Chapter IV Forms

Chapter IV Forms

As a medium of visual communication, the counterpart elements are provided with both stencil graffiti and commercial graphic design. The forms are divided broadly into two elements, which are typography and iconography.

Typography

Typography i14 is a mainly element of stencil graffiti, a great transmissible tool is consisted of letterforms and messages. Artists have a freedom to choose suitable fonts for meanings and surfaces. Josh MacPhee (2004) discriminated the stylish typefaces of stencil into two categories. One is tech styles which basically using technology to create typefaces; the other is hand styles which mainly interfuses handwriting and stencil technique. The material of tech styles can be found conveniently in hardware shops or craft stores, despite that the limitation of sizes and styles, such as stencil plate is a productive tool for creating a consistent format that translates a mimic official statement. Alternatively, computers with stencil typefaces permitted artists to create an official-looking typeface without technical difficulty. The stencil fonts e.g. Housebroken clean, Brassplate or AG Book Stencil etc. are available on the Internet or graphic software such as Adobe Illustrator. Wherewith computer technology, expanding typestyles are chose by contemporary artists.

To cf. with tech styles have its standard roots and rigidity, hand styles are more fascinating, owing to the freedom and complex structures of handwriting, it brings a personality and characteristic into letterforms by constructing words. 'Words can turn emotions into ideas' described by Freeman (1966). Wherewith artists create their own typefaces, sic the audiences receive messages; in the meanwhile identify the character of artists with specific letterforms, the notion between separate territory of each artist and the grandstand therefore is created. Further more, the arrangement of intervals within letterforms represents a flexible structures by hand styles. For instance, a compass within A's or O's letter can be filled, either not; gaps in each letters for the sake of easily to hold a single letter such as T's, or a whole words. A sentence is built by horizontal line in English characters, thus the bridges betwixt types provide a function that organizes the letterforms together. (MacPhee, 2004)

'Communication can occur with reasonable success only when the words used refer to ideas and emotions which the author and his readers have had, or can theoretically have, in common.' (Freeman, 1966) The importance of context in typography consist its utilitarian, the uncomplicated method of producing type stencil makes itself more general, i.e. infinite reproductions are scattered by the thousand all over the city, such as a sign system. The meanings of a slogan, a poem or a signature take a part of an extremely powerful medium. 'The ideal sentence for communicating to a mass audience is not longer than eight words or so, and the words should have no more than one or two syllables, unless it can't be helped.' suggested by Richard Freeman. (1966)

The best tripartite combination of typefaces, images with context can be regarded as Miss-Tic in Paris i15. (Manco, 2002) Miss-Tic means a young lady with a habitual spasmodic contraction of the muscles, as the phonogram of mystique. She first began making graffiti by using stencil in the early 1980s. Homogeneity of her name, she extends a range of levels works of short poems or slogans, her stencil graffiti are often cryptic and usually contain some clever wordplay that associates with pictographic. 'Although Miss-tic's work is not intentionally political but rather personal and confessional, there are often underlying feminist themes in the pieces.' that commented by the graphic artist, Tristan Manco. (2002 p. 43)

In general, the words of stencil graffiti convey information in a utilitarian function, i.e. the meaning of slogans or poems is beyond literal, and a convincing example is the parodying official city council notice, which was painted on a white concrete wall by British artist Banksy. (2005 p. 50) This Wall is a Designated Graffiti Area16, the convincingly announcement occasions that it was covered in graffiti within days. (Manco, 2002) However, most of words are probably considered that undertaking no specific meaning. What is more, a posteriori of the repeating and reusable method motivates contemporary stencil artists or activists to tag their cognomen as territory that increases the popularity of stencil graffiti. (Bou, 2005)

Iconography

In the opinion of MacPhee, (2004, p. 47) 'All art represents the world that it was created in, and in many ways stenciling is no different.' The variety of subject matter for creating stencil imagery is the primary reason it has become extremely common. Those images can be categorized into four genres, human figures, consumer goods, animals and movements, the most suitable modus is attended due to how to present images. Making a stencil not only requires considerable skills, but also rigid materials, such as plastic laminates or cardboards. Through cutting shapes from drawing or tracing, the process gives a particularly sharp line, similar to vector line.

