SPRING

2010
NEW

artist Niels “Shoe” Meulman explo-

res the contours of words as images
in ‘Calligraffiti’—his hybrid art form
which blends calligraphy and graffiti.
This impressive publication showcases
a selection of graphic and typographic
works by Niels Meulman in a unique
manner; every spread presents two
interacting visuals. This interplay of
contrasts, such as “idea-execution” or
“rise-fall”, makes this volume much
more than a collection of the artist‘s
best work; it unveils the basis of all
graphic art. The book includes an
essay by esteemed writer Adam Ee-
uwens tracing Meulman‘s creative
progression, as well as a foreword by
the highly regarded symbologist and
ambigram specialist John Langdon
and witticisms from Meulman himself
sprinkled throughout.

Hardcover / 19,95 € / £ 19.99 / US $ 29.90 ISBN 978-3-937946-21-4

NEW
Jason Kundell
PoRTland, oReGon, usa
Tattoos have become so widespread, I have clients these
“days from all walks of life, and all ages. I have fifty-year-
old-plus government workers to eighteen-year-old college
students and everything in between.
JASON KUNDELL
When I was about thirteen I started writing graffiti.
Back then, at least in my group of friends, most of
us got into it. It was just sort of what you did at the
time in Southern California. You skateboarded or
surfed, listened to punk and some Hip Hop, and you
did graffiti. Or you were a jock and you didn’t do any
of those things. For me there was something really
fucking cool about going to a blank wall and making
it into something so much more so quickly. It’s hard
to say exactly what got me into it but once I was
exposed I couldn’t stop thinking about it.
My very first tag was Sync. But it turned out
there was already someone who wrote Sync from
the TCF crew in the valley not too far from me. Af-
ter a year or two I just sort of got the name Bles.
Not exactly sure how it found me or me it but we
have been together ever since.
left page: Dragon with blossoms back piece / 2009
62
both pages: European interpretations of Asian styles / 2007-09
72
”
I’d say my style is kind of between older tradi-
tional graffiti and the really good, crazy stuff that
other guys are doing. People like Revok, Krush,
Saber, Zes, and Aloy—to me these guys look like
they have the future of graff. I think everyone in
AWR would describe my style as meat and pota-
toes, in a good way though. Good meat and po-
tatoes.
I got into tattoos really early on. When I was a
teenager I couldn’t wait to get tattooed, so as soon
as I turned eighteen I started getting tattoos. Vision
from Venice gave me some good people in the Bay
Area to get tattooed by so that’s what I did. I had
such a great time and right from the start I knew
that’s what I needed to be doing.
I began tattooing towards the end of 1996. I
had a good friend who had recently started work-
ing with AWR (Paco Excel), and he and his part-
ner at the time (Adrian Lee) offered to teach me.
One of the really big challenges was that most of
Softcover / 9,95 € / £ 9.95 / US $ 14.95 ISBN 978-3-937946-62-7 Limited collector’s edition / Price: 14,95 € / £ 14.95 / US $ 19.95 ISBN 978-3-937946-63-4
ON THE RUN BOOK #7
Graffiti tattoo – KinGs on sKin documents the transition that graffiti writers are increasingly
making into the tattoo world. These spray paint technicians are making a splash worldwide with
their color mastery and wild styles, creating a new visual language on skin that includes letters
and boldness, burners and characters. Join us in celebrating the artwork of the best artists that
have made the transition from the streets to the tattoo shops around the world, including Jason
Kundell, Mr. Went, Ces, Sabe, Timmi Mensah, Circle and many others.
Various back pieces / 2000-02 A selection of letter-based tattoos / 2000
94 95
In God I Trust / 2007
what I drew was just lettering; in tattooing you have
to learn how to draw everything. Also no matter
how good you are at graffiti you have to start from
scratch in tattooing all over again. No matter what,
that’s it. You suck all over again.
For me there are a few similarities between
graffiti and tattooing but I think my background as
a writer helps me best with things like lettering and
fonts. That type of stuff, along with coloring and
putting together color schemes, comes very natu-
rally from all the graffiti. Aside from that I don’t think
there are too many similarities between them.
These days there are a lot of people who in-
spire my tattoos. Some of the main ones are the
people I have become friends with or worked
with over the years. I have had the good fortune
of working with some amazing people all over the
world and they have all helped my tattooing a lot. In page 96 and 97: One of Sabe’s best clients displays
his arms and legs, all done by Sabe / 2005-09
the beginning, when I first started tattooing or even
before I started, it was mostly all the people in the
63
Keepers of the light / 2009 Clown brain / 2007 War in the streets / 2006
122
I think we as writers do things
“differently when we start the
whole tattoo trip. Colors, outlines,
shading, and the whole way we
see tattoos. SABE
”
left: Vaughn Bodé character sleeve / 2003
right page: Detail of a SABE and WEN wall / Copenhagen / 2009
73 98 99
NEW ON THE RUN BOOK #8

