Spray Paint Stencils

stenciled chair

Prezi on the history of Spray Paint Stencils:
//prezi.com/5ronqlwpciai/spray-paint-stencils/

Stencil Artists:

Adam 5100 C215 Hugo Kaagman
Adrian Williams Chris Stain Hush
Alto*Contraste Czarnobyl  Iamdoom
Ame72 DNM Icy
Ananda Nahu Eelus Izolag
Artiste-Ouvrier Evol Jana und Js
ASBOluv EZP Jef Aerosol
Banksy Faile (NYC artist collective) Jonathan Wakuda Fisher
Boxi  Fremantle Koleszar
Btoy l.e.t. 
Logan Hicks Peat Wollaeger Spliff Gâchette
Lucamaleonte PIsa 73 Sten & Lex
M-City  Pixal Parazit  Stencil 
Miss.Tic Poch Stew
Monstfur Sadhu  STF
Mosko et Associés Shepard Fairey t.wat 
Mr Lolo Snub 23  The Dark
Orticanoodles Sot  The Dude Company
Pam Glew Spizz Tian
Paper Monster Spizz Vexta

Vhils 
WCA 
YZ Open Your Eyes

stencil on street

“…I love graffiti art and street art, especially if the artist takes their time to make something that’s really well designed (and in some cases has permission to create it). From my perspective, you can’t make a quality work of art in a few seconds while simultaneously looking over your shoulder for the cops. That’s where I draw the line between art and vandalism. Vandalism includes tagging/defacing a space that the artist knows will have to be washed off immediately (store windows, front doors of businesses, subway token booths, etc.). Fortunately, most graffiti artists create works in spots that can linger for a while. And some linger for a long, long time, which is great if they are well done, whether they exist as an artist’s tag or as a painting that includes the artist’s tag.”
Joe Fusaro from Art21 Blog

Stencil Freebies


FAILE Stencil

Image by FAILE Amsterdam 2004

RESOURCES:

Brooklyn Street Art
described as:  “…the new creative spirit that runs in the streets, the artist studios, and galleries of New York and beyond. New hybrids, new techniques, and new mediums are expanding the definition of public art, street art, graffiti, and urban art; each vying for the attention of passers-by. As trends develop in the street, we watch to see how they affect popular culture and the rest of the art world.”

Bomb It (The Movie)
[ 01:33:45 ]
Featuring street artists and top graffiti writers from five continents, Bomb It – The Movie updates the story of graffiti with a truly international perspective.

Exit Through The Gift Shop (Movie)
//www.banksyfilm.com/
Created by Banksy, and discusses the origins of Mr. Brainwash

A website with a shop, and plenty of pics from all over the world

Equipment:

CAPS:
OUTLINERS:
— German Outline (a.k.a. Skinny Banana, Sparvar Skinny)
— Universal Cap
— Skinny Pro Cap (a.k.a. German 2, German Pro)
— Gold Dimpled Ultra Thin (a.k.a. Super Skinny #1, Super Skinny)
— Grey Dots (a.k.a. Super Skinny #2)
— Black Dots
— NY Thin
— Black Micro (a.k.a. Molotow Super Skinny)
— Gold Soft Cap (a.k.a. Outline Special)FATS:
— Silver Super Fat
— Rusto Cap (a.k.a. Rusto Fat)
— NY Fat Cap
— Fat Caps
— German Fat
— Astro Fat
— Orange Dots
— Pink Dots

SPECIAL EFFECTS:
– Blue Soft Caps (a.k.a. Smooth Softs)
— White Calligraphy
— Black Calligraphy
— Red Calligraphy
— Soft Cap
— 94 Cap
— Transversal Cap
— Banana Grey
— Banana Yellow and Banana White
— Alt Banana Yellow

stencil

HISTORY

“Who Made Spray Paint,” written by HILARY GREENBAUM and DANA RUBINSTEIN in the NYTimes

Published: November 4, 2011

 
 
That a paint salesman from northern Illinois created the tool through which rebels, gang members, artists and anti-Wall Street protesters alike have expressed themselves merely confirms that inventors can neither control nor predict the impact of their innovations. After all, Jack Dorsey never imagined that Twitter would facilitate Anthony Weiner’s self-immolation.
The spray-paint can, however, has eminently practical origins. Ed Seymour, the proprietor of a Sycamore, Ill., paint company, was in search of an easy way to demonstrate his aluminum coating for painting radiators. His wife suggested a makeshift spray gun, like those used for deodorizers. And so, in 1949, Seymour mixed paint and aerosol in a can with a spray head. As it turned out, compressing paint in a can made for a nice finish.

THE EARLY YEARS

Seymour’s humble creation quickly proved so popular that Seymour of Sycamore began customizing its own manufacturing equipment and eventually expanded into new businesses, including the auto and industrial-machine markets. Soon afterward, home-furnishing heavyweights like Rust-Oleum and Krylon jumped in. And by 1973, Big Spray was producing 270 million cans annually in the U.S., according to the Consumer Specialty Products Association. Last year, U.S. spray-paint manufacturers produced 412 million cans.
By this time, of course, aerosol spray paint had begun to forge an industry beyond home improvements and quickie D.I.Y. projects. As the safety pin did with punk, it eventually transcended its utilitarian roots. Early nonradiator-painting devotees tended to split into two camps: protesters and vandals. While it is impossible to determine the first student or activist to aim an aerosol paint can at cardboard or buildings, forefathers of the latter include Cornbread and Julio 204, the Philadelphia- and New York-based artist-defacers, who took advantage of the technology to make their tags (né names) well known in the ’60s and ’70s. Spray paint, after all, was the ideal medium for this form of branding. It came in small, easy-to-conceal, easy-to-steal cans. It was paint and brush in one. It dried quickly. It worked well on building materials and subway cars. More important, perhaps, the imprecise application lent it an inherent disregard. Its inability to be perfectly controlled also made it an apt metaphor for rebellion. In other words, it was pretty badass.
stencil with shark

