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LAW Graffiti of Brazil
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“Brazilian graffiti art is considered among the most significant strands of a global urban art movement, and its diversity defies the increasing homogeneity of world graffiti.� - Design Week
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760 TABLE OF CONTENTS
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1 Preface: Introduction | The Law 2 Communicating: Commercial vs. Concious 3 Analyzing: Pixação vs. Grapixo 4 Identifying 6 Sources 7 Image Credits
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01 Prefa PREFA
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Introduction
ace CE
This quote paints the picture of how legal graffiti is possible in Brazil. States and cities across Brazil have recognized the social and cultural impact this art has on their country as well as the opportunities it creates for artists. Brazil’s Law 760/70 not only allows Brazilian writers to paint
the cities but encourages other writers visit and make their mark on the country, turning cities like Rio into inspirational hubs. The graffiti of Brazil is just as vivacious as the country itself. From the beauty of landscape to the gritty urban cities, the graffiti found throughout the country pulls from the character of its surroundings. The style has distinguished itself from other international styles with its
vibrant colors – turning slums or “favelas” into colorful works of art. Its unique style developed out of isolation – before the wide access to the web in the country graffiti artists had little access to the work and style of other countries. This factor allowed their style to pull more from the county itself with new artist emerging with new and unique styles.
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The Law
Street art began to flourish in Rio over the past ten years and Law 706/07 “came after the development of the art.” Laws are usually established to place restrictions on activities deemed inappropriate – this law sets out to preserve and encourage expression. One must ask – does the idea of legal graffiti distort its rebellious reputation. For Brazilian artists it has actually helped them surface from the shadows and
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work in the open. In the past, like many artist practicing in other countries there was a need to work in secret to conceal their identities. Once the law was passed artist did not need to hide their work or their identities – they became recognized and celebrated creative communicators. Rio de Janeiro has become a leader in the progressive efforts towards graffiti, with its 1999
“Não pixe, grafite” – Don’t Tag, Graffiti – project that brought together 35 graffiti artists to showcase diversity in local styles. What emerged from this event was permission hierarchy, blurring the line between formal and informal graffiti. The law simply reinforced the unique patterns of street art and legitimized a flourishing form of artistic expression and communication.
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The law does not mean a freefor-all for artists; it does have restrictions to maintain a certain level of control. This has lead to a divide within the graffiti community and the messages presented on each side. The legal side of graffiti allows artist several advantages, mainly sponsorship and artists’ exposure. The illegal side is usually represented in the form of Pixação or “wall writing”.
Left, Bottom Right: http://www.12ozprophet.com/forum/showthread. php?t=106087&page=9 Top Right: http://www.flickr.com/photos/ choquephotos
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Brazil is known for its vibrant and diverse culture and the people in it. These different groups are brought together by national pride but also separated by class and even racial differences. Graffiti art is slowing bringing these various demographics together through their work. They have essentially turned the country into a billboard of creative expression. S達o Paulo introduced a law that banned billboard advertising and marketing in the city. The now unoccupied canvases provided a canvas for artist to promote messages while revitalize neighborhoods.
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COMMUNICATING COMMUNICATING Business large and small took note of the art forms ability to grasp the attention of the audience as well as its visual impact on the community, turning abandoned buildings into expressive advertisements. 12
GRAFFITI ART HAS ESSENTIALLY TURNED THE COUNTRY INTO A BILLBOARD OF CREATIVE EXPRESSION. 13
In many ways the graffiti artist has morphed into a graphic designer; instead of working with computer loaded with the latest graphics software, they communicate their messages using paint and rollers. Like the graphic designer they connect and are hired by clients, mainly shop owners, seeking to communicate with an audience. This relationship between the graffiti artist and property owners represents a new shift in production of street art and its relationship with
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the community. It begins to question the customary idea of a graffiti being a form of rebellion against authority. There are several categories of audience types, each inspiring different types of messages. The two main categories are consumer messages and social messages. Consumer messages are commissioned by a business or brand, while social messages are the personal thoughts and reflective of the graffiti artists.
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DON T TAG, GRAF FITI 15
The cities and lawmakers were not the only groups to see the potential graffiti on communication. Many businesses have contracted artists and crews to paint advertisements, their buildings as well as packaging and products. Because the messages being communicated is attempting to sell a product, the letters need to maintain a certain level of legibility in order for the audience to understand what is being presented 16
to them as well as maintain the integrity and value of the brand represented. Once a tool of rebellion, the legalization of graffiti in Brazil has morphed into a lifestyle brand. Everything from storefronts to sneakers has used the colorful communication to sell their products. International businesses and other countries have taken note of the appeal and success of using graffiti to advertise. Companies such as Adidas, Nike, Ford
and Coca-Cola have contracted some of the top graffiti artists out of Brazil to apply their styles to communicate their products to audience across the globe. By lifting the ban and illegalities associated with graffiti, Brazil has helped usher in new ways for graffiti artist around the world gain exposure and sponsorships for their work.
