Evolution of Graffiti

Evolution of GraffitiBy- Royals Limbu

Derived from the Italian sgraffio, meaning scratch, graffiti has been around since the beginning of mankind. Pictures, such as those at the Lascaux Caves in France, were mostly carved into the cave walls with bones or stones, but early man alsoanticipated the stencil and spray technique, blow-ing coloured powder through hollow bones around his hands to make silhouettes. In ancient Greece, fragments of clay were found on which notes had been carved, while excavations in Pompeii brought to light a wealth of graffiti, including election slogans, drawings and obscenities. In 1904, the first magazine to be focus on toilet graffiti was launched: Anthropophyteia. Later on, during the Second World War, the Nazis used writing on walls for their Propoganda Machines to stir up hatred towards Jews and dissidents. However, graffiti was also important for resistance movements as a ways of publisizing their protests to the general public. One example is The White Rose a group of German noncomformists who spoke out agains Hitler and his regime in 1942 through leaflets and painted slogans, until their capture in 1943. During the student revolts in the

1960s and 1970s, protesters made their view public with posters and painted words. French students often turned to the pochoir (the french word for the stencil graffiti) technique, the precursor of the present- day stencil movement. Todays graffiti developed towards the end of the 1970s in New York and Philadelphia, where artists such as Taki 183, Julio 204, Cat 161 and Cornbeard painted their names on walls or subway stations around Manhattan. The unique make-up of New York City - in which the Harlem slums and the glamorous world of Broadway stand side by side -- seems to have been a breeding - ground for the first graffiti artists, bringing together many different cultures and class issues in one single place. This environment fuelled an artistic battle against the power brokers in society, and a break-away from the poverty and the ghetto. Cornbeard, for example, became notorious by spray-painting his tag (the stricking signature of a graffiti artist) on an elephant in a zoo. Through these pioneers, American graffiti was born, sweepingthrough the world and drawing thousands of youngsters under its spell.

Worldwide History Of Graffiti

Initially graffiti artists often used either their real names ir nicknames, but soon the first pseudonyms started to appear. The glut of new graffiti artists brandishing their names across the whole city inspired writers to find new ways to make their work stand out. Tags got bigger and bigger until the first pieces (short for mas-terpieces) appeared on New York trains. Many artists sought recognition, either by spray-paint-ing the most trains or the best pieces. Stencil and street artists, meanwhile, wanted to communicate with the passer-by or shape their environment without any constraints. Seen, Lee, Dondi (RIP), Stayhigh 149, Zephyr, Blade and Iz the Wiz became heroes through the sheer quantity abd quality if their work. Artists initially targeted trains because they often travelled through the whole city and were seen by millions of people. By the mid-1980s. it was claimed , there was not a single train that had not at one time been spray-painted from top to bottom. This changed in around 1986, when the New York authorities took steps to protect

their property from graffiti by putting up fences around station yards and buffing trains regularly. As the New York writerstravelled around, the graffiti phenomenon spread throughout the whole of USA, and soon trains became targets in Europe. At the same time, the first exhibitions took place in Amsterdam and Antwerp. Pieces started to appear in almost every European city from the early 1980s, although Amsterdam and Madrid had fostered and earlier graffiti move-ment that had its root in punk. However, it was only really with the arrival of hip-hop that the European graffiti scene took off.The majority of graffiti in Europe was based on the American model, which remains the most popular to this day. With hip-hop, graffiti entered almost every Western and Western-influenced country and then started to edge out further afield. Asia and South America caught on later, but their graffiti culture is now growing at a phe-nomenal rate and has already reached a high standard, particularly in South America.

Graffiti Today

Today, the art world and the general public is more open toward graffiti art. The public has become more tolerant and appreciative of this underground art. In Los Angeles, for example: The Museum of Contemporary Art (MOCA) organized an exhibit celebrating urban graffiti on walls, subways and buses; and it proved to be a hugely successful show. The Art in the Streets Exhibit featured prominent street artists like Taki 183, Banksy, Keith Haring, Henry Chalfant, etc. This is actually the first major US museum exhibit on graffiti and street art. The exhibition traces the development of graffiti art from the 70s to the international movement its become today. It featured installa-tions, paintings, sculptures and mixed media that helped shape the evolution of graffiti art. Graffiti art is widely recognized around the world. There have been exhibits and galleries worldwide dedicated to the celebration of graffiti art. Another prestigious exhibition is Born in the Streets, at the Fondation Center in Paris, France.