THE RECKONING

Public outrage, and laws restricting spray paint sales to teenagers, ensued. Though not all enthusiasts were deterred. “There was a Red Devil spray-paint factory in Mount Vernon, which is near where the 2 and 5 trains end in the Bronx,” says the graffiti artist Caleb Neelon wistfully. “There are a couple of great, legendary stories about breaking into that factory for the ultimate shoplifting.”
According to Neelon, who, with Roger Gastman, wrote “The History of American Graffiti,” there were not a lot of options for high-quality spray paints in those days. The American spray-paint giants like Krylon and Rust-Oleum resisted tapping into the graffiti-artist market, refusing to upgrade their colors or valves to allow for more creative tagging. In recent years, however, graffiti’s outlaw status has been softened a bit through the auction circuit’s embrace of guerrilla art. In 2006, Angelina Jolie paid $226,000 for a painting called “Picnic,” by Banksy, an artist who made his name through graffiti. The painting features starving Africans watching a white family picnic. Banksy’s “Keep It Spotless” sold for $1.8 million two years later.

THE EUROPEAN REVOLUTION

In the late ’90s, serious graffiti writers noticed the influx of higher-quality paints made by European companies. “Honestly, if you win the graffiti prize and you get to take home a palette of different colors of either American or European spray paint,” Neelon said, “you’re taking the European.” The European paints now come in colors with names like quince and Mad C Psycho Pink and attributes like weather resistance and UV-protection.
Companies like Montana, based in Spain; Molotow, based in Germany; and Ironlak, based in Australia, were pleased to associate with street artists. They offered professional-grade enhancements too, like different kinds of valves that emit different types of mists. (Some artists now complain that American alternatives are like buying a tube of paint with only one brush.) “The control you can get with the can, from the pressure, is phenomenal,” Gastman said.
Such innovation is not without blowback. Some spray writers dismiss the European brands as “fancy paint,” and in pursuit of lost authenticity, stick to Krylon, which is based in Ohio, and Rust-Oleum, which is located outside Chicago. “American writers really want to be loyal to Rusto,” Neelon said. “Rust-Oleum is like the Ford F-150 of spray paint. It’s the workingman’s paint.”

ADVANTAGES & DISADVANTAGES

written by Monica Garrett

banksy wall
Bansky’s West Bank Wall spray painting and stencil: //www.cynical-c.com/?p=3535

Street art, graffiti, and other branches of art that incorporate the use of spray-paint, stencils, and mop markers are gaining popularity today. It’s spreading through urban areas around the world and gaining attention from the art realm. As there are multiple advantages to using these mediums there are disadvantages and guidelines as well.

space-paintings

Spacepaintings, all done with spray paint that show how versatile in texture and color spray paint has: //briggspaintings.com/

Mop markers can be a useful thing, broad smooth stroke perfect for moving fast and controlled, but it is widely used to tag signs. Gangs write their slogans on the walls often times with mop markers and spray paint raising alarm in their communities. Graffiti is illegal and since mop markers and spray paint are often used for them, you must be 18 or older to purchase these mediums. The Times Daily says “The graffiti has cost businesses in the area (alabama) thousands of dollars in damage, officials estimate,” so people are asking for harsher punishments and rules for these mediums. Also, spray paint is not economical for most people and the emissions are harmful for the environment and people to inhale.
mop-markers
Uses mop markers and spray paint on this wall and the website has plenty of images using these mediums : //wgtnwallstreet.blogspot.com/

Despite the negative reputation from these mediums and issues, they are also used to make some pretty awesome art. Two big name street artists whose “vandalizing” artform can sell millions and gain approval from the world are Shepard Fairey and Bansky. They use stencils to quickly tag walls and spray paint as well. They made street art boom and have gained fame. Bansky put together a documentary called “Exit through the Gift shop” that sheds light on the danger and beauty and advantages of street art. There are now designated walls set up for spray painting and mop markers and stencils to decorate the town in outside art. Spray paint especially can yield wonderful images that show a range in texture and colors. Stencils are set down first many times and then spray painted in layers to put an image together. Spray paint can stick to most all materials be it wood, plastic or metal and it is very flexible and highly UV resistant. Also, in many paint jobs, it is faster to spray paint and has smoother coverage. Air- powered spray paints are also more useful for painting houses and such than a simple roller. For smoothness, speed, and depth in texture and color, these mediums are an ideal choice for art especially street art.

TIPS & TRICKS

written by Hillary Reed
stencils
When spray painting a stencil there are a few things to consider. One, getting a sharp image is sometimes difficult . The farther you hold the stencil away from the surface the fuzzier the image may become. Some artists recommend glueing or adhering one’s stencil to the surface in order to get crisp clean edges and avoid overspray.  Two, the more evenly one applies the  spray paint the smoother the image will appear. To do this,  pay close attention to the pressure you apply  to the applicator and do several tests before applying the final stencil print. Also, check  the consistency of the spray paint  in use to ensure it is not to thin or runny. In addition, one would want to check the color correctness of the paint to ensure it is the desired color.  Be cautious not to apply to much paint or ink to the surface, it may run under the stencil and accumulate into pools.

ASSOCIATIONS WITH STREET ART

illegals
walls
bricks
night time
cops
trains
signatures
adrenaline
advertising
political/social messages
everything is a canvas
downtown
urban areas
dilapidated
gangs
competition
selling out
notoriety
stick it to the man
subculture
low brow
vandalism
men
protesting
colorful
bathroom walls/stalls
flexible
text