This book is so inspiring, and filled with amazing stories, and artists showing all forms of the art of graffiti. It is informative on the use of stencils and other mediums artists used to get the effects they did for their work. It is a great book to have if you LOVE graffiti.. 
what should I make a stencil for graffiti Graffiti Stencils out of?
I want something some what heavy that will last a few times?
Powered by Yahoo! Answers
Tags: Art Book, Compliment, Graff, Graffiti, Home Town Heroes, Infamy Dvd, Keyword, Stencil Art Posted Graffiti Creators |
Top Sources on Airbrush Graffiti T Shirt
Free Supportive Info on Graffiti Lightning Bolts
Graffiti Word Art Headline News
Hip Hop Graffiti T-shirts Route
Free Useful Roadmap for Authentic Louis Vuitton Graffiti Bag
Beneficial Guide on Urban Graffiti Belt Buckles
The Best Website on Graffiti T Shirt
Top Picks on Ebay for Lamb Graffiti Handbags
Free Useful Guide on Graffiti Shirts Clothing
Free Inviting Info on Graffiti Shirts Com
Accommodating Article on Coach Tattersall Graffiti Wallet
Free Useful Roadmap for Graffiti Shirt Toronto
Free Connected Guideline for Graffiti Bags to Buy
Free Supportive Tips on Coach Tattersall Graffiti Handbags
Related Knowledge on Graffiti Hats Cleveland Ohio
Graffiti Shirts Boys Truths
Assess About Graffiti Hats And Shirts
Graffiti Caps Tips And More!
Free Efficient Guideline for Tutorial Graffiti
July 21st, 2010 at 1:29 pm
This is a great art book! It’s a worldwide who’s who of stencil graffiti artists Beautiful full color photos cover every page showing murals by the likes of Banksy, Jef Aerosol, Logan Hicks, Swoon, and hundreds more. There’s work by over 350 artists. Some of my favorite stuff is by people like Scott Williams who is well known around San Francisco but whose lush work really needs to be seen on a larger scale. The book is not only filled with big name artists but great local finds. The pages are dense with images and a variety of styles. Highly recommended.
July 22nd, 2010 at 12:48 am
I like this book. It’s a thin book. It’s not too much stuff in the book but I think it’s a nice book to have in your collection just to have something different. Since I’m not too much into stencil graffiti, this book is just right to have it in my collection. I like it. It has great work of art in it.
July 22nd, 2010 at 12:45 pm
it’s a cheap book, and it’s got cheap information. nothing much to it. i would probably spend a bit more and buy a book that’s more in depth with the culture and such of graffiti art. but if you must, like me buy this book to be a part of your growing art book collection, then by all means, no one is stopping you.
July 23rd, 2010 at 1:26 am
Its a great book, but Stencil Pirates is better.
July 23rd, 2010 at 12:52 pm
This book is being reviewed quite heavily these days and after reviewing it myself, I can only conclude that this is because of the Publishers’ credentials in publishing books on street art. I found that this book fell short on my expectations, even though much of the material was interesting. While it was enlightening to read the brief articles on the history of stencil graffiti, and how stenciling started back to 22,000 in cave paintings, the book quickly lost steam. Many of the artists featured here are well known, however there are many photos featuring industrial uses of stencils which neither are graffiti art, stencil graffiti or art in any type of form. This really detracted form what I assumed the book was featuring. Most of the interesting features were on European artists such as the “bananensprayer” in Cologne, Germany, or Bansky who mixed political satire with his various works. Although many stencil artists are features from all over Europe, and the United States as well as a whole page spread of works from Morocco, I really missed the interviews which should have accompanied these images. While I would not purchase the book for my personal collection, many of the photos showcased the dizzying array of effects which were possible to achieve with something as simple as a stencil.
