From Here To Fame catalogue 2012

Art supply, Hip Hop And streetweAr stores

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DISTRIBUTION

At From Here to Fame Publishing our roots are firmly set in urban culture. Not only do we produce literature about graffiti, street art, design, Hip Hop and the scenes and phenomena that surround it, we live it. Our team comprises of an international, assortment of urban culture activists, with backgrounds in graffiti writing, art & design, scene involvement and documentation. The initial idea was to create engaging and relevant books

“from writers, for writers” that document and preserve graffiti history and legends at work. Inspired by how expressions of urban art evolved, this concept expanded in time to include all areas of urban culture, art, typogra-phy and design. All of our publications are collaborations with international artists, writers and researchers who have been personally involved in shaping or documenting the development of their respective scenes. The relati-onships formed with many of these artists and activists have been nurtured by individual members of our team throughout more than twenty-five years of involvement in the global urban art movement and through numerous off shoot cultural projects, exhibitions, and publications. This inside perspective not only gives us our edge, it means that our readers get the lowdown directly from the source. Through our collective experience and know-ledge we promote the history, development and influence of these urban cultures in our society—with a keen focus on a young generation that is learning from its beginnings, and contributing to its future.

‘Niels Shoe Meulman: Painter’ is an avalanche of visual poetry and poetic visuals, in which alert readers will find a story about an artist who rejected being called an artist, who ran several design and advertising studios, then invented the new art form Calligraffiti and became a globetrotting painter after all. After the worldwide success of his first book, ‘Calligraffiti: The Graphic Art of Niels Shoe Meulman (2010)’, the artist and his co-author Adam Eeuwens take his bold venture to a place where street art meets abstract expres-sionism. Messing up book sections. Again.

Author: Niels “SHOE” Meulman & Adam Eeuwens Language: English Info: 144 pages, 22,9 x 22,9 cm (9.2 x 9.2 inches), 200 photos and illustrationsHardcover 21.95 € / £ 21.99 / us $ 29.90 / ISBN 978-3-937946-44-3

NIELS SHOE MEULMAN: PAINTER

‘Calligraffiti’ gained followers within graphic design, architecture, typography, advertising, calligraphy and graffiti. Sharing an interest in the visual arts and an appreciation for print, they came to understand that a word is an image. In this volume Niels Shoe Meulman expands his ever-evolving artistic territory to include wild paintings and fine art, this time around in vivid full color.

NEW


FROM HERE TO FAME Publishing | Walta & Karl GbR | Marienburger Str. 16 A | 10405 Berlin | Germany | Tel. +49 (0)30 - 210 21 86-70 | Fax +49 (0)30 - 210 21 86-77 | [email protected] | www.fhtf.de

Available from all major wholesalers and SCB Distributors: 800 729 6423




























In the light of the Arab revolutions that currently bring sweeping changes to the Middle East, this book keeps an eye on the fascinating developments of graffiti and urban art in this region. ‘Arabic Graffiti’ is an extensive and valuable reference that showcases the use of Arabic script in a contemporary, urban context. It brings together artists, graffiti writers, designers, and typographers from the Middle East and around the world who merge Arabic calligraphy with the art of graffiti writing, street art and urban culture. In addition to a rich assortment of photos featuring Arabic graffiti and street art styles, the book

Author: Pascal Zoghbi and Don STONE Karl Language: English Info: 200 pages, 21 x 28 cm (11.2 x 8.3 inches), 300 photos and illustrationsHardcover 24.95 € / £ 24.99 / us $ 34.95 / ISBN 978-3-937946-26-9

ARABIC GRAFFITI

includes essays by distinguished authors and scene experts that explore the traditional elements, modern approaches, and the socio-political and cultural backgrounds which have shaped Arabic graffiti movements in the Middle East. With contributions and essays by: Huda Smitshuijzen AbiFarès, Rana Jarbou, Tala F. Saleh, Houda Kassatly and William Parry. Includes the artwork and thoughts of: Hassan Massoudy, Malik Anas Al-Rajab, eL Seed, Hest1, Julien Breton, L’ATLAS, Aerosol Arabic, Native & ZenTwO, Zepha aka Vincent Abadie Hafez, Typism, Akut and many more.

BEST-SELLER

“Highly recommended!” Slanted

“One of 2011’s most exciting design books.” The Atlantic

“A piece of contemporary history.” ART Magazine

Since the start of the Arab revolution the Middle East has seen an unparalleled explosion of graffiti. Egypt has played a remarkable role in this phenomenon. Even when the army tanks rolled onto Tahrir Square in Cairo, they were immediately adorned with graffiti. Along with people from all walks of life, artists, calligraphers and designers took over the public space. In no time a vital and now globally acclaimed street art scene emerged in Egypt. ‘Walls of Freedom’ is a powerful portrayal of the Egyptian Revolution, telling the story with striking images of art that turned Egypt’s walls into a visual testimony of bravery and resistance. It takes a closer look at the most influential artists who have made their iconic

Author: Basma Hamdy and Don STONE Karl Language: English Info: 200 pages, 21,5 x 29,2 cm (11.4 x 8.3 inches), 450 photos and illustrationsHardcover 24.95 € / £ 24.99 / us $ 34.95 / ISBN 978-3-937946-41-2

WALLS OF FREEDOMStreet Art of the Egyptian Revolution

marks on the streets. This survey of Egyptian street art is also enriched by images of the revolution taken by acclaimed photographers and activists. Spanning major Egyptian cities like Cairo, Alexandria and Luxor it is a day-to-day reflection of the volatile and fast-shifting political situation. With contributions by experts in the fields of typography, graphic design, sociology and Egyptology, ‘Walls of Freedom’ not only places the graffiti of the revolution in a broader context, it also examines the historical, socio-political and cultural backgrounds which have shaped the movement.



















NEW

“One of 2011’s most exciting design books.” The Atlantic

GRAFFITI TATTOO VOL. II

Graffiti Tattoo Vol. 2 is a beautiful and well-researched work of reference that documents the transition that graffiti artists are increasingly making into the tattoo world. Similar to the graffiti movement in which the artists battle with one another in the public eye to be the best and most respected, the same goes within the tattoo world. These spray paint technicians with their color mastery and wild styles are making a splash worldwide and changed the face of the tattoo business. They use a language filled with graffiti style

Author: Alain KET Maridueña and Don STONE Karl Language: English Info: 240 pages, 24 x 31 cm (12.2 x 9.4 inches), 700 photos and illustrationsHardcover / 29.95 € / £ 29.99 / us $ 39.95 / ISBN 978-3-937946-35-1

Graffiti Tattoo 1 now in 3rd edition!

Check out this bestseller in the

On The Run Books!

89künstler name88 künstler name

I started writing at the end of 80s to do it like "the real guys." I wrote FUZI, Moloss, Voyou, Tu2, ED, Baby Face, Turbo, Bible

and few others. But the name wasn't the most important thing. It was the moment when you write it.

