Book review: GRAFF The Art and Technique of Graffiti by Scape Martinez

October 27, 10:19 AMSan Jose Contemporary Art ExaminerErica Goss

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GRAFF Cover: Scape Martinez, author

Part history, part how-to, Scape Martinez’s GRAFF the Art and Technique of Graffiti is an engaging adventure into the much-maligned art of graffiti.  Martinez understands that the public’s view of graffiti skews negative, and the note just under his biography admonishes practitioners to “keep it legal…always paint in legal areas, and get permission.”  The first section of the book, “A Quick Lesson in Graffiti History,” looks back at the origins of graffiti in the inscriptions on walls of ancient Greek and Roman ruins.  Humans throughout history have left their marks on everything from cave walls to monuments.  Martinez writes that this urge is “part of our timeless quest for self-identity and self affirmation.”  This is the main theme of the book: graffiti helps to “proclaim our existence.”

The colorful illustrations in GRAFF leave no doubt that this art form demands attention.  Martinez covers graffiti’s large-and-loud influence on everything from hip hop to advertising.  There’s even a glossary of terms to help the uninitiated understand the difference between a tagger, a piecer and a writer, and that “sick” is the ultimate complement. 

 GRAFF moves quickly from history to supplies needed for working on paper and walls.  Sharpie pens, watercolor and colored pencils fill sketchbooks with ideas, experiments and notes.  For walls, Martinez describes the serious equipment, including spray paint, latex gloves, and masks to prevent inhaling fumes.  “Do not leave anything at the site,” he advises.  “Leave the space better than you found it, your art included.”  From this warning Martinez delves into the main elements of the form: graffiti’s distinct style, explaining letter compositions, color patterns and fill-ins in an easy-to-understand, breezy manner.

 Martinez’s elevation of graffiti as a serious art form stands out from the splashy illustrations that decorate every page of GRAFF.  For example, in the section titled “Tagging: the Philosophy of the Line,” he writes, “One needs to approach [urban calligraphy] as beautiful writing.”  Later, he explains, “color… is crucial to effective composition in graffiti art.”  And, in a sidebar titled “Anthropomorphism, Ghetto Style,” Martinez writes, “To really acquire a sense of composition and balance, merge your characters with your letters so that they are one unit.”

 An entertaining aspect of GRAFF is the footers that appear throughout the book.  These short paragraphs function as a flip-book of art history, beginning with the cave paintings in Lascaux, France created in 13,500 B.C., and ending in 2007 with “As a result of the global phenomenon of graff art, Montana Cans introduces the first ever scholarship program dedicated to street artists.”  And, finally, “Scape Martinez writes this book.”

Graffiti “record(s) the city’s subconscious.”   “The future of graffiti is in your hands, not the hands of museums and gallery owners.”  For all of its warnings about staying legal, GRAFF celebrates the outlaw aspects of graffiti, its practitioners and lifestyle.