly, I bound it. The book is really just a book within a book and ultimately part of a bigger
picture. The binder is to expand the black-book concept and to provide extra tools to compliment the story. It has extra paper, some textured mat boards, and font templates, to trace
various Graffiti fonts. The fonts range from marker and tag scripts to semi-wild style letters.
I am reinforcing the connection between the two writing styles. Also, I would like to be able
to expand further and create other stories or workbooks that can be added to the collection.
Drew will go on to teach specific styles, like bubble letters and fat fonts, or specific art techniques, like letter fills and flare. Through Drew I can explore any aspect of Graffiti art that I
want. And with additions, the binder can get as big as a kid could carry and contain custom
elements depending on interest.
24
In conclusion, Drew Likes To Draw is just the beginning. It is the story of the initial
desire, and understanding the responsibility to turn graffiti writing into an art. If I can inspire
that, then I feel I have succeeded in my intent. And, if I can inspire adults to take an interest in helping young writers then I have exceeded in my intent. In closing, I would like to
quote the creator of the Graffiti Verite’ documentaries, Bob Bryan:
Never before in history has there been such an art movement
that has impacted so many people on a worldwide basis. Graffiti Art is both loved and hated and it’s freely given away to
the anonymous public. The walls are visually screaming loudly
and we’re ignoring its historical and emotional significance.
If your child were yelling at the top of their lungs in the next
room, could you ignore their agonizing screams? I don’t think
so… (qtd. on kanai.net)
25
Documentation
CD contains full PDF of the story, “Drew Likes To Draw”
Page 7
–Drew Likes To Draw. (Cover art)
Page 8
–Trashcan near Fred Meyer. 19th & W. Burnside. Portland, OR. Photo by Ron Gist. March, 2006.
–Dumpster near Art Media. 15th & E. Burnside. Portland, OR. Photo by Ron Gist. March, 2006.
–Trash bin. 11th & Taylor. Portland, OR. Photo by Ron Gist. March, 2006.
–Street sign near onramp. SW 13th & Clay. Portland, OR. Photo by Ron Gist. March, 2006.
–Bike rack near Couch Park with GPK tag. Portland, OR. Photo by Ron Gist. March, 2006.
–Street signpost near PNCA. NW 16th and Johnson. Portland, OR. Photo by Ron Gist.
March, 2006.
Page 9
–Aussie tags from Sydney suburb. Photo by Ron Gist. Wollongong, New SouthWales. April, 2006.
–Billboard near Sandy and E. Burnside. Photo by Ron Gist. Portland, OR. April, 2006.
–North Portland tag near Lombard and Interstate Max. Photo by Ron Gist. Portland, OR. April,
2006.
–Tag on electronic box. 16th & W. Burnside. Photo by Ron Gist. Portland, OR. April, 2006.
–Tag on lightpost near PNCA. NW 13th & Johnson. Photo by Ron Gist. Portland, OR. April, 2006.
–Bubble tag in the Pearl. NW 13th & Marshall. Photo by Ron Gist. Portland, OR. April, 2006.
Page 10
–More tags in the Pearl. NW 13th & Marshall. Photo by Ron Gist. Portland, OR. April, 2006.
–Hobo bubble tag. NW 14th & Lovejoy. Photo by Ron Gist. Portland, OR. April, 2006.
–Bonus bomb near Broadway bridge. E. Broadway & Martin Luther King. Photo by Ron Gist.
Portland, OR. April, 2006.
–Tats Crew mural from the Graffiti hall of fame. New York, NY. (Murray 152)
Page 11
–Cornbread back in ‘65. (Powers 22)
–Cool Earl and Cornbread tags. (Gastman 48)
–Taki 183 doin’ his thing in 1970. (Stampa Alternative and IGTimes)
–Graffiti in the NY subways, 1970. (Subway outlaws)
–More NY graffiti. (Powers 52)
–On the subway train. (Gastman 53)
–Train car graffiti. (Powers 93)
Page12
–Mico, pioneer. (@149st)
–Stay High 149 Graffiti. (Gastman 51)
–Phase 2 Graffiti. (Gastman 51)
–Spin, winner of the NY Times “Taki Awards”. 1973. (Ray)
26
–Seen piece. The Bronx, 1979. (Seen World)
–Zephyr graffiti (Zephyr)
Page 13
–Mad Seen. Bronx, 1982. (Photo Arts)
–Espo art. (Powers 46)
–So many trains. (Gastman 241)
–Taki 183 T-shirt. (Bombing Science)
–Giant board design for Think. (Gastman 108)
–Persue Wild Style (Gastman 90)
Page 14
–HMS girls T. Photo by Peter-Nathaniel van Hartesveldt. Portland, OR. October, 2005.