I am the fruit of my environment. Graf-fiti made me. I always considered myself as an artist on a train, on a canvas, on a sheet of paper or, like today, on the skin. It's me, entirely dedicated in a total and sincere expression. To make graffiti as I was able to make it involved spending all of my time and energy on this activity—stealing, bombing, the locations, painting the line and its "mainte-nance”, the fights with other crews to assert ourselves. Whenmy activity on trains slowed down little by little, the drawing alone could not compensate me. So I opened myself to dif-ferent mediums (painting, writing, sculpture, tattoo)—each one revealing and developing a facet of my personality. I always keep a self-educated approach and prefer the freshness of the discovery.

I began tattooing a few years ago to discov-er another means of expression more suited to my new life instead of illegal art every day. I have learned tattooing naturally and alone with no master or idol. It was just a perpetu-ation and further development of my style acquired in the yards.

As with my graffiti I took history as a basis and privileged the illegal sides; the prison tattoos and gangs were my influences. I refreshed those to match our time, mixing traditional contemporary tattoo themes with my background—graffiti, violence, humor, sex and drugs.

I have a shop in my new town Perpignan (near Spain) and I’m tattooing a lot in galler-ies for shows and in kitchens or your living

FUZI, UV TPKPais Noth Sububs, Fance

[email protected] fuziuvtpk.blogspot.com

room—everywhere you call me. Today all my "clients" are more and less associated with the art world. Those who come to see me want some Fuzi. I only tattoo my drawings and consider each piece unique; like a painting, it’s a piece of me. The guys don’t come to me by coincidence; they want to have a tattoo by the ignorant master. I have tattooed in trains, box-ing rings, drug dealer’s houses, on rooftops, in saunas, in art galleries, in middle-class houses, trader mansions, and even crackhouses.

The tool is just a way to give of who I am, to express myself with the least outside inter-ferences possible, assimilating the technique in my way with my errors, which will accentuate my personal touch. This was it for the tattoos. I saw a link between my street culture and this art that I considered as rebellious. It is pretty different today. I brought my sincerity into my tattooing and the result is a really atypical style that matches my graffiti approach.


Me and my partners Wish, Dicke and Era started 2ZC in 1988 in Albuquerque, New Mexico. We had

all been scratching around for a few years be-fore. We wrote to tell the city who we were. I wrote Stack1. I do pieces when I feel like it and take a tag or two these days, but I wouldn’t call myself “active”.

I started tattooing in the mid ‘90s. It was the only thing that married the outlaw nature of writing and art into something I could make a living at. I was taught by Cap Szumski. I made a commitment to give three years of my life to him so that I could learn my craft and trade. I moved across the country without knowing anyone into a situation that was more or less indentured servitude. I made a sacrifice and was rewarded for it. There are way too many young kids who think they should be handed tattooing without giving anything up. They should find another subculture.

I like to do tattoos that fit the person who wears it―tough tattoos for men and pretty tat-toos for ladies. Classic images never go out of style and there is really no need to “re-invent” anything. Tattooing is an art that is unlike any other as it tends to age with the person it is on. I apply techniques that I was taught that make the tattoo look great for the longest time pos-sible―simple things like outlines, black shades and open skin.

I am most well known for being the per-son that I am. I think that it is impossible to untangle that from my art. I try to make the experience of getting tattooed as memorable as the art is permanent. I like lettering, black and grey, and traditional tattooing. I make tat-toos that look like tattoos, not skin paintings.

There are almost no similarities between writing and tattooing to me. A client asks to be tattooed and their wishes should be respected since they pay you to execute a job. No one

KEET D’ARmsAtlanta, Geogia, USA

[email protected] souThErN sTar TaTToo 736 Ponce De Leon ave. suite a&B atlanta, Ga. 30306, usa www.southernstartattoo.com

asks for graffiti. It is an expression of who you are as an individual and a way to communicate with other writers. It is the best and worst kind of ego trip.

Tattooing has changed significantly since the TV show boom. Tattooists have prolifer-ated like “street artists” who wheat-paste garbage everywhere. Every kid that can draw a bad rose thinks they can help themselves to some of the money I feed my family with. They want all the glory with none of the risk or sacrifice. Customers have changed as well. No one wants a tattoo picked off the wall, yet everyone thinks the first page of a Google search is unique. I’m in it for the long haul, so I’m not “just tattooing until my painting career takes off”. I love this life I chose.

More tattooists should keep their “lifestyle” to themselves. Cheap fame just blows up the spot.

One of my crazy tattoo memories was tat-tooing a tiny lightning bolt on this nervous guy who passed out a couple of times while getting a five-minute tattoo. The next time we saw him he was on his way to Florida in a stolen car with two hookers and some contraband. It was as if this tiny tattoo he got was his reason for letting loose and living his life, however crazy that might have been. You never know what tattooing can do for you.


I started painting as a kid at age five or six. My first paint on a wall was at age fourteen. It was the first graffiti ever

painted in our neighborhood La Linea de la Concepcion. My crew was composed of Dani Muñoz, Kaberna and I, we were writing sk8 and rap for life! I didn’t write much at the time since there were too many limitations. I start-ed painting aliens and things related to hip hop culture. Believe me, I was writing way less that what I wanted to write. Later I started do-ing jams and showcasing the most respected graffiti artist from our area. These days I don’t paint anymore. I am more an event producer today and a tattoo artist.

I always was into tattoos and all kinds of sketches. I began learning tattooing around 1996-7 in a Rock shop on Gibraltar, an English colony. I worked there for many years selling clothes at the store until the day that I decided that I needed a profession so I do not need to work for anybody else and have fun at work. There is nothing better that to sell something (tattoos) that is eternal, for life.

I had a mentor for four years. He was more into simple and linear designs, with good style and technique but not too artistic. I was more into realism, which I learn through great tat-too artists that inked my skin. I also learned a lot at the tattoos conventions where you can meet a lot of talented and cool people and a lot of fresh styles.

Every year I’m getting better and perfect-ing my craft and loving more what I do. I see my ideas more clearly now and its becoming easier to bring them to the skin.

LUIs mENDONçA La Linea de la Concepción, Cadiz, Spain

BLaCk DraGoN TaTToo Coronel Cadalso # 2 La Linea de la Concepción Cadiz, spain [email protected]

157156 künstler name künstler name


DENO, KR2 cREwMadid, Spain

In 1989 I started writing with a friend and we created a crew called KR2. It was a lot of fun, bombing trains, making big pieces

on the walls. The very “golden years”. I’m still active on the streets when time, my work, my wife and my two kids allow me to escape for a minute and I can go out bombing. But I don’t have the chance as often as I used to.

I started doing tattoos in 2002 right after I got my first tattoo done. I realized it was a very creative culture and that I could make a decent and positive living out it. There were no mentors, I learned by myself. I bought a machine and I starting tattooing my friends. I traveled and I inked with very good artists who I also learned from by watching their techniques and styles. After two years of doing my own thing I went to a professional shop, I showed photos of my work and I got a job.

I always have my eyes wide open for inspi-ration. Anything can be a source of inspiration. Ideas are everywhere, on the cartoons of the cereal boxes, on a cartoon series, on the logo-type of a truck on the streets, etc. I always look out for ideas to later transfer into tattoos.