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Many artists emerged from the favelas as youth tagging their names and various political messages. These tags are referred to as Pixação or Pixação – “Wall writing”. This form is still an illegal and particularly unfavorable style of graffiti. Unlike the majority of the legal forms of graffiti found in Brazil Pixação is used to communicate more politically and socially conscious messages. They tend to show up in the favelas and abandoned buildings in response to the political ads that spread false hope and promises to the inhabitants in these areas. Names are also used in this form of tagging. While this form is where many graffiti artist obtain their start, its communication method and style has made
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it difficult for many Brazilians to read and understand, making it a more elite communication mainly read by individual pixadores. As the audience’s atten-
tion has shifted away from the political messages the pixadores turned their attention to competing with each other. The artists who use graffiti in a so-
cial and conscious manner have turned their focus to beautification projects.
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03 Graffiti
ANALYZING Forms 20
When analyzing legal graffiti verses illegal forms of graffiti the key differences to note are the technique and craftsmanship of the letters. Each style is crafted in ways that reflect the work conditions and the intended message. Some pieces center around the actual message of the piece, others artist focus their efforts and style on the location. As graffiti moves from street expression to galleries, audiences are taking a closer look at the structure and style. The two sides of the writing style are “pixação” and “grafite”.
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PIXA 22
AÇÃO 23
Pixação, in most cases is an unwelcome site to business owners, audiences and even to graffiti writers. Its style can be compared to the tags that pop up on subways, desks and other spots in urban cities in the United States. The name
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derives from the word for tar but most pixadores use paint rollers to execute their tags. This tool suits them as the height of the tag is a major factor in the credit and respect the crew will receive. Other mediums include spray paint
and markers. Despite being considered the less favorable style of writing pixação is the more unique representation of Brazil. The style was developed in isolation from other styles found in other countries and became synonymous with
youth culture and voices of those in the favelas. Because of its rebellious associations it is used to communicate messages steeped in social and political consciousness with an audience comprised of the poor inhabitants in their cities. Typically pixação is found throughout the city on business walls. Once its counter style was made legal, property owners hired graffiti artists to paint over their walls with the more accepted style using bright colors and bold lettering. In order the make their words more difficult to erase and conceal, they began tagging on tall buildings, bridges and walls. Now, their foremost struggle is being recognized by the graffiti community. In protest they have tag art galleries displaying graffiti art.
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One of the most defining characteristics of Pixação is its cryptic lettering style. Each crew has a slightly altered style, but they all share this characteristic. When using paint, the letters results in a very angular, straight edged style. Each stroke of the letter form is a consistent width determined by the roller
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brush size. The scale and site application is also a factor. Because the roller brush is meant to cover a larger area the craft of the letters are somewhat distorted and unsteady. The added application method – standing on shoulders, ladders or hanging from a roof – also contributes to the letter formation.
Paint Roller Cap height to base height consistent across the letters in the words
Ascender height to x-height ratio is exaggerated to make the letters seem taller. Short “dot� is one of the distinctive marks for letters with counters
Roller creates a consistent width across each stroke
Stroke follows upward direction as it is made from pushing the roller up 27
Marker and Spray Paint Marker pixação.
For a more cryptic and controlled style, many pixadores have turned to spray paint and markers. Unlike the roller method, these mediums allow for more cursive-like strokes consisting of loops, curves and tighter angles. It takes the form of tags found in other cities. More control over the medium allowing for more detail and added elements to distort the message and be read by those familiar with a crews lettering style.
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Spray paint pixação This wall mural is an example of the use of geometric forms to build the letters in a more refined way changing the stigma of Pixação being a quick and obnoxious writing style.
Marker
Spray Paint
The cross bars have a subtle bend Like writing in cursive, marker Pixação is made in one continuous stoke
straight crossbar
Because of scale, spray paint Pixação uses more geometric standards to create consistency and control The marker Pixação gives the writer more control over the strokes allowing for more complex letters
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Inspired Styles: Digital Pixação and Typefaces
While it remains illegal many artist have worked to refine the style, giving it more depth and style. They have applied it to graffiti as well as digital mediums inspiring several typeface designs and refined painted styles.