–Lost energy drink sold in a gas station. Photo by Ron Gist. Portland, OR. April, 2006.
–Customized Scion cars. (Scion)
–Vinyl toy by Ecko. (Kid-Robot)
–123 Klan digital graffiti. (Ganz 131)
Page 15
–Mike Giant doing a tattoo. (Blank)
–Banksy stencil design. (Banksy)
–Stash and Sense show at the Compound Gallery in Portland, OR. (Juxtapoz)
–Gorillaz album art for “Demon Days”. (Virgin Records)
–Def Sentence show at the Wax. (Portland Indy Media)
–”Who’s got the juice?” banner. (Who’s Got The Juice)
–Marc Ecko’s ”Getting Up” video game. (Tesco)
–German Graffiti site. (Neckcns)
Page 16
–Back wall of The Wax. Photo by Ron Gist. Portland, OR. April, 2006.
–Sneaker Pimps release party at the NAC in Portland. (Nacstyle)
–HOD painting the NAC. (Nacstyle)
–Sasquatch Billboard in Portland. (Not A Crime)
–99 dreams mural in Chico, Ca. (99 Dreams)
–Mural on side of a youth center. Photo by Ron Gist. Wollongong, New South Wales. April, 2006.
–Front of the youth center. Photo by Ron Gist. Wollongong, New South Wales. April, 2006.
Page 17
–Scan from sketchbook. “Hip-hop bunny.” Ron Gist. 1997.
–Scan from sketchbook. “Skater dude.” Ron Gist. 1997.
–Scan from sketchbook. Developing Drew Ron Gist. 2006.
–Scan from sketchbook. Practicing graffiti art. Ron Gist. 2006.
–Scan from sketchbook. Cartoon characters. Ron Gist. 1999.
–Scan from sketchbook. Playing with color and line. Ron Gist. 2000.
–Scan from sketchbook. Playing with color and line. Ron Gist. 2000.
–Scan from sketchbook. The letter X. Ron Gist. 2006.
27
Page 18
–Dalek train graff. (Shapeless Mass)
–Dalek wall art. (The giant Peach)
–Dalek vinyl toy. (Kid-Robot)
Page 19
–Early HMS graff near the freight line. Photo by Peter-Nathaniel van Hartesveldt. 2004.
–Other HMS graffs in New Mexico. Photo by Peter-Nathaniel van Hartesveldt. 2004.
–Aqueduct graff in New Mexico. Photo by Peter-Nathaniel van Hartesveldt. 2005.
–Pricing sheet design. By Peter-Nathaniel van Hartesveldt. 2005.
–T-shirt design by Nate. “Children should be oscene and not herd.” Peter-Nathaniel van Hartesveldt.
2004.
–T-shirt design by Nate. “Shalom.” Peter-Nathaniel van Hartesveldt. 2004.
–T-shirt design by Nate. “Zebras.” Peter-Nathaniel van Hartesveldt. 2005.
–T-shirt design by Nate. “Tri-HMS.” Peter-Nathaniel van Hartesveldt. 2004.
Page 20
–Annual Report cover for 2004. by Ron Gist. 2005.
–Fall catalog cover. By Ron Gist. 2005.
–Giraff shirt design. By Ron Gist. Photo by Peter-Nathaniel van Hartesveldt. 2005.
–Collaborative design. By Peter-Nathaniel van Hartesveldt and Ron Gist. 2005.
–Submitted logo by Johio. 2004.
–Submitted design by anonymous graff artist. 2005.
–Submitted design by Kyle Scherling. 2005.
–Submitted design by Zees. 2005
Page 21
–”We Are Rolling” concept art. By Ron Gist. 2006.
Page 23
–Early panel art for “Drew Likes To Draw.”
–Finished panel art for “Drew Likes To Draw.”