CirCus TaTToo alcorcon Madrid, spain

www.circustattoomadrid.com

My style hasn’t changed much. I started doing what I still do today. I definitely have gotten better with my technique and I see a certain kind of evolution or mutation with my style but the basis remains the same. I have my own drawing style, solid and thick lines, and a lot of black and plain colors. It is always me drawing over a foundation that we could call

“traditional occidental tattoo”.I also travel a lot and I work as a guest art-

ist in a few of the best shops around the world, like Tattoo Paradise in Washington DC, Cha-pel Tattoo in Melbourne, Infamous Tattoo in Stockholm, Family Business in London, Kings Avenue in New York City, Aloha Tattoos in Barcelona, Tatuata in Helsinki, Psycho Tattoo

in Rome, Classic Tattoo in Goteborg, Black Pearl in Norway, Purple Paint in Norway, and La Main Bleue in Belgium.

I have a lot of stories, every day some-thing funny or crazy happens. It’s maybe the best work in the world. I’m always around cool people and friends, making jokes and having fun. One day I was inking a big piece on the chest of a guy who was struggling hard with the pain. When we finished he had a big shadow on his pants, he had pissed himself. We didn’t say anything.


EAZSan Jose, Califonia, USA

While I was born and raised in New Jersey, USA, Union City and Fort Lee is where I would spend most

of my youth. I started writing when I was a kid because its influence was all around me, impossible to resist. I have slowed down a lot on painting due to dedicating so much of my time to tattooing and drawing. I have been known to come out to paint here and there. I have been a bit more comfortable tattooing these days so I actually have been feeling the urge to paint again.

I have been tattooing for almost two years. The catalyst came way before that though. Over the years I grew tired of the corporate

www.eaz-one.com [email protected] facebook.com/eazonerocs twitter: @Eazone

scenarios that I always found myself in as a graphic designer. I was successful with it, working with huge companies like Pfizer and Nintendo. I won a few awards for the company I worked with but that was never the real me. I didn't feel comfortable having to "sell" my design ideas to a boardroom full of clients and explain why I did this or that. Nothing that I was doing during my design career was “me”. It was all a soulless shadow of me. My boy Adrian Roots from our shop Scared Roots Tat-too in San Jose helped me more than anyone else. He shared a lot of his tattoo techniques with me. Even before we officially opened he was showing me a lot of important things I wouldn't have known otherwise.

To me tattooing is art. If it is dope and your artist is dope it deserves to be on your skin. If you can dream it you should wear it. There is no reason that a person getting tat-tooed cannot collaborate with a good tattoo artist and not come up with something great,

with or without meaning. "Graffiti" tattoos are one of the things I feel most strongly about. If I am creating graffiti style work on people I want to be able to proudly say I did it. Some dudes are tattooing really embarrassing shit graffiti letter styles on people's skin. I mean seriously, it’s a tattoo, not a practice wall.

7978 künstler name künstler name 8180 künstler name künstler name

Where I grew up there was not much to do for young teenagers except for smoking weed and steal-

ing cars and so on. Then along came this thing called graffiti and I pretty much got hooked on it right away. I started out writing in the mid 1984 or 1985. In the beginning I had different kinds of tags, to be honest I can’t even remem-ber most of them but three or four years later I started writing the tag “Faze” and have kept that ever since.

I started out tattooing in 1999 – then I suffered a knee injury that forced me to stop working construction and seek a career

FRANZ JägERCopenhagen, Denma

LE Fix TaTToo Guldbergsgade 18 kld. Tv 2200 Copenhagen NDenmark

www.lefix-tattoo.com [email protected]

change. So it was more by accident that I got into the tattoo game. The place I started learn-ing was an old school biker shop where every aspect of it was done in an old school way. When I think back it was kind of crazy but also fun to have been a part of that particular period of tattooing in Copenhagen. So the learning process for me was strict but also fun.

I do many different styles but if there is something I am known for then it is that I do it MY way. I’m inspired by various tattoo art-ists, especially old American flash art and later on in my career old school Japanese style

burners and characters that are a departure from the standard tribal design and sailor styles. While the first book allowed a rare glimpse into this movement, this much larger successor provides a full-blown compendium of these fantastic pieces on skin. Graffiti Tattoo Vol. 2 features more than 65 of the best artists and international stars of the scene.

THE HIP HOP COOKBOOKFour Elements Cooking

A look over the shoulder of true Hip Hop pioneers as they create masterpieces in the kitchen. Learn about Hip Hop culture and the life of its different elements, styles and artists as they share their favorite recipes. An international and familiar experience for all to enjoy, with recipes and fabulous food ideas collected from Hip Hop celebrities worldwide. In ‘The Hip Hop Cookbook’, Hip Hop’s most extraordinary artists from all four Hip Hop elements–MCing, breaking, graffiti writing and Djing–open up to share some food for the soul. Accompanying each artist’s recipe are short stories, a biography and photos from the past and present.

Author: Gerry “Cutmaster GB” Bachmann Language: English Info: 112 pages, 19,5 x 26,5 cm (10.2 x 9.4 inches), 200 photos and illustrationsHardcover / 16.95 € / £ 16.99 / us $ 22.95 / ISBN 978-3-937946-38-2

Whether Lobster in Beer, Crab Balls with Katveg & Sweet Potatoes or Kurtis’ Chicken Wings and Green Butter, these recipes are guaranteed to give your cooking some added funk and dinnertime will never be the same again. Featuring: Kurtis Blow, Crazy Legs (Rock Steady Crew), Grandmixer D.St., DJ Static, Lady Pink, Blade, Can2, Lil‘ Cesar (Air Force Crew), DJ Charlie Chase (Cold Crush Brothers), Emile XY, Master OC (Fearless Four), Shiro, Wane One, Zulu Gremlin, Luana, Loomit, Duro (CIA), Katmando, Cutmaster GB, Zeb.Roc.Ski and many more.

NEW

Artist Niels “Shoe” Meulman explores the contours of words as images in Calligraffiti – his hybrid art form which blends calligraphy and graffiti. This impressive publication show-cases a fine selection of artworks by Meulman as he presents for our viewing pleasure a wonderful series of fast phrases and upbeat witticisms in the form of captivating typo-graphic masterpieces. Every spread offers two interacting visuals. This interplay of contrasts, such as ‘black-white’ or ‘rise-fall’, makes this volume much more than a coll-ection of the artist‘s best work; it unveils the basis of all graphic art.

n

Author: Niels SHOE Meulman & Adam Eeuwens Language: English Info: 144 pages, 23.4 x 23.4 cm (9.2 x 9.2 inches), 200 illustrations & photos Hardcover / 19.95 € / £ 19.99 / us $ 29.90 / ISBN 978-3-937946-21-4

CALLIGRAFFITI The Graphic Art of Niels SHOE Meulman

BEST-SELLER

46 47

MALE FEMALE WE ARE ALL LIVING PROOF THAT 1+1=3

4 5 76 77

MIND MATTERTHE MIND DOESN’T MATTER

BECAUSE THE MATTER DOESN’T MIND

8 9

KING CALLIGRAPHER A story is told of

a king who summoned the nation’s best

living calligrapher and demanded of him

to make a drawing to symbolize the king-

dom. The calligrapher reassured his lord

of his loyalty and left to undertake his task.