July 24th, 2010 at 1:21 am
I’ve been a little obsessed with Melbourne’s street art scene for quite a while; actually, since the day I discovered Melbourne Mark’s (that’s how I think of him!) State Of Flux; a great site dedicated to the art in and around Melbourne (in case you hadn’t guessed that already!). From then on I’ve been glued to that site and always enjoyed seeing all the new art as it was documented. I’m waffling…when I saw a while back that Stencil Graffiti Capital: Melbourne, by Jake Smallman & Carl Nyman, and published by Mark Batty, was coming out in the UK I was pretty excited and it’s been well worth the wait.
Just like the other Mark Batty books I own, Stencil Graffiti Capital: Melbourne is quality from the start. It’s nicely bound and instantly demands your attention from the second you lift over the front cover. Before you even get to the actual stencil documentation you’re pounced on by a couple of incredible night-time photography of city streets and their painters. These are not in-your-face trophy photos of writers and painter posing next to their pieces but beautifully artistic long-exposure shots where the city is the star and the writer is part of the environment. It’s a great way to make you realise that this book isn’t just about the art but more to do with how the art and Melbourne interact with one another. The introduction follows and tells us more about Melbourne’s unique stencil history.
Stencil Graffiti Capital: Melbourne is packed with themed chapters and artist profiles as well as being interspersed with the same high standard photography. That’s not to say that the other photography in the book isn’t worth mentioning though; it is. While many of the photos are documentary style (just showing the actual piece of art) there’s a whole lot more that are just oozing class. Actually, it has some of the best street art photos I’ve seen. I digress.
So, back to the themes…roughly half of the chapters are theme based. The themes include faces, politics, war, robots, music, horror (a great couple of pages), guns and lots more. One of the most impressive themed chapters concerns itself with public galleries; lanes where, although illegal, artists are constantly putting up new pieces. By the look of the photos these streets are not just painted with the odd stencil here and there but quite densely populated with work, making them truly like gallery spaces. Many of the pieces are single layered hits but there are also some multi-layered beauties. A great collection.
Of the many artists that have there own chapters I have to mention Meggs. His art makes perhaps the best chapter in the book with his cute, skyward looking, kids with devils horns. Fantastic imagery. He also has some cracking pieces that depict people throwing up some kind of crazy paisley pattern…nuts. Vexta also gets a mention here for not only having a great collection of pieces on show but also for having the second best photo in the book; an action shot of her hanging half way down a wall, in mountain climbing kit, painting the amazing police piece. Sixten’s chapter is also great, especially his work in progress, and his finalised Call It Popart One More Time And I’ll… piece. Sync also needs a mention as his screaming pieces had a real impact on me when I saw a couple of his pieces in NYC last year. Banksy also gets an honorary mention for hitting the place during a detour visit in 2003. Apparently he made such an impact with the pure quantity of pieces that he deserved the chapter that’s dedicated to him. Last mention has to go to Rone, who gets the title for greatest photo in the book! It’s a four-layer stencil of a guy high up in the air, maybe four of five metres high. It’s perfectly placed and traverses different types of textures across the wall. Just like all the great street art photos that have been taken, this one becomes complete with some personal interaction. This time it’s with the addition of someone throwing a skate deck in the air and making it look like the character in the stencil has been caught mid-trick. Fantastico! It’s a shame not to mention all the other great artists included in the book but I’ve probably already said too much…this is the kind of thing you should discover yourself.
I can’t really claim to know much about Melbourne but Stencil Graffiti Capital: Melbourne gives me the impression of it having a rich, and dense, tapestry of street art…perhaps more so than anywhere else I can think of (I’m willing to be put right on this one but that’s the impression I get from the book). I remember writing that Melbourne looks like a colourful place to live. Seeing this book has made my image of Melbourne much more intensely saturated with colour and dynamic imagery, I just hope I can get over there to visit some day. Like all great books, Stencil Graffiti Capital: Melbourne has made me want to know more about both Melbourne and it’s rich streetart scene. I’ll definitely be going back over all the photos at State Of Flux now that I have some solid reference material…I need to see more from these artists.
July 24th, 2010 at 12:57 pm
Very good book, very good text copy. Reevo from [...] has already wrote a full review down below, I just want to add to his words, that if there would be a time, when you won’t find any street art around you, no “voices” of the people, it’s probably a good time to reread Orwell’s 1984.