The New York model of graffitit centered around the distortion of letters, but many new approaches have since emerged - pushing the boundaries of graffiti culture. Over the years, the original style has developed to encompass a whole range if different typographic forms: the legible blockletter, the distorted and interwined wildstyle, the familiar bubble style and 3D. Characters, which started iff as an ancillaries to letters, now form their own graffiti group and range from the comical figures to those of perfect photorealism. Logo and iconic graffiti, on the other hand, specialize in striking emblems or figures respectively. Although the spraycan, the traditional graffiti tool, remains key to writers worldwide, the choice of material available these days - oil or acrylic paint, airbrush, oil-based chalks, posters and stickers, to name a few - is extensive and has widened the scope artistically. The stencil technique (which involve using a paintbrush or spraycan to paint images or words through a template) has recently brought to the fore some of the most recognizable graffiti artists - such as English artist Banksy, with his mix of ironic and politically motivated pictures, and German Bananensprayer Thomas Baumgartel, who has stencilled his bananas on countless galleries and museums. The emergence of the internet has also played an interesting role in the evolution of graffiti. Although some artists shun this new medium, arguing the direct experience of the art form is crucial, many graffiti artists and their followers have welcomed it with open arms as na additional field of action. Massive archives

has been set up by enthusiasts and artists. One example is Art Crimes, which has become the definitive worldwide siste for highlighting the talent of many writers for a wider audiene. In many countries, these banks of pictures and information data are an important means of access to influences from other parts of the world. Before the internet revolution, different continents, cities and even districts had their own distinctive graffiti cultures. Today, those local differences still exist to some extent but have been inspired by styles from all over the world. For countries such as South Africa and Russia, which artists have tended to neglect on their travels, and where it is often impossible to get hold of graffiti magazines and books, good- quality spraycans and caps (the spraycan nozzle, which determines the spray width), the iternet can offer invaluable possibilities. The various historical aspects of graffiti brought together in this book, and the different forms and techniques that are around today, have made it necessary to group all the style branches under the word Graffiti. Many artists tend to distance themselves from this word because they think that it is no longer contem-porary. Morever, it often conjures up image of vandalism and defacenment, or is treated as a generic term for the street art. As a result, a lot of artists prefer to label their work as aerosol art, post-graffiti, neo-graffiti and street art in order to differentiate themselves. I do not wish to make any reference to vandilism by using the term Graffiti but, rather, to include and present a specific graffiti style, along with their most interesting pioneers.

The Here And Now

Dicy, Bristol, England, 2001

Graffiti as we know it today may have a relatively short history but it has managed to touch almost every corner of the globe. Letters used to fominate but today the culture has expand-ed: new forms are explored and characters, symbols and abstractions have begun to proliferate. Over the past few years, graffiti artists have been using a wider scope of expression. Personal style is free to develop without any constraint, and stickers, posters, stencils, airbrush, oil-based chalk, all varaties of paint and even sculpture are used. Most artists have been liberated from relying solely on the spray-can. As a result, many now refer to a post- graffiti movement, characterized by more innovative approaches to form and technique that go beyond traditional perceprions of the classic graffiti style. To reflect these changes in the graffiti world, these new directions have become a focus of this book. In this book, I am focusing on the specific evolution of the graffiti known as Light Graffiti. I have tried to attempt the most comprehensive presentation ever published of the most intersting and influential artists of the related techniques and a truly unique perspective of it. I have deliberately not divided the contents by any country, sex or race , deciding instead to order artists by my personal favourites. This is because nationality, race and sex have no bearing on the graffiti scene.