Days passed; then weeks. The king sent a

messenger to the calligrapher’s remotely

located studio to find out what was hap-

pening. The messenger returned with the

report that the drawing was not ready.

Months arrived and departed. Every

envoy to the calligrapher was curtly dis-

missed with the same information; that

the drawing was not yet complete. After

years had passed, the king could no long-

er contain his impatience and stormed

off to the calligrapher’s studio himself…

The king bursts in and sees the calligra-

pher sitting there quietly, and evidently

quite at ease. He is furious, ‘Where is

my drawing?’ he shouts. At this the cal-

ligrapher bows silently, pulls a large sheet

of paper towards him, sets out a variety

of jars, picks up a brush and, within two

minutes, has executed the most wonder-

fully sinuous design to represent the

kingdom.

The king can scarcely control his rage, ‘If

it is so easy, why have I had to wait this

long?’ Still maintaining his silence, the

calligrapher goes to the back of his studio

to a large alcove with doors reaching from

the floor to the ceiling. He opens the

doors and out pour thousands of study

drawings.

114 115

RURAL URBAN THE LOWEST AND VILEST ALLEYS IN LONDON DO NOT PRESENT A MORE DREADFUL RECORD OF SIN THAN DOES THE SMILING AND BEAUTIFUL COUNTRYSIDE

24 25

SOBER INTOXICATED CURIOUSER AND CURIOUSER!CRIED ALICE

140 141

PAGE 110 You make us proud, 2008

Digital vector art for brand manifest and

campaign for MTV Networks Benelux.

PAGE 111 Everybody else is wrong, 2008

Black permanent marker ink on poly-

propene film, 50 x 70 cm. Shown in the

exhibition Different Strokes, Amsterdam,

December 2008. The title is taken from a

track by Hudson Mohawke.

SOCIAL SOLITARY When you want to be alone

when you are with company, you prob-

ably want company when you are alone.

Brand bible for MTV Networks. Graphic design by Ward Graumans.

PAGE 112 Strike a Poser, 2009

Digital vector art for Unruly scarves.

Limited edition, printed on pure silk.

The original piece was done with brush

and black permanent marker ink on

polypropene film, 60 x 60 cm.

PAGE 113 Crest, 2008

Digital vector art, proposal for a clothing

brand. Art direction by Cathal McKee.

OFFENSE DEFENSE Victory can be achieved in

many ways but if you haven’t got it, you’ll

never get it.

PAGE 114 Not on a road, 2009

White permanent marker ink on glass,

50 x 70 cm. From the exhibition Le Miroir

Vivant, Amsterdam, May 2009. This title

was taken from a crappy GPS device.

Grand-touring on the Autobahn, it would

keep on displaying ‘Not on a road’. It is

an adequate description for people with-

out purpose.

PAGE 115 Shopping List, 2009

Digital vector art for Heineken campaign.

The original piece was done with a parallel

pen and India ink on paper, 20 x 20 cm.

One of eight designs for a streetwear

range aptly titled Shoe for Heineken.

RURAL URBAN ‘The lowest and vilest alleys

in London do not present a more dread-

ful record of sin than does the smiling

and beautiful countryside.’ Quote from

The Adventures of Sherlock Holmes by Sir

Arthur Conan Doyle.

PAGE 116 Clock, 2009

Digital vector art for a watch company.

PAGE 117 nielsshoemeulman amsterdam, 2009

Digital vector art. Original piece with

brush and India ink on paper, 20 x 20 cm.

STRICT LOOSE There are two kinds of people.

Those who wear a watch and those who

don’t. Usually, the ones who don’t have a

watch, are the ones who have time.

PAGE 118 I know Frank Gehry, 2009

Digital vector art for a T-shirt print. The

idea for this T-shirt came about when

designer Rebeca Méndez was invited

to meet starchitect Frank Gehry on his

private jet. After an interesting exchange

of ideas he conclusively said to her: ‘You

know me now, use that.’ Because she is

not the type to randomly throw such

facts into a conversation, Shoe designed

this T-shirt for her. Now she can show

off her membership to this dubious elite

circle without bragging about it.

PAGE 119 Chico, 2009

Digital vector art for a tattoo. The origi-

nal piece was done with brush and India

ink on paper, 20 x 20 cm.

MAN BOY ‘PSK, we’re makin that green.

People always say, What the hell does

that mean? P for the people who can’t

understand. How one homeboy became

a man.’ From the song PSK, What Does it

Mean? by Schooly D.

PAGE 120 The End, 2007

Pen on paper, 30 x 20 cm. Shown in

the exhibition Calligraffiti, Amsterdam,

September 2007.

PAGE 121 knockknock, 2009

Digital vector art, silkscreened on grey

cardboard packaging for a promotional

CD by music production company Mu-

sicmusic.

END BEGINNING To realize that every end-

ing is immediately the beginning of

something else is to conclude that these

two commonly used ideas do not exist.

Whenever you hear someone say ‘the

beginning of time’, stop listening because

they are full of shit.

Not on a road, on a wall.Unruly scarf design with all four Chic Shock designs, 2009.

Logo for Musicmusic, 2007.

Silkscreened, signed and sealed CD packaging for Musicmusic.A farewell to blank arms. Tattoo by Tycho Veldhoen.Accessories: a silver necklace handcrafted by Annemee Struyk.

Some have time on their side, others have Beesmunt on their tits.

Angle shot of Home Entertainment, a track by Carl Graig.

Day and night are in constant battle. Twice a year it’s a tie.

2

MURALISMO MORTE

3

II.

ABAnDOnED SPACES

Shut down factories, crumbling apartment buildings, single fragments, huge, rusting steel containers and abandoned wood-en shacks. The muralism of abandoned buildings thrives in the most varied atmospheres and places. Muralists can work freely since they are not accountable to any owners. That’s why their styles and subjects are particularly diverse. While the spanish muralist aryz creates large-scale comic characters (see pages 66 – 69), using huge walls as practice surfaces, the French art-ist iemza (p. 80 – 83) integrates whole spaces. He covers the walls with drawings and incorporates the ground and ceiling in his site-specific paintings. an atmosphere of decay perme-ates his work.

aryz and iemza work with clear outlines. Their artistic interven-tions are clearly defined. kim köster’s interventions (see p. 84 – 87) integrate themselves into their surroundings to the point that the boundary between art and location blurs. His poetic works are quiet additions to the abandoned idyll. They show tranquility and isolation.

The Tuscan artist Moneyless (p. 120 – 121) gives form to con-trasts. His clearly defined, geometrical constructions seem like foreign objects. and yet the quietude of the location reflects the walls and they merge together.

The text ‘going underground’ (p. 112) shows how complex the search for available walls is. abandoned factories aren’t plenti-

ful everywhere. in denmark people sometimes seek out aban-doned underground rooms. in Belgium the search seems to be easier; the northern village of doel (p. 102) is almost completely empty and has waited for decades to be torn down. it’s paradise on earth for muralists.

