Color communicates because color is powerful; powerful color is more powerful still. --Scape Martinez In this hot-off-the-streets book; Scape Martinez shows you how to use color to bring beauty; meaning and life to graffiti art. To shout; shock and sing. To push the boundaries of art and communicate in a way that letter structure alone cannot. By example; youll learn how to connect your own color choices in a meaningful way; making your art both deeply personal and highly effective. Check out Scapes improvisational creative process as he creates 12 works (his "personal cave paintings") on concrete and canvas; step by step; from concept to completion. Instruction and exercises help you choose the colors that work for you and your artwork; find your distinct voice; and keep it real. Dig into Scapes bag of tricks for creating a site-specific piece; mixing conventional can techniques with traditional acrylic painting skills; exploring transparent letters and letter abstraction; working with monochromatic color schemes; turning letters inside out; and lots more. Its time to let go of old graffiti truths; like the idea of mandatory black outline and static fill-ins. The new aesthetic urges you to take creative risks. Combine expressive letter styles with wild and intense color schemes that transform; roll and change throughout your piece. Improvise on the spot. Drive it to the next level!
#2201377 in eBooks 2014-03-14 2014-03-14File Name: B00GISS1D6
Review
1 of 1 people found the following review helpful. Still the only authority worth readingBy John SpritzIts interesting to read these Mordden histories together; as I have been doing. The 30s one; "Sing for Your Supper;" is downbeat. That era; which we tend to think of as a golden time on Broadway; is for Mordden one of wasted opportunity. The 40s and the 50s are; as you can imagine; when hes in clover.And I thought this one; on the 60s; would again fall back into despair. But to my delight; he unearths gems I was unfamiliar with; and champions old favorites of mine -- Ben Franklin in Paris; Camelot -- that are either overlooked or pooh-poohed. And there is much in this book that is uplifting; as it points towards the Sondheim shows of the 70s; as it skillfully illustrates the increasing role of economics on the reality of mounting a show.For anyone with any interest in the Broadway musical -- how it got to be where it is today -- than Mordden is the indespensible guide; guiding us through the nooks and crannies of song.0 of 0 people found the following review helpful. "Has Anybody Here Seen Kelly?"By voracious readerMordden can be a matter of taste. Wish he had gone into more depth on some of the better musicals of the 1960s instead of dwelling on the many forgettable flops. At times his writing is sharp witty; other times quite dull. A mixed bag for sure.3 of 4 people found the following review helpful. Musical theater history as good as it getsBy ElkhartAs someone cant resist a book; no matter how bad; on musicals past; I feel like Ive found a new best friend in Ethan Mordden. He knows his subject; thinks for himself and writes extraordinarily well. Hes quick to confute the common memory - pointing out the unremembered virtues of Camelot; Funny Girl and even The Unsinkable Molly Brown; yet perceptively skewering Hair; Dear World and Zorba. His identification of trends and repeating patterns is brilliant; and at the same time he gave me several good belly laughs; notably when he referred to Ilya Darling as the culmination of 3000 years of Greek culture. A treasure of a book. Im ready for the 70s; Mr. Mordden.