Page 25
–Binder art for “Drew Teaches You Graffiti Art.”
28
Bibliography
@149st: New York City Cyber bench. “Mico- Pioneer” <http://www.at149st.com/images/first.jpg>.
99 Dreams. “A Mural Project.” March, 2006 <http://www.99dreamsmural.com/>.
Banksy. “Indoors” March, 2006 <http://www.banksy.co.uk/indoors/print3.html>.
Blank. “Mike.” 14 Feb. 2005. March, 2006 <http://www.blanktm.com/m/6gal/photos/mike.jpg>.
Bombing Science. “The Originators t-shirt (Taki 183).” April, 2006 <http://www.bombingscience.
com/catalog.htm?item=1409>.
Ganz, Nicholas. Graffiti World: Street Art From Five Continents. N.Y.: Henry A. Abrams, Inc., 2004.
Gastman, Roger and Darin Rowland. Freight Train Graffiti. Harry N. Abrams, Inc., 2006.
The Giant Peach. “Some Kinda Art Initiative.” May, 2006 <http://www.giantpeachnews.com/news/
db/archives/2002_07_30.php>.
Juxtapoz. “Photos from Stash & Sense’s show at Compound Gallery in Portland, OR.” March 2, 2006.
< http://www.juxtapoz.com/mambo/index.php?option=com_content&task=view&id=222&
Itemid=62>.
Kanai, Gen. “Re: Multi Award-Winning Docs on Urban Hieroglyphics and Hip-Hop Available
on DVD.” Kanai.net/weblog. 3 June 2004. <http://www.kanai.net/weblog/archive/2004/06/
03/17h16m39s>.
Kid-Robot. “Flavor Flav Alarm Clock.” May, 2006 <http://www.kidrobot.com/shop.php?sku
=6168&Category=Accessories%20%26%20More&gallery>. “Dalek vinyl toy.” May,
2006 <http://www.kidrobot.com/shop.php?sku=8181&Category=Western%20Vinyl
&gallery>.
Murray, James & Karla Murray. Broken Windows: Graffiti NYC. CA.: Ginko Press, 2002.
Powers, Stephen. The Art of Getting Over: Graffiti at the Millenium. N.Y.: St. Martin’s Press, 1999.
Nacstyle. “Sneaker Pimps.” March, 2006 <www.nacstyle.com/pages/pa072255_.jpg.htm> “HOD”
March, 2006 < www.nacstyle.com/pages/dsc00958_.jpg.htm>.
Neckcns. “Graffiti art and graphic design.” 2005. May, 2006 <http://www.neckcns.com/archives/cat_
online.shtml>.
Not A Crime. 2006. <http://www.notacrime.org/boards.html>.
Portland Indy Media. “HIP HOP SHOW to benefit BOOKS 2 PRISONERS @ CAFE WAX“ March,
2006 <portland.indymedia.org/en/2005/06/318755.shtml>.
Ray, Bill. “Spin, 1973.” Bill Ray Photography. May, 2006 <http://www.billray.com/cgi-bin/gallery/
gallery.cgi?func=show&file=200750&Category=100001&Page=7>.
29
Shapeless Mass. “Freights.” March, 2006 <http://www.shapelessmass.com/visuals/freights/dalek.jpg>.
Stampa Alternative in association with IGTimes. Style: Writing From The Underground. Art Books
Int., Ltd., 1996.
Subway Outlaws. “History of Subway Writing.” March, 2006 <http://www.subwayoutlaws.com/
History/History.htm>.
“‘Taki 183’ Spawns Pen Pals.” New York Times . July 21, 1971: 37. ProQuest Historical Newspapers.
<http://pqasb.pqarchiver.com/nytimes/>.
Photo Arts. “Martha Cooper Subway Art: NYC 1980-82.” March 2006 <http://www.photoarts.com/
cooper/graffiti/madseen.html>.
Scion. “Concept car photo gallery.” May, 2006 <http://www.scion.com/installation/photo_gallery
_austin.html>.
Seen World. “#6 Pelham Bay Line, Da Bronx 1979.” March, 2006 <http://www.seenworld.com/html/
main.html>.
Tesco. “Marc Ecko’s Getting Up: Contents Under Pressure.” 17 Feb. 2006. April, 2006 <http://www.
tesco.com/entertainment/product.aspx?R=646381>.