The muralism of abandoned buildings has been the focus of many exhibits. The Milanese project centosette (p. 72) took place illegally at an abandoned site in the south of the Lombardic metropolis. Within hours, huge factory buildings were painted; all without a curator and outside of institutional limits. The or-ganizers spoke of a performance in which everyone could par-ticipate. With the exhibit ‘Muralismo Morte’ (p. 92), the mural-ism of abandoned spaces entered the art world. The exhibition took place in a center for contemporary art and was split into authorized and unauthorized sections. While murals, sketches, videos and photos were displayed in the official exhibit space, art was also produced in an empty hall in saxony’s government district – the Muralismo Morte Museum of dresden.

50 51

MURALISMO MORTE

left page: görlitz / germany, 2009

next spread: Zonenkinder, ‘HoMe oF THe HoMeLess parT 2’, Fokus Festival, görlitz / germany, 2009

II. ABAnDOnED SPACES

66 67

top left and right: Aryz, canovelles / spain, 2009

bottom: Aryz, granollers / spain, 2010

next spread: Aryz, granollers / spain, 2010


98 99

top: Sepe, Saiko, Esze, Warsaw / poland 2010

bottom: Sepe, ‘WaiTing’, kluczbork / poland, 2010

right: Sepe, ‘He(LL)aVen’, kluczbork / poland, 2010


86 87

left: Kim Köster, cheb / czech republic, 2009

right: Irgh (Wurstbande), Berlin / germany, 2010

top left: Resto, ‘keep iT spor-T’, Belgium, 2010

bottom left: Resto, ‘carToad’, Belgium, 2010

right: Resto, ‘Foooood’, Belgium, 2010

next spread: Seize Happywallmaker, ‘MeMoire exTra TerresTre’, Bayonne / France, 2009 “a coloristic alien invasion.”


106 107

top: 108, ‘BLack TriangLe’, zaragoza / spain, 2007

top right: 108 & Moneyless, ‘BLack & WHiTe / BLack TriangLe’, genova / italy, 2009

bottom right: 108, ‘BLack sHape’, Fame Festival, grottaglie / italy, 2010


116 117

Muralismo Morte reveals the vibrancy of a new type of muralism as it rises from the shadows of urban spaces in metropolises worldwide. From much celebrated pieces in prominent places to those hidden in anonymous, decayed ruins, it features the large-scale murals and small interventions of some of the most exciting international artists associated with this movement. Muralist and art activist Jens Besser uncovers these treasures and offers special insights into the emerging scene that is coloring our urban experience.

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Author: Jens Besser Language: English Info: 200 pages, 21 x 28 cm (11.2 x 8.3 inches), 300 photos Hardcover / 24.95 € / £ 24.99 / us $ 34.95 / ISBN 978-3-937946-29-0

MURALISMO MORTE The Rebirth of Muralism in Contemporary Urban Art

16 178 9

72 73

2

24 25 44 45

SCHWARZ AUF WEISS Volume II Style Needs No Color

Style Needs No Color works on the notion that excessive colors and flashy techniques should not be used to repair a weak foundation. Theybelieve that artwork should be able to stand alone without unnecessary distractions and therefore SNNC artists restrict their palette to black and white. In the follow-up release to their successful first book, Schwarz

Author: SNNC Language: English Info: 144 pages, 24 x 22 cm (9,4 x 8.6 inches), 200 photos and illustrationsHardcover / 19.95 € / £ 19.99 / us $ 29.90 / ISBN 978-3-937946-06-1

auf Weiss II – Style Needs No Color, you can see the stark beauty and striking simp-licity of this idea in action. SNNC has invited a diverse range of international artists from their growing network to contribute new black and white, illustrations, vector graphics, street art and graffiti styles to this impressive publication.

Language: English, German Info: 48 pages, 29.7 x 21 cm (8.3 x 11.7 inches),32 illustrations and photos / paperback / 6.95 € / £ 5.99 / us $ 8.95 ISBN 978-3-937946-19-1 / English / ISBN 978-3-937946-20-7 / GermanIn addition to fresh outlines, this book includes special coloring tips from the masters. In-teractive and good fun, here is a book for urban culture aficionados of all ages to enjoy.

COLOR ME GRAFFITI 1GRAFFITI-AUSMALBUCH 1

Author: Hip Hop Stützpunkt Language: German Info: 48 pages, 29.7 x 21 cm (8.3 x 11.7 inches), 60 illustrations and photos paperback / 6.95 € / £ 5.99 / us $ 8.95 / ISBN 978-3-937946-13-9 / GermanGraffiti fördert im frühen Alter Kreativität, Farbenlehre und das Lernen von Buchstaben & Typografie! Dieses Buch zeigt 28 heimische Graffiti-Künstler mit Illustrationen zu ihren jeweiligen Bundesländern und Landeshauptstädten.

GRAFFITI-AUSMALBUCHDeutsche Bundesländer und Landeshauptstädte

Language: English Info: 48 pages, 29.7 x 21 cm (8.3 x 11.7 inches), 30 illustrations and photos / paperback / 6.95 € / £ 5.99 / us $ 8.95 ISBN 978-3-937946-30-6

COLOR ME GRAFFITI 2

From the successful series that aims to educate and delight, Color Me Graffiti is back with an exciting, new coloring adventure. Color Me Graffiti 2 continues to deliver the freshest graffiti styles, characters and illustrations that you have grown to expect. Color Me Graffiti 2 is a fun activity book for urban culture addicts of all ages to savor.

Hip Hop Files – Photographs 1979-1984 is Martha Cooper’s highly regarded reference on the emergence of Hip Hop culture. Fortunately, she was in the right place at the right time to capture on film the young people at the forefront of this movement, those who were creating the music, dance and art that later became the worldwide phenomenon known as Hip Hop. Her photographs document the scene unfolding and icons in the making.

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Photographer: Martha Cooper Author: Akim Walta Language: English, German Info: 240 pages, 22.5 x 30 cm (8.9 x 11.8 inches),500 photos & illustrationssoftcover 29.90 € / £ 29.90 / us $ 29.95 ISBN 978-3-937946-05-4 / English Hardcover 39.99 € / £ 35.00 / us $ 39.95 EU / ISBN 978-3-937946-02-3 / Engl.EU / ISBN 978-3-937946-03-0 / Ger.USA / ISBN 978-3-937946-00-9 / Engl.

HIP HOP FILES Martha Cooper Photographs 1979-1984

BEST-SELLER

More than 35.000

copies sold!

Language: English, German Info: 48 pages, 29.7 x 21 cm (8.3 x 11.7 inches), 30 illustrations and photos / paperback / 6.95 € / £ 6.99 / us $ 8.95 ISBN 978-3-937946-42-9 / English / ISBN 978-3-937946-43-6 / German

‘Color Me Manga Graffiti’ is a coloring book with drawings by the Japanese female graf-fiti artist Shiro. Her cute and funny characters and graffiti styles appeal to children as well as to the young at heart. Shiro’s cheerful mix of Hip Hop flavor and mangainspired characters offer inspiration in fun coloring designs for people of all ages. Shiro is a fe-male graffiti artist from Japan. She expresses her own vision of life through her original characters and she is inspired by the creativity of old-school Hip Hop. Shiro loves trave-ling, painting, making friends and leaving her footprints all over the world.