The methods of cutting stencils are used to been classified as positive and negative images. According to the investigation of David R. (1990) He identifies that most of stencils show positive images, viz. the cutout figures filled with colours against a clear background, in addition, it is also possible for producing negative images. However, there is a limitation to spray diverse colours on façades, mainly because of the time limit of stencil graffiti, artists rarely spray more than two colours on one stencil. (MacNaughton, 2006)

It is obvious that the image which consists of human figures is the most common subject, within the images about human beings, 'Probably the most common image stenciled is the face.' evaluated by MacPhee (2004 p. 47) Indeed, numerous faces are exploded into public spaces in the same way as the evidences to prove our existence. On the whole, anthropoid stencils are a form of manipulating photographs into graphics, simplifying thee figures and transmitting them as several blocking areas, outlines and shadows. Sometimes a conventional face such as famous screen starts, politicians, revolutionists, cartoon characters or anonymous self-portraits, can be seem as a reflection of the iconology from popular culture. These facial expressions give different emotions and statements to the grandstands. Besides, colour combination provides an exuberantly visual effect.

However, a convenient process has developed by using computer techniques for those non-artists whom attempt transferring concepts to visual image. By modulating the contrast degree of photos, graphic software such as Adobe Photoshop provides an innovative method, viz. the limitation of creating stencil images by hand drawing, because the impression that the specific outlines are used drew by sophisticated artists is broken. 'It is no surprise that there has been an explosion of stencils of movie stars, cartoon characters and commercial symbols. These stencilers have become human pop-culture copy machines.' criticized by MacPhee. (2004 p. 47)

Parallel to this, the subject of consumer goods and animals in stencil graffiti field provides an idea of bring daily objects into creations, which is inspired by Pop art. As claimed by Manco (2002) 'Stencilists have appropriated the idea from Dada and Pop that images of popular culture or commonplace object can be art.' This conception not only against the supremacy of high-art, but also build a bridge between art and our life. From another point of view, the commodity chose by the artists who intend to share their passion of abject, '… the selection shown here is a light-hearted celebration of iconic imagery.' (Manco, 2002 p. 19)

Nevertheless, the situation of 'Stenciling can also shove a culture back into its face.' described by MacPhee (2004, p. 54) Despite of celebrating diurnal objects, the images of munitions e.g. guns and warfare or violent movements such as shot, kill, which are representing political statements or social problems. Thousands of television are sprayed for the reason to remind public the violence from mess media and news report. The best example of incorporation of animals with weapons is a huge amount of rats' army created by Banksy. (2005) Slogans such as Stop believing in authority, start believing in each other, or Beware anti-vandal paint17makes a statement of against the authority.

Photograffiti

'The final stage of life for a piece of street art is often its removal, leaving a ghostly impression that can last a great deal longer than the original work.' committed by Alex MacNaughton. (2006) However, like any evolution, a neoteric form is innovating nowadays. Photograffiti, graffiti with camera is seen as a potential solution to resolve the ephemeral phenomenon of stencil graffiti. Once a photograph is taken by a photographer, he or she is involved in the action of graffito within photographs. 'A single picture by itself is nothing, but a single picture among many is part of a system.' Described by the German photographer Christoph. (Mangler, 2006)

Through photography, the action of photograffiti itself is accessible to everyone that goes through cities on foot, and takes pictures with a camera. Furthermore, the combination of photograffiti and the Internet influences the evolution of stencil graffiti; its popularity increases with a massive influx of photos onto the Internet from different areas. An abundance of websites provides the method of producing stencil and process of graffiti, and, through these exchanges of information, stencil graffito itself approaches a promotional consequence. In addition, sending graffiti photos by emails or online photo albums, computers and the Internet make an accessible entrance for the enthusiasts of stencil graffiti. (Macphee, 2004 p. 107) 'Modern graffiti is no longer of the people, so to speak, as it once was, it is now like tattoos or piercing. In a word, it has become popular, it has spread.' Criticized by the director of the H2O gallery, Joaquim Ruiz Millet. (2003)