Clairefontaine - Ref 34162C - Graffiti Paper Roll (Single Roll) - 50m x 1m Sized Roll, 120gsm Drawing Paper, Blue on One Side - Suitable for Large Art Projects - White

Product Information

Coloring is where your piece will truly come to life. Consider using gradients and complementary colors to create a visually striking effect. Explore different color theories and combinations to understand what resonates with your style.

So, all you need to do is to grab a sheet of paper, a pencil and markers, and follow the instructions step by step.

References

McAuliffe, C. (2012). Graffiti or street Art? Negotiating the moral geographies of the creative city. Journal of Urban Affairs, 34(2), 189–206.

The terms ‘graffiti’ and ‘street art’ are often used interchangeably. However, graffiti conventionally has negative connotations as it was originally seen as illegal writing on public spaces. Street art, however, is a broader and more accepted term for publicly shown art like murals and sculptures. Both artforms are the inspiration behind contemporary graffiti art. When did graffiti art start? MacDiarmid, L., & Downing, S. (1998). A rough aging out: Graffiti writers and subcultural drift. International Journal of Criminal Justice Sciences, 7(2), 605–617. If you’re wondering what’s the difference between graffiti and street art – graffiti is normally word based, while street art is more centred upon images. Graffiti art is recognised as an amalgamation of the two.Many street artists use the public canvas of buildings, bridges, lampposts, underpasses, ditches, sidewalks, walls, and benches to assure their individual messages are seen by a wide swath of the population, unfiltered by target demographics or being accessible only to art world denizens. Street Art continues to be a popular category of art all over the world, with many of its practitioners rising to fame and mainstream success (such as Bristol's Banksy, Paris' ZEVS, and L.A.'s Shepard Fairey). Street artists who experience commercial success are often criticized by their peers for "selling out" and becoming part of the system that they had formerly rebelled against by creating illegal public works. Communications professor Tracey Bowen sees the act of creating graffiti as both a "celebration of existence" and "a declaration of resistance." Similarly, Slovenian Feminist author Tea Hvala views graffiti as "the most accessible medium of resistance" for oppressed people to use against dominant culture due to its tactical (non-institutional, decentralized) qualities. For both Bowen and Hvala these unique positive attributes of graffiti are heavily reliant on its location in urban public spaces. Art critic and curator Johannes Stahl argues that the public context is crucial for Street Art to be political, because "it happens in places that are accessible to all [and] it employs a means of expression that is not controlled by the government." Street artist BOOKSIIII holds an opinion not uncommon of many of today's street artists, that it is not inherently wrong for young artists to try to make money from galleries and corporations for their works, "as long as they do their job honestly, sell work, and represent careers," yet at the same time he notes that "graffiti does not stay the same when transferred to the gallery from the street. A tag on canvas will never hold the same power as the exact same tag on the street." Constructing a letter is quite similar. The following steps describe the steps shown in the image above:

MacDonald, N. (2001). The graffiti subculture: Youth, masculinity and identity in London and New York. Basingstoke: Palgrave. The text in this "piece" (the common term for a work of graffiti art) reads "TRAP DEZ DAZE" (the tags/pseudonyms of the artists), although the style and placement of the letters may make it difficult to discern for viewers not familiar with this style of lettering. The text uses several bright colors, and employs outlining and shading to give the impression of three-dimensionality. This piece, like much New York graffiti of the 1980s, was completed on the side of a subway train. This choice of location would have garnered greater prestige for the artists, as writing on subway cars put them at very high risk of apprehension by the authorities, and thus considered more daring. Writing on subway cars was also a sure way to rapidly increase one's fame, as the artwork would then travel around the city's subway system, being seen by a far greater number of people than would a stationary piece on a wall. When it comes to graffiti and creating your own cool graffiti art designs, you’re encouraged to let your creativity flow and choose fonts and letters that best suit your messaging and theme. There are a few types of font and street art graffiti letters that are used more commonly than others, though. These include: Iveson, K. (2009). War is over (if you want it): Rethinking the graffiti problem. Australian Planner, 46(1), 24–34. Halsey, M., & Young, A. (2006). “Our desires are ungovernable”: Writing graffiti in urban space. Theoretical Criminology, 10(3), 275–306.

Biographies

If you're looking to decorate your own space with a wallpaper mural - your choices and possibilities are endless! Choose, again, from our popular word art graffiti or choose from a huge range of spray paint effect imagery, such as eyes, animals and skulls. You'll also find some tattoo-style imagery perfect for anyone looking to make their home reflect their personal style. Last but not least you can also choose from our abstract graffiti of famous people and musicians.

Hall, S., & Jefferson, T. (Eds.). (1976). Resistance through rituals: Youth subcultures in Post-War Britain. London: Hutchinson. In the past, graffiti artists were limited with their colour choices, but things are totally different now. With platforms like Adobe Express offering a multitude of colours and patterns for you to use, you’ll never be short on options. Merrill, S. (2014). Keeping it real? Subcultural graffiti, street art, heritage and authenticity. International Journal of Heritage Studies, 21(4), 369–389.Street Art can often be viewed as a tool for promoting an artist's personal agenda surrounding contemporary social concerns, with city facades acting in the same role as the old fashioned soapbox; a place to extol the artist's opinion on a myriad issues ranging from politics and environmentalism to consumerism and consumption. Rahn, J. (2002). Painting without permission: Hip hop graffiti subculture. Westport: Bergin and Garvey. Zukin, S., & Braslow, L. (2011). The life cycle of New York’s creative districts: Reflections on unanticipated consequences of unplanned cultural zones. City, Culture and Society, 2, 131–140. It’s also popular for shapes to be integrated into fonts themselves. Do this by getting creative with edges and lines. Scale up. Iveson, K. (2013). Cities within the city: Do-it-yourself urbanism and the rights to the city. International Journal of Urban and Regional Research, 37(3), 941–956.