COLOR ME MANGA GRAFFITIMANGA-GRAFFITI-AUSMALBUCH

COLOR ME MANGA GRAFFITI

Available from all major wholesalers and SCB Distributors: 800 729 6423FROM HERE TO FAME Publishing | Walta & Karl GbR | Marienburger Str. 16 A | 10405 Berlin | Germany | Tel. +49 (0)30 - 210 21 86-70 | Fax +49 (0)30 - 210 21 86-77 | [email protected] | www.fhtf.de











NEW

ON THE RUN BOOKS # 16

HAll oF FAme – new york cityAuthor: Alain KET MaridueñaLanguage: English Info: 224 pages, 23.5 x 16 cm (9.25 x 6.3 inches),550 photos & illustrationssoftcover14.95 € / £ 14.99 / us $ 19.95 ISBN 978-3-937946-36-8limited collector’s edition19.95 € / £ 19.99 / us $ 24.95ISBN 978-3-937946-37-5

The birthplace of the style writing school of graffiti is New York City. This is the place where young writers first began to transform letters from simple tags on a wall to ela-borate masterpieces of colorful and ca-moflauged letters embellished with cha-racters that depicted friends and heroes alike. By the 1980s the artwork was quickly destroyed by authorities and the artists seeking to preserve some of their works took hold of schoolyards around the city to paint grander works. It was a no-no sense approach to save their art form and spread their fame to the local kids.

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zeBster – zeB.roc.skiAuthor: Akim WaltaLanguage: English Info: 144 pages, 23.5 x 16 cm (9.25 x 6.3 inches),350 photos & illustrationssoftcover9.95 € / £ 9.99 / us $ 14.95 ISBN 978-3-937946-33-7limited collector’s edition14.95 € / £ 14.99 / us $ 19.95ISBN 978-3-937946-34-4

This book is Hip Hop history par excellence. Zebster is a graffiti writer, music producer (Zeb.Roc.Ski), historian and organizer of international Hip Hop projects. He began breaking and writing graffiti in the early 80s and is considered one of the top Eu-ropean writers of the era. But Zebster gained his fame in the global Hip Hop community for many other feats as well. His life story is fascinating, hyperactive and at times controversial. Get it from the source, from the founder of On The Run, the Hip Hop label MZEE Records and From Here To Fame himself.

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NEW

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On The Run Books Nr. 16 - Special Edition

HAll OF FAME – New York City

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As long as stocks last: ON THE RUN BOOKS are also available as limited collector’s editionFor the connoisseur we present the expertly crafted silver em-bossed hardcover edition with dust jacket and stitch binding. Print run limited to 1,000 pieces.

This book series established by From Here To Fame Publishing provides important snapshots of graffiti history, urban art, and legends in the making. A va-riety of urban culture-related topics are featured which explore the work of an individual artist, crew, colle-ctive, theme, event or photographer within the genre. Together, the series creates an exclusive and well-documented library, offering a lifetime of inspiration for all aspiring artists, collectors and fans of personal expression to enjoy.

SPECIALEDITION 224

PAGES

On The Run Books displayFree for bookstores, Hip Hop and urban art stores.

This book is the long-awaited and fully revised edition of the legendary Jepsy On The Run black book. Jepsy of TRD (The Real Deal) made a name for himself in the mid 90s by setting the European transit lines ablaze with his classic New York City styles and elaborate characters, executed with clear-cut precision. Full aesthetic production like this on trains was and still is a rare and wondrous sight. Naturally, Jepsy gained international fame. Now, back by popular demand, this edition is a must-have for all die-hard fans of steel burners. Its predecessor became a much sought-after collector’s item after its initial success in 1997.


Jepsy – tHe reAl deAl

Author: Amber GrünhäuserLanguage: English Info: 128 pages, 23.5 x 16 cm (9.25 x 6.3 inches),250 photos & illustrationssoftcover 9,95 € / £ 9.99 / us $ 14.95 ISBN 978-3-937946-66-5 limited collector’s edition 14,95 € / £ 14.99 / us $ 19.95 ISBN 978-3-937946-67-2

Author: Alain “KET” MaridueñaLanguage: English Info: 128 pages, 23.5 x 16 cm (9.25 x 6.3 inches),230 photos & illustrationssoftcover 9.95 € / £ 9.99 / us $ 14.95 ISBN 978-3-937946-24-5 limited collector’s edition 14.95 € / £ 14.99 / us $ 19.95 ISBN 978-3-937946-25-2


GHost – ris crew

Ghost is one of the last purveyors of the New York City train writing era. He has developed his own funky letter styles that defy convention. A mad bomber at heart, he thrashes out a few hundred throw-ups without a second thought. His styles pos-sess that same casual blast, with a com-bination of loose letters and psychedelic cartoons that drip off the wall with his boogaloo charm.

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sABe – Fys crew

Author: Amber GrünhäuserLanguage: English Info: 128 pages, 23.5 x 16 cm (9.25 x 6.3 inches),250 photos & illustrationssoftcover 9.95 € / £ 9.99 / us $ 14.95 ISBN 978-3-937946-22-1 limited collector’s edition 14.95 € / £ 14.99 / us $ 19.95 ISBN 978-3-937946-23-8

Sabe is a true master of styles. Adept on many levels, he is able to switch between advanced mechanical compositions, bubb-le styles, throw-ups, characters and photo-realism with ease. With a ‘paint now, think later’ attitude he mixes up these styles to suit the occasion, leaving a legacy of playful hybrids that sit left of mainstream. Never one to be called a slacker, he has an execution rate that leaves most gasping for air.

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Language: EnglishInfo: 128 pages, 23.5 x 16 cm (9.25 x 6.3 inches),135 photos & illustrationssoftcover 9.95 € / £ 9.99 / us $ 14.95 ISBN 978-3-937946-08-5limited collector’s edition 14.95 € / £ 14.99 / us $ 19.95 ISBN 978-3-937946-09-2


FAitH 47

For lovers of poetic observations with social nuance, Faith 47 creates thought-provoking street art that crosses artistic and cultural boundaries. Her art takes on the form of metaphor, both abstract and definitive in meaning, plucking at our heartstrings in harmonious and sometimes dark tones. Old factories, dusty side roads and inner-city alleyways provide a fitting canvas. Faith’s interactions resonate with our fragility and our elusive relationship with dreams, memory, human interaction and urban decay.Established internationally, Faith exhibits in galleries and participates in projects across the globe.


monsters oF Art – 20 yeArs oF HAVoc

Author: Amber GrünhäuserLanguage: English Info: 224 pages, 23.5 x 16 cm (9.25 x 6.3 inches),470 photos & illustrationssoftcover14.95 € / £ 14.99 / us $ 19.95 ISBN 978-3-937946-68-9limited collector’s edition19.95 € / £ 19.99 / us $ 24.95ISBN 978-3-937946-69-6Europe’s most notorious train crew, Mons-ters of Art, celebrates 20 years of train havoc. It is with great pleasure that we honor their anniversary with a monster edition of ON THE RUN. Join us for a rare and privileged glimpse into the unruly world of MOAS. With over 200 pages that detail MOAS’s history and unique crew concept, along with classic tales from the train yard, including great escapes, writer beef, le-gendary busts, extreme graffiti feats, trains, trains and more trains. This is a must-have for all diehard fans of train graffiti. MOAS—20 years on the run and still going strong. Don’t listen to the rumors; get the story direct from the source.