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Some of the typefaces have been extracted directly from the gritty style of pixação, but many designers have used it as inspiration for the design of tall, cryptic letters. Like the roller, marker and spray can graffiti
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the digital and typeface version use an exaggerated ascender to x-height ratio to create an elevated look for the characters. They also keep the width and height consistent across the development of each letter.
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GRAP 36
PIXO 37
Unlike pixação, Grapixo is a more welcome style in Brazil. It represents a high level of structure, craft and detail. It also has several sub categories making it more diverse. This form of writing does not have the distinct style as defined as pixação but is defined more by the individual artist or
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crew. It does share a cryptic style with pixação but when it is legible to has a connection to the placement and people in the area. Grapixo gains its refine reputation from its use of sharp line work and carefully controlled composition. Many of the writers of this form bring graphic design experience, giving
their work balance, color and cultural influence. Because of these factors, businesses, individuals and even governments have sponsored grapixo pieces to cover walls and buildings to improve the aesthetic of Brazilian communities.
Elements such as highlights and drips are used to give the pieces add character.
Grapixo is characterized by its multi-lined compositions. Most consist of an outline and a fill.
Many pieces use multiple layers of color to give the pieces depth.
Some graffiti artists integrate faces and characters into their work as a part of their signature.
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IDENTIFYING Identifying 40
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The defining shared element between Brazil’s graffiti is the outdoor surface. Walls, the street, trains, and buildings serve as not only a canvas but the added elements of these surfaces are worked into the piece. These surfaces literally shape each piece. In many cases multiple surfaces are unified through a piece. One example is the Favela Graffiti project by artist Boa Mistura. Like many artist practicing graffiti in Brazil, he uses his work to bring life and color as well as uplift the areas stricken by poverty and somber images of everyday life. Another idea he used in his project is community involvement to grant a sense of ownership to the piece for those who inhabit the 42
area. His project challenges the traditional view of graffiti as it uses a defined typeface for the letters instead of the pixação and grapixo style letters that use cryptic and complex forms. He puts legibility above all as the words are meant to inspire those who pass by. The legalization of graffiti has opened many doors for expression, communication as well as beautification of a vibrant culture. Vandals have turned to artists and teachers as they share their style, resources and messages with the world. Other countries have since followed Brazil’s example lifting the decriminalization of graffiti and street art.
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sou SOU 44
Manco, Tristan, and Caleb Neelon. Graffiti Brasil. London: Thames & Hudson, 2005. Print.
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urces URCES
Iezzi, Teressa. “Advertising Comes Back To São Paulo Streets--Via Graffiti | Co.Create | Creativity Culture Commerce.” Fast Company. Fastcocreate.com/, 11 Nov. 2013. Web. 2 Aug. 2012. Bergner, Joel. “Brazil Youth Projects.” Joal Bergner Artista. joelartista.com, n.d. Web. 11 Nov. 2013. Lefevers, Delana. “Graffiti Designs & Styles: Tagging, Bombing and Painting | Urbanist.” WebUrbanist.com. Web Urbanist, n.d. Web. 13 Oct. 2013. Huang, Juliane. “10 Places Where Graffiti Is Legal.” Matadornetwork.com. Matador Network, 29 Jan. 2009. Web. 13 Oct. 2013. Barnes, AJ. “Becoming a Graffiti Artist: The Complete Guide.” Becoming a Graffiti Artist: The Complete Guide. Blogspot.com, n.d. Web. 13 Oct. 2013. Christl, Markus, and O. Zimmermann. Blackbook Sessions. Vol. 3. Mainaschaff: Publikat, 2007. Print.
Van Der Zalm, Jeroen. “The Power of Culture.” Graffiti Offers Structure for Brazilian Youth. PowerOfCulture.com, 2009. Web. 17 Oct. 2013. Dzine Watch. “Favela GraffitiArt Project by Boa Mistura.” Dzinewatch.com. DzineWatch, 17 Mar. 2012. Web. 20 Oct. 2013. Young, Michelle. “The Legalization Of Street Art In Rio De Janeiro, Brazil (PHOTOS).” The Huffington Post. TheHuffingtonPost.com, 09 Mar. 2012. Web. 11 Nov. 2013.
Couch Sessions. “Graffiti Brazilian Style.” TheCouchSessions.com. The Couch Sessions, 8 June 2010. Web. 10 Nov. 2013.