July 25th, 2010 at 12:41 am
and this book does a pretty good job of covering the city’s heavy-hitters, as well as documenting plenty of smaller and anonymous works. if you’ve followed stencil art in the past few years at all, you’ll recognize some pieces, as well as some artists’ names (meggs, meek, and sixten to name a few).
there are bios and interviews, and the artwork is divided up into themed sections. all of the photos are color, too, which is a nice bonus many other books on this subject seem to be lacking.
at nearly 160 pages, and being hardcover, it’s well worth the money.
July 25th, 2010 at 12:47 pm
What has happened to turn Melbourne into a stencilled graffiti capital? When did this happen and who is responsible? Furthermore, why stencils? Isn’t the use of stencils a bit of a cheat? Stencil Graffiti Capital answers all these questions and more with a visual celebration for several artists and the themes which dominate their work. Interviews with the likes of Civilian, Dlux, and Ha-Ha illustrate how and why these artists live in, moved to, or visit Melbourne to practice their street art. Full-page and double-spread visual treatments within the book illustrate the artists’ basic themes, which focus on politics, symbols, love/sex and war/death.
According to the authors, Jake Smallman and Carl Nyman, the new trend toward stencilled work in Melbourne began in 1999 when graffiti artist Psalm tickled Melbourne’s walls with “intricately detailed, vibrantly colored and visually arresting” work. His work was followed by Ha Ha’s roughly cut, one-layer stencils which usually were painted in black. Syn and Dlux moved their graffiti skills to Melbourne from Adelaide in 2002, and they brought with them an influence which bonded the disparate talents already in residence.
Commercialism of street art, especially stencilled work, is contentious and Stencil Graffiti Capital addresses these issues. The use of stencils instead of free-form spraying, in my opinion, is no worse than the fact that Norman Rockwell used slides projected onto his canvases to help render his realistic paintings. His practice – once discovered by the art world – evolved into a debate over the difference between commercial work and fine art during the mid-twentieth century; however, this debate fizzled once technology altered how artists rendered their work…it’s difficult for a fine artist to criticize commercial work when he uses computers to render his digital images.
The debates over legality/commercialism of stencilled street art might fizzle or continue to build, which is one of the interesting aspects to this movement. The other highlight includes the fact that these stencilled works aren’t amateurish. Not surprisingly, the majority of street artists included in this book have graphic design or fine art backgrounds, an aspect that lends sophistication to the work. This background also supplies an understanding to the transition from the street to galleries. If this debate boils down to the fact that the “medium is the message,” then street art is, perhaps, a marketing ploy for what is considered a new art form.
The fact that the street artists sign their work, that they are willing to be photographed in the process of building their work, that there is a Web site devoted to the who, what, when, where, how, and why of stencilled street art all lend credence to the fact that Melbourne’s streets have become visual marketing for these artists. While this fact might leave a bitter taste in the mouth of some artists and officials, the mere idea that a metropolis could be influenced by street artists to the point that illegal activities are basically overlooked – at least for the moment – seems to be the real revolution.
While Stencil Graffiti Capital: Melbourne could be seen as part and parcel of this trend in commercialization of graffiti art and artists, the book is needed to explain this trend and Melbourne’s part in an artistic evolution. Additionally, the book becomes a visual record of a trend which waxes and wanes with politics and artistic whims. The writing is succinct, clear, and sticks to the facts. The writers and editors forged categories for the artwork, an idea that refuses to glorify any one artist and which offers the reader a banquet of styles and canvases used by the artists. The only missing information in this book is the actual dimensions of the artwork, although the photographs at times reveal the size in proportion to buildings and individuals.
This book will appeal not only to artists, art lovers, and political guerrillas; it could add a significant contribution to any anthropologist’s or historian’s bookshelf as it addresses issues about the intent, talent, time, and politics which continue to influence every aspect of what is often considered illegal public property defacement.