Royals Limbu

Ashford, UK, 2015

FOREWORD

Light graffiti, or light drawing, is a photographic technique in which exposures are made by moving a hand-held light source while taking a long exposure photograph, either to illuminate a subject or to shine a point of light directly at the camera. Light painting can also describe works where the camera itself is moved during exposure. Painting with a point of light on a long exposure dates back to 1889, and was used in Frank Gilbreths work with his wife Lillian Moller Gilbreth in 1914, when the pair used small lights and the open shutter of a camera to track the motion of manufacturing and clerical workers. Man Ray, in his 1935 series Space Writing, was the first known art photographer to use the technique. Photographer Barbara Morgan began making light paintings in 1940.

What is Light Graffiti?

TechniquesTraditional light painting uses handheld lights to selec-tively illuminate or color parts of the subject or scene. Light painting requires a slow shutter speed, usually at least a second in duration. Light painting can take on the characteristics of a traditional painter. Light paintings can be created using a webcam. The painted image can already be seen while drawing by using a monitor or projector. Another technique is the projection of images on to irregular surfaces (such as faces or buildings), in effect painting them with light. A photograph or other fixed portrayal of the resulting image is then made. Kinetic light painting is achieved by moving the camera, and is the antithesis of traditional photog-raphy. At night, or in a dark room, the camera can be removed from the tripod and used like a paintbrush. An example is using the night sky as the canvas, the camera as the brush and artificially-lit cityscapes as the palette. Putting energy into moving the camera by stroking lights,[clarification needed] making patterns and laying down backgrounds can create abstract artistic images.

HistoryLight graffiti, more specifically light drawing, dates back to 1889 when tienne-Jules Marey and Georges Demeny created the first known light painting Pathological Walk From in Front In 1949 Pablo Picasso was visited by Gjon Mili, a photographer and lighting innovator, who introduced Picasso to his photographs of ice skaters with lights attached to their skates. Immediately Picasso started making images in the air with a small flashlight in a dark room. This series of photos became known as Picassos light drawings. Of these photos, the most celebrated and famous is known as Picasso draws a Centaur. During the 1970s and 80s Eric Staller used this technology for numerous photo projects that were called Light Drawings. Light paintings up to 1976 are classified as light drawings. In 1977 Dean Chamberlain gave birth to light painting (using handheld lights to selectively illuminate and/or color parts of the subject or scene) with his image Polyethylene Bags On Chaise Longue at The Rochester Institute of Technology. Dean Chamberlain was the first artist to dedicate his entire body of work to the light painting art form. The artist photographer Jacques Pugin made several se-ries of images with the light drawing technique in 1979. Picasso and Milis images should be regarded as some of the first light drawings. Now, with modern light painting, one uses more frequently choreography and performance to photograph and organize. In the 1970s and early 1980s, Steve Mann invented, designed, built, and used various wearable computers to visualize real-world phenomena such as sound waves, radio waves, and sight fields by light painting using computational photography. This artform enjoyed a surge in popularity in the 21st century, partly due to the increasing availability of dSLR cameras, advances in portable light sources such as LEDs, and also in part due to the advent of media sharing websites by which practitioners can exchange images and ideas.

Michael BosankoLight painting photographer Michael Bosanko has been capturing light since 2004. He discovered light painting on accident, Michael says this of his moment of discovery, the moon formed part of the scene, but the camera shake caused the moon to make a streak. My curious mind clipped the camera from the tripod and, hand held, I attempted to write my partners name using nothing but the moonshine and the movement of the camera in my hand, and I had success. As soon as I returned home, I adopted the same principles but with torches, and Ive been hooked ever since. Ever since that moment Michael has had great success with light painting photography, he has created images for several commercial clients and been published in numerous magazines

Eric Staller

Light artist Eric Staller could be called the father of light drawing or light graffiti in its present day form. Staller was born in 1947 in New York. He studied architecture at the University of Michigan and graduated with a bachelors degree in 1971. Towards the end of his time at UOM Eric started to create sculpture and pieces of performance art. From 1976 to 1980 Staller roamed the dark streets of New York City creating light painting photographs. Erics Light Drawing series could be the very first Light Art Performance Photographs ever created. It could be argued that Man Rays Space Writing series were the first light art performance pieces but there is no doubt that Stallers images such as Light Tubes, Happy Street, and Technicolor Torsos all envoke elements of performance art. In the late 1970s staller set up his camera, open the shutter, and moved throughout the frame creating some amazing light painting photographs. Erics Light Drawings series is one of the most influential series on light painters today.

