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Monikers (also known as streaks, tags, or hobo art) are a type of graffiti done on the side of a freight car on freight trains. They date back to the late 1800s. [ 1 ] Monikers are usually produced with a solid paint stick, industrial crayon, or a lumber crayon.
Faile (USA/Canada/Japan) - stencil graffiti, street poster art, screenprinting; Ray Ferrer (USA) - spray paint, hand-cut stencils; Josh MacPhee (USA) - stencil graffiti, street poster art, screenprinting; Scott Williams (USA) Christopher Wool (USA) Shepard Fairey (USA) - stencil graffiti, street poster art, screenprinting, political art
C215 is a prolific street artist and has practiced his art in cities all over the world. His stencils may be seen in Barcelona, Amsterdam, London, Rome, Paris, Oslo, Colombo and different cities of Morocco. [4] In October 2014, C215 visited Valletta, Malta, because of his interest in Caravaggio as well as 17th-century religious architecture.
Throw ups are typically the writer's moniker in large "bubble-letters", with or without a fill. Throw ups without fills are called hollows. [3] Throw ups are sometimes done using only the first two or three letters of the moniker in a throw up to quicken the process, especially if the writer uses a longer name.
RISK (born Kelly Graval), also known as RISKY, is a Los Angeles–based graffiti writer and contemporary artist often credited as a founder of the West Coast graffiti scene. [1] [2] In the 1980s, he was one of the first graffiti writers in Southern California to paint freight trains, and he pioneered writing on "heavens", or freeway overpasses.
ORFN began experimentation with graffiti in middle school, initially spraying stencils in his then hometown of Palo Alto, California. By 1992, ORFN had taken on his namesake moniker and started to make a name for himself as a graffiti writer in San Mateo County and San Francisco, along with his early graffiti partner Revers.
However, graffiti is to some people a form of art, but to some a form of vandalism. [30] And many graffitists choose to protect their identities and remain anonymous to hinder prosecution. With the commercialization of graffiti (and hip hop in general), in most cases, even with legally painted "graffiti" art, graffitists tend to choose ...
The other, producing what is generally referred to as a “crayon enlargement”, [2] [3] was to use a magic lantern to project the photograph onto the rear of drawing paper or a canvas. [4] Both of these provided a photographic image which could then be used as the base from which to colour in the features using crayons, oils or watercolours. [5]