Virgin Records. “Demon Days” may, 2006 <http://www.virginrecords.com/home/_extras/gorillaz/02_
0800_gorillaz_wp.jpg>.
Who’s Got The Juice? “Pictures and videos.” 2005. March, 2006 < http://www.wgtjuice.com/media.
php>.
Zephyr Graffiti. “End to End #7” March, 2006 <http://www.zephyrgraffiti.com/>.
30
Related Research
Books:
Angelou, Maya. Life Doesn’t Frighten Me. N.Y.: Reed Business Information, Inc., 1994.
Hundertmark, Christian. The Art of Rebellion: World of Street Art. CA.:Ginko Press, 2003.
Capek, Michael. Murals: Cave, Cathedral, to the Street. Lerner Publishing Company, 1996.
Curry, G. David and Scott H. Decker. Confronting Gangs: Crime and Community. 2nd ed.
Los Angeles, CA.: Roxbury Publishing Company, 2003.
Gastman, Roger. Enamilized: Graffiti Worldwide. CA.:Ginko Press, 2003.
Guthrie, Dale. The Nature of Paleolithic Art. University of Chicago Press, 2006.
Haas, Richard. The City Is My Canvas. Munich: Prestel Verlag, 2001.
Hayden, Tom. Street Wars: Gangs and the Future of Violence. N.Y.: New Press, 2004.
Marin, Cheech. Chicano Visions: American Painters on the Verge. Singapore: Bespoke Books,
2002.
Pesaresi, Marco. Underground: Travels on the Global Metro. Aperture Foundation, 1998.
Movies:
A Hundred Dollars and a T-shirt: A Documentary About Zines in the Northwest US. Dir. Joe
Biel. Microcosm Publishing, Inc., 2004.
Basquiat. Dir. Julian Schnabel. Perf. Jeffrey Wright, Michael Wincott. Miramax Films, 1996.
Culture Jamming: Hijacking Commercial Culture. Dir. Jill Sharp. Right to Jam Productions,
Inc., 2001.
Graffiti Rock and Other Hip-Hop Delights. Dir. Clark Santee. Perf. Michael Holman, Run
D.M.C., Kool Moe Dee, New York City Breakers. Music Video Distributors, 1984.
Graffiti Verite’: Read the Writing on the Wall. Dir. Bob Bryan. Bryan World Productions,
1995.
Graffiti Verite’ 2: Freedom of Expression?. Dir. Bob Bryan. Bryan World Productions, 1998.
Graffiti Verite’ 3: A Voyage Into the Iconography of Graffiti Art. Dir. Bob Bryan. Bryan
World Productions, 2000.
No Logo: Brands, Globalization, Resistance. Dir. Naomi Klein. Media Education Foundation,
2003.
Style Wars. Dir. Henry Chalfont & Tony Silver. Plexifilm, 1983.
The Freshest Kids: The History of the B-Boy. Dir. Israel. Image Entertainment, 2002.
The Graffiti Artist. Dir. James Bolton. Perf. Ruben Bansie-Snellman, Pepper Fajans. Mettray
Reformatory Pictures, 2004.
31
Web sites:
www.12ozprophet.com
www.99dreamsmural.com
www.artcrimes.com
www.artofthestate.co.uk
www.blackmarket.co.uk
www.banksy.co.uk
www.citynoise.org
www.culturejamthefilm.com
www.dalekart.com
www.edoclaundry.com
www.flickr.com
www.graffiti.org
www.graffitiverite.com
www.graffitifonts.com
www.hartmindsoul.us
www.hiphop-network.com
www.jaymeer.com
www.kidrobot.com
www.klutch.org
www.livescience.com
www.markbode.com
www.mikegiant.com
www.nacstyle.com
www.nologo.org
www.notacrime.org
www.obeygiant.com
www.otherthings.com
www.peacejam.org
www.pearmentor.org
www.portlandmercury.com
www.puregraffiti.com
www.rooke.se/rooktime26
www.sameunderneath.com
www.seenworld.com
www.shapelessmass.com
www.shift.jp.org
www.subwayoutlaws.com
www.threadless.com
www.time.com
www.wikipedia.org
www.woostercollective.com
www.zephyrgraffiti.com
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