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2: Flashback crew - http://riotimesonline. com/brazil-news/rio-entertainment/fleshbeck-crew-rios-graffiti-originators/ 4: http://blackfaded.com/2010/04/#jp-carousel-865 5: http://ladyjanebongo.wordpress.com/ 6: http://thomaslockehobbs. com/2005_09_11_archive.html 9: Photo by Luciano Spinelli -http:// www.flickr.com/photos/61035720@ N00/5119879679 10: http://www.paulinelegrand.fr/en/index. php?/ongoing/pixação/ 11: Left and Bottom Right: http://www.12ozprophet.com/forum/showthread. php?t=106087&page=9 Top Right: http://www.flickr.com/photos/ choquephotos 12: Luciano Spinelli (http://www.flickr.com/ photos/lucianospinelli/5119879919/) 14 - 13: Mural by Bruno Big http://renatabrito.com/photography-2/brazil-4/ 16: Top: Fred Fowler, aka Nuroc Adidas billboard (http://www.citylightsprojects. com/projects/end-end-punt-road-billboard) 17: Top left - http://shrn-munich.tumblr. com/post/51798693113/nike-sb-blazer-neckface-quickstrike • Top right - http://www.citylightsprojects.com/ projects/end-end-punt-road-billboard
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• Bottom Left - http://www.ogilvy. co.uk/ogilvy-and-mather-advertising/ new-ford-fiesta-outdoor-posters-revealed/ • Bottom Right - http://www. eukicks.com/nike-sportswear-team-brazil-x-nunca-world-cup-pack/ 18: Boa Mistura - http://www.zillamag.com/art/favela-graffiti-project-by-boa-mistura/ 19: Jeroen Koolhaas and Dre Urhahn, Favela Painting - http://www.unurth.com/ Favela-Painting-Rio-De-Janeiro 20: Top left, 4E25 - http://www.flickr.com/ photos/44362754@N05/5058049631 • Top right, Photo by Choque - http:// www.flickr.com/photos/choquephotos/ sets/72157607397735248/ • Bottom left, Thiago Falgetano - http://abduzeedo. com/graffiti-brazil-falge • Bottom right, OS Gemeos - http://thatsthehookup.com/ headlines/os-gemeos-ica-boston/ 21: http://blackfaded.com/2010/04/07/ limozine/sao-paulo-vila-madalena-graffitistreets-part-one-7-of-28/ 22 - 21: http://unlphotojournalismbrazil. wordpress.com/2012/12/24/no-war/ 24 – 23, 25: http://www.jackermag. com/the-pixacao-bombards-sao-paulo. htm?lang=en 28: TheThirtyThird - http://thethirtythird.deviantart.com/art/Pixacao-Alpha-
bet-143945480 30: Left, http://unlphotojournalismbrazil.wordpress.com/2012/12/24/no-war/ • Right, Edições Serpentinas - http:// www.flickr.com/photos/44362754@ N05/5934735609 31: Edições Serpentinas - http:// www.flickr.com/photos/44362754@ N05/5934735609 32: Wete - http://www.behance.net/gallery/FAVELA-free-font/1922917 33: http://www.90bpm.net/forum/index. php?topic=33718.0 34: Top Left: Typograff by Rogério Oliveira http://www.dafont.com/typograff.font Right: Pixa by AmoinsB (http://amoinsb. com/#/pixa/) 35: (1) Neva Busted by Thiago (http:// www.behance.net/gallery/Neva-Busted-Typeface/11638537) (2) PIXACAISM by PAÍSM (http://www.behance.net/ gallery/PIXACAISM-Free-Font/7587753) (3) YWFT Pixação by YWFT Eric Carlson (http://www.youworkforthem.com/font/ T0104/20110201005104) (4)¬¬ Pixa São Paolo (http://www.artgraffiti.info/graffiti-alphabet-pixa-sao-paolo-graffiti/) 36: 37: Os-Gemeos - http://thatsthehookup. com/headlines/os-gemeos-ica-boston/ 39: Kaur - http://www.thecitrusreport.
com/2010/uncategorized/kaur-saopaulo-graffiti-and-artwork/K 40 – 42: 42 - 43: Boa Mistura - http://www. designboom.com/art/floating-graffiti-participatory-favela-project-by-boa-mistura/ 44: Rimon Guimarães - http://graffnews.blogspot.com/2013_08_01_archive.html 46: Chorboogie - http://senseslost. com/2009/02/24/chor-boogie-painting-in-brazil/ Back cover: http://m.animalnewyork. com/2012/first-major-street-art-andgraffiti-sale-for-auction-house-innew-york-is-now-on/
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“Graffiti is a gateway to a new perspective for those who don’t have other opportunities.” - Smael Vagner
Brittany C. Davis | GRDS 734 | Project C | Fall 2013 | Prof. Trudy Abadie 48