Aurora CrowleyLight panting photographer Aurora Crowley has been capturing light for more than 14 years. He was doing hair, makeup, and styling on a photo shoot in 1996 when his good friend, and fellow artist, Patrick Rochon introduced him to light painting photography. Aurora was immediately inspired, as soon as he got home that night he began to create his imagery. Aurora focuses his photography work on the world of high fashion, he shoots exquisite light paintings of some of the worlds most beautiful people. You might look at his images and think he doesnt have bad days, but you would be wrong. On Auroras first ever light painting shoot for a big designer his camera locked up, Aurora says this about the incident I was shooting film with a medium format camera and the shutter locked up, which then I started to rip the shutter out in front of the client with a pair of needle nose pliers. Energy is Auro-ras main source of inspiration he says this of a trip to Australia in 1997,

JadikanLight Painting Photographer Guilhem Nicolas, also known as Jadikan-LP, has experimented with long exposure photography for many years; in 2008 he discovered light painting photography and has been hooked ever since. Jadikan is a Malaysian word that mean to create or transform. Guilhem wants his work to bring a transformation to his viewers. He wants to convey that we are all light and that we are all capable of creating light art. Guilhem is known for being a bit mysterious and secretive in his process and with the tools that he uses to create his light painting images. He enjoys shooting a wide variety of subjects, everything from the human form to architecture. Guilhem lives in France where he creates most of his light painting work. He recently had the opportunity to travel to Nepal where he paid tribute to one of his favorite street artist, Space Invader, with a light painting photo-graph titled Tribute to Space Invader

EquipmentsA variety of light sources can be used, ranging from simple flashlights to dedicated devices like the Hosemaster, which uses a fiber optic light pen. Other sources of light including candles, matches, fireworks, lighter flints, glowsticks, and Poi are also popular. A tripod is usually necessary due to the long exposure times involved. Alternatively, the camera may be placed on or braced against a table or other solid support. A shutter release cable or self timer is generally employed in order to minimize camera shake. Color gels can also be used to color the light sources. Some light painters make their own dedicated devices to create light trails over the photo back-ground; this can include computer-controlled devices. This Arduino controlled LED array can render images that could not be made by drawing in the air with a single light source alone.

How to Create Light Graffiti Photography

1. Get a flashlight, glow stick, or something that provides colored or non-colored light. One of the newest creations is a pixel stick. Be sure to check them out!

2. Go into a totally dark room. A bedroom with a kind of high bed or table would help as a tripod. Or a real tripod.

3. Set your camera to Manual mode if its a DSLR, and make the shutter speed 30 seconds(looks like this on the screen for Canon: 30), or have a friend help and set it to BULB mode. BULB mode allows for the shutter to stay open for as long as the trigger is pushed. A longer shutter speed means more time that light is allowed in through the lens.

4.Set your ISO to one hundred or two hundred, depending on the brightness of the room you are in.

5. Set your Aperture (or f/stop) to 5.6. A lower aperture means more amount of light entering into the lens. The higher the aperture, the less light.

6. Put it on a two second timer so you have time to get in front of the lens, or have a friend press the shutter button or do the pattern..

7. Face the flashlight at the lens, and start writing, drawing, or doodling your design.

8. When the shutter opens, you have thirty seconds (or however long your friend decides, if using BULB mode) to write. When the shutter goes off, check out your master-piece! This can also be done with sparklers, lightening, or highway photography with blurred head and tail lights.

Few of my works

I would like to thank all my contributing friends for their help. Without their amazing help, none of this would have been possible.

Very special thanks to my those who helped with the book : Maidstone Titans, MadhiDinesh Photogra-phy, Thakuri.co, UnkFew crew, MdotS Bhujel, MikkuFly, Asim malla and Dinesh Thapa. Id also like to thank Deliahly for her technical expertis and Benji hang for his thoughts, Apologies to all those who I havent been able to include but without your unfailing support, this would not have been possible.

Acknowledgements

Picture Credits All pictures were supplied or taken by the artists themselves.