Author: Amber Grünhäuser Language: English Info: 128 pages, 23.5 x 16 cm (9.25 x 6.3 inches),250 photos & illustrationssoftcover 9.95 € / £ 9.99 / us $ 14.95 ISBN 978-3-937946-31-3limited collector’s edition 14.95 € / £ 14.99 / us $ 19.95 ISBN 978-3-937946-32-0


How&nosm – tHe BrAzil diAries

The Perre twins aka How&Nosm are Eu-ropean graffiti artists and professional muralists residing in New York. There has been much interest in their new work. In times when a multitude of colors, techniques and effects tend to overcompensate for style, How&Nosm take the opposite ap-proach. With a limited color pallet in hand, the brothers create eye-catching murals laced with social commentary. Their sig-nature ‘black, white and red’ intricate patterns, stark line work and stylized forms allow the clarity of the message conveyed come to the fore. How&Nosm – The Brazil Diaries is an intimate look at their art explorations in Brazil.

Author: Amber GrünhäuserLanguage: English Info: 128 pages, 23.5 x 16 cm (9.25 x 6.3 inches),230 photos & illustrationslimited collector’s edition 14.95 € / £ 14.99 / us $ 19.95 ISBN 978-3-937946-65-8(only available in Germany)


tHe eXcHAnGe

Acclaimed graffiti collective The Exchange has created a stir with a dynamic online style dialogue. The idea behind the project is for members to pair up, trade letter styles and rock diverse styles outside of their usual comfort zones. These experiments are then posted online to be applauded and critiqued by members. A verbal and visual style assault from some of the finest active writers across the globe: Ewok, Revok, Rime, Persue, Yes 2, Pose, Stae 2, Snow, Bates, Serch, Poet, Kacao 77, Scotty 76, Askew (just to name a few). This book is jam-packed with expert style antics. You might want to get your sketchbooks out and start taking notes.

SPECIALEDITION 224

PAGES


Sento, the self-proclaimed ‘king of swing’ has consistently pushed the boundaries of style writing to create a unique slant that references the history of graffiti all rolled into one Sento-centric mash up complete with comical letters and interesting con-nections. These colorful masterpieces with quirky designs have inspired generations. Sento was always a prolific train writer and continued to paint trains well into New York City’s clean train era.

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sento – tHe FAntAstic pArtners

Language: EnglishInfo: 128 pages, 23.5 x 16 cm (9.25 x 6.3 inches),260 photos & illustrationssoftcover 9.95 € / £ 9.99 / us $ 14.95 ISBN 978-3-937946-52-8 limited collector’s edition 14.95 € / £ 14.99 / us $ 19.95 ISBN 978-3-937946-53-5


loGAn – seVille’s Finest

Logan has established his reputation as one of aerosol art’s worldwide heavyweights, specializing in murals, characters and il-lustrations. Having bridged the gap between spraycans and tattoo machines, Logan has become a master in graffiti-influenced tattooing. Check out this Sevillan’s résumé as he takes the world by storm! The book comes with a ton of exclusive texts and pictures.

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cuBABrAsil

Cubabrasil was the first-ever attempt to bring aerosol art to the tropical locale of Havana. This book documents the creative fusion of Latin American aerosol stars like Os Gemeos, Vitché, Nina and Joana with German graffiti writers Won, Neon,Cemnoz and Stone, alongside some of Cubas best muralists and the German video artists BerlinBeamBoys. The fruitful outcomes are captured in a series of exclusive essays and pictures from beginning to end, which make the book an important read for those interested in street art’s international story.

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Author: Don STONE KarlLanguage: English Info: 128 pages, 23.5 x 16 cm (9.25 x 6.3 inches),230 photos & illustrationssoftcover 9.95 € / £ 9.99 / us $ 14.95 ISBN 978-3-937946-54-2 limited collector’s edition 14.95 € / £ 14.99 / us $ 19.95 ISBN 978-3-937946-55-9



pArt one – tHe deAtH squAd

Part One – The Death Squad is truly sensational! The first book to document the artistic impact of Part One – TDS, one of NYC’s most influential graffiti style writers, from the developmental years of mid 70s subway style writing until now. Jam-packed with exclusive stories and images from a bygone era; growing up in Spanish Harlem, subway graffiti in the 70s and 80s, The Death Squad years and more recently the Hall of Fame.

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Author: Amber GrünhäuserLanguage: English Info: 128 pages, 23.5 x 16 cm (9.25 x 6.3 inches),230 photos & illustrationssoftcover 9.95 € / £ 9.99 / us $ 14.95 ISBN 978-3-937946-56-6


smAsH 137 – smAsH prooF

An in-depth look at a style in flux, Smash 137 – smash proof traces the various style excursions and developments of Smash 137— one of Europe’s finest con-temporary style writers — as he chases the elusive ‘perfect style’. Never content with resting on his reputation or accepting in-vogue styles, Smash keeps busy mixing it up and pushing his forms to the limit. He is renowned for executing complex transi-tions and ideas under the guise of a simple veneer. Don’t be misled — behind the bubbly persona and swing of these so-called ‘simple’ letter styles is a subtle but powerful punch. This is a work in progress full of interesting twists and turns.

Author: Alain “KET” MaridueñaLanguage: English Info: 128 pages, 23.5 x 16 cm (9.25 x 6.3 inches),230 photos & illustrations


new york city – BlAck Book mAsters

Black books are not just glorified sketch books; they are the lifeblood of a writer, a communication tool and a source of pride. Within the pages of their black books, writers try out styles, plan their next pieces, create colorful burners and collect signature styles from other writers. New York City Black Book Masters pays homage to the black book with an intimate collection of personal drawings from some of New York’s finest old school and new school writers, the likes of Riff 170, Noc 167, Case 2, Chain 3, Dondi, Erni, Daze, Iz the Wiz, Lady Pink, Zephyr, Ghost, Freedom, T-Kid 170, Cope 2, Nic One, Ewok One, Zimad and many more.

BEST-SELLER

62 63

Jason KundellPoRTland, oReGon, usa

When I was about thirteen I started writing graffiti. Back then, at least in my group of friends, most of us got into it. It was just sort of what you did at the time in Southern California. You skateboarded or surfed, listened to punk and some Hip Hop, and you did graffiti. Or you were a jock and you didn’t do any of those things. For me there was something really fucking cool about going to a blank wall and making it into something so much more so quickly. It’s hard to say exactly what got me into it but once I was exposed I couldn’t stop thinking about it.

My very first tag was Sync. But it turned out there was already someone who wrote Sync from the TCF crew in the valley not too far from me. Af-ter a year or two I just sort of got the name Bles. Not exactly sure how it found me or me it but we have been together ever since.

I’d say my style is kind of between older tradi-tional graffiti and the really good, crazy stuff that other guys are doing. People like Revok, Krush, Saber, Zes, and Aloy—to me these guys look like they have the future of graff. I think everyone in AWR would describe my style as meat and pota-toes, in a good way though. Good meat and po-tatoes.

I got into tattoos really early on. When I was a teenager I couldn’t wait to get tattooed, so as soon as I turned eighteen I started getting tattoos. Vision from Venice gave me some good people in the Bay Area to get tattooed by so that’s what I did. I had such a great time and right from the start I knew that’s what I needed to be doing.

I began tattooing towards the end of 1996. I had a good friend who had recently started work-ing with AWR (Paco Excel), and he and his part-ner at the time (Adrian Lee) offered to teach me. One of the really big challenges was that most of

what I drew was just lettering; in tattooing you have to learn how to draw everything. Also no matter how good you are at graffiti you have to start from scratch in tattooing all over again. No matter what, that’s it. You suck all over again.

For me there are a few similarities between graffiti and tattooing but I think my background as a writer helps me best with things like lettering and fonts. That type of stuff, along with coloring and putting together color schemes, comes very natu-rally from all the graffiti. Aside from that I don’t think there are too many similarities between them.

These days there are a lot of people who in-spire my tattoos. Some of the main ones are the people I have become friends with or worked with over the years. I have had the good fortune of working with some amazing people all over the world and they have all helped my tattooing a lot. In the beginning, when I first started tattooing or even before I started, it was mostly all the people in the left page: Dragon with blossoms back piece / 2009

“ Tattoos have become so widespread, I have clients these days from all walks of life, and all ages. I have fifty-year-old-plus government workers to eighteen-year-old college students and everything in between. ” JASON KUNDELL

72 73

both pages: European interpretations of Asian styles / 2007-09

72

122

Clown brain / 2007

In God I Trust / 2007

War in the streets / 2006Keepers of the light / 2009

Various back pieces / 2000-02 A selection of letter-based tattoos / 2000

9594


GrAFFiti tAttoo – kinGs on skinAuthor: Alain “KET” MaridueñaLanguage: English Info: 128 pages, 23.5 x 16 cm (9.25 x 6.3 inches),230 photos & illustrationssoftcover 9.95 € / £ 9.99 / us $ 14.95 ISBN 978-3-937946-62-7

Graffiti Tattoo – Kings on Skin documents the transition that graffiti writers are incre-asingly making into the tattoo world. These spray paint technicians are making a splash worldwide with their color mas-tery and wild styles, creating a new visual language on skin that includes letters and boldness, burners and characters. Join us in celebrating the artwork of the best artists who have made the transition from the streets to the tattoo shops around the world, including Jason Kundell, Mr. Went, Ces, Sabe, Timmi Mensah, Circle and many others.

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Sold out!

BACKJUMPS The Live Issue #3

PUBLIC WALL WRITING IN PHILADELPHIA

Martha Cooper’s Street Play is a capti-vating collection of heartwarming photographs of children at play in the harsh urban wasteland that was New York City’s Lower Eastside in the 70s. It shows the creative and indomitable spirit of NYC kids as they turn their inhospitable environment into an adventure playground.

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Language: EnglishInfo: 120 pages, 21 x 24 cm (8.3 x 9.4 inches),100 duotone photographs softcover 19.90 € / £ 19.90 / us $ 24.95 ISBN 978-3-937946-15-3 Hardcover29.95 € / £ 29.95 / us $ 29.95 ISBN 978-3-937946-16-0

STREET PLAYPhotographs by Martha Cooper

SALE! SALE!

SALE!

WE BE GIRLS

IRON CITY GRAFFITI DORTMUND

Language: English Info: 156 pages, 16 x 23.5 cm (6.3 x 8.3 inches), 550 photos & illustrations softcover / 5,00 € ISBN 978-3-937946-17-7(only available in Europe, except for the UK)

SALE!

The Nasty Terrible T-KID 170 is an uncen-sored Bronx Hip Hop story. This autobio-graphy chronicles the life of Julius Cavero, aka T-Kid, a gang member turned graffiti writer and style writing mentor. It retraces his colorful life from the early 1960s to 2005. Alongside his artwork and painted trains are written accounts of a ghetto childhood, his gangbanging years and daring feats of graffiti. T-Kid won fame early on with sharp styles that have inspi-red generations since

Author: Megawords MagazineLanguage: EnglishInfo: 96 pages, 24 x 34.2 cm (9.4 x 13.5 inches),100 photossoftcover / 9.95 € / £ 9.99 EU / ISBN 978-3-937946-07-8(only available in Europe)Writing culture celebrated at the place of its birth, Public Wall Writing in Philadel-phia is a collection of photographs that chronicle the history of wall writing in Philadelphia from the late 1960s through to the early 1980s. As youth discover the power of the written word in public spaces, they scrawl social commentary, political swipes, declarations of love, names and basic signs of existence across the city. The book captures the zeitgeist of that period of writing and a fragment of Philadelphia’s urban life.n

Language: English / GermanInfo: 128 pages, 250 photos & illustrationsHardcover / 10,00 €ISBN 3-0-010224-0(only available in Germany)

The city of Dortmund lies in the industrial heart of Germany. From the early days on, it played a significant role in Graffiti. Writers such as Rio, Chintz or Anger affected the entire nation with their style and hardcore bombings. Iron City shows the colorful development of illegal piecing on trains and walls from the first days in 1983 to 2002.

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Author: Willem Stratmann, Don STONE Karl Language: English / German Info: 320 pages, 16 x 23.5 cm (6.3 x 9.25 inches), 600 photos & illustrationssoftcover 14.95 € / £ 14.99 / us $ 19.95 ISBN 978-3-937946-27-6Back Jumps – The Live Issue #3 docu-ments Berlin’s original, most authentic and lively street art exhibition. In addition to showcasing the artwork, installations, and urban interventions from twenty-four inter-national street artists, the book includes related essays, numerous photographs and an extensive visual and written report on the first two exhibitions of the series.

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The first book focusing on girls in Hip Hop culture with international artists speaking their piece.

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Author: Julius CaveroLanguage: English, FrenchInfo: 200 pages, 22.5 x 30 cm (8.9 x 11.8 inches),200 photos & illustrationsHardcover34.99 € / £ 34.99 / us $ 34.95 EU / ISBN 978-3-937946-11-5 / Engl.USA / ISBN 978-3-937946-10-8 / Engl. ISBN 978-3-937946-12-2 / French

THE NASTY TERRIBLE T-KID 170

From Here to FAme publishingMarienburgerstr. 16A | 10405 BerlinTel.: +49 (0)30-210 21 86 70 | Fax: +49 (0)30-21021 86 77 www.fromheretofame.com | [email protected]

From Here To Fame catalogue 2012

Documents

art design

street art

art supply

areas of urban culture

south africatel

graffiti writing

hip hop

graffiti history