EWOK, AROE, REVOK, RIME, ESTEME, SEVER, SERCH, PERSUE, KACAO 77, YES 2, SNOW, BATES / Los Angeles, USA / 2007

Los AngeLes by ESTEME

When we arrive in LA, we get some greasy Mexi-
can food and scout out wall possibilities for the
next day. We settle on a big wall at 2nd and Gary
Street. Everyone is excited because we are going
to stack pieces, a nice contrast to the overlapping
folding and get busy. Two days later, the scaffold-
ing-moving, paint-carrying and eating too much
Subway pays off. The pieces show the signature
elements of everyone’s individual style. Kacao ties
it all to together with The Exchange Logo and we
Boards are already set up and the European “something
The real highlight was the tour. That was
I’ve never experienced, you know?
contingent of the trip (Bates, Kacao and Serch)
Every city we went to we were treated like graffiti
get busy for a waiting crowd. This was the largest
superstars. Bizarre, you know? It was more than
crowd of the tour, as many members are from the
nice, it was amazing. I think that’s a once-in-a-
area. We drink, hit books and talk to girls until the

56
free-for-all in San Fran. We wake up, set up scaf- run to our show at the Ghetto Gloss gallery. sun comes up.
lifetime experience. I can easily say. SERCH
” 57
Joe found himself simultaneously pursuing both graffiti and
fine art, and has come to use both terms interchangeably in
reference to his own work. Joe’s pieces combine vivid colors,
precise lines, and bold, playful concepts that truly stand in a
class of their own. To date, Joe has painted graffiti in countries
around the world, where many of his works are still exhibited in

revoK MsK; Los AngeLes, usA
unLeAshing his wrath on a myriad of US cities for over a decade, Revok is
the quintessential urban artist at the dawn of the 21st century. The tales of his
exploits have reached cult status within the graffiti world and he is arguably
considered one of the most prolific practitioners in the genre. With a revolving
door of style, he has left an indelible mark on Los Angeles, San Francisco,
and Atlanta, not to mention dropping gems in 20 other US cities as well as
Tokyo and Europe. His skills have helped shape the image of clients including
Toyota, MGM, HBO, Dickies, Red Bull and several recording artists.
riMe MsK; Los AngeLes, usA
KnoWn for versatile, adventurous letter style, Rime (also
known as Jersey Joe) has dedicated his life to traveling and
painting graffiti since 1991. Joe began painting graffiti on Stat-
en Island, and spent the next years developing his talent in
different areas of New York City, New Jersey, and various cities
in Europe, earning international recognition under the handles
Rime and Jersey Joe. Expanding his focus from outdoor paint-
ings in risky locations to also produce work for gallery shows,
original form for public viewing. Aside from being featured in a
variety of private and corporate design projects, books, maga-
zines, and videos, Joe was hired by non-profit organizations in
Los Angeles to create a curriculum for a graffiti program taught
to kids at inner-city public schools. Joe is currently based in
Los Angeles and represents the Mad Society Kings.
As an answer to a personal need for evolution in the
stylistic approach to his pieces, Joe founded The Exchange
in 2005, which developed from Joe’s initial idea and casual
e-mails between friends, into a worldwide project featuring
dozens of artists.
RIME / Los Angeles, USA / 2009

“different
Through The Exchange project I learned a lot of
REVOK / Los Angeles, USA / 2007
ways to make graffiti in a new way. For
10 11
example like Rime and Revok they’re doing a lot
of freestyle pieces. They don’t bring any outlines

acclaimed graffiti collective ‘The Exchange’

or sketches; they just freestyle straight onto the
wall. To me, this is pretty crazy because I never
come to a wall without a sketch and to see they
are doing such good pieces with no sketch was
like crazy – this is very hard to do. BATES
”

has created a stir with a dynamic online style

RIME sketch by BATES / 2008 RIME freestyles a sketch for BATES directly on the wall / Malmö, Sweden / 2008
RIME’s interpretation of a BATES style sketch and the finished BATES piece / Malmö, Sweden / 2008

MeMber PersPectives round 3

wide and one which I had previously been following.
Even though I felt a little unsure because of the lan-
I think overall it’s positive to have
“dialogue within the arts, no matter what
Jurne: I think the main project aim is to generate
a dialogue about the choices each graffiti writer
guage barriers, I decided to embrace the opportu-
nity fearlessly. Everything so far has been a unique

dialogue. The idea behind the project is for

the catalyst is.
” ASKEW
Host 18: Swapping outlines or sketches with oth-
ers is something writers have always done, how-
ever The Exchange has created a more in-depth
look into personal style and execution through
involved makes before and throughout execution
of the sketches. In doing so, a heightened aware-
ness of style, technique and the process of making
graffiti is created.
Involvement in The Exchange has broadened
my appreciation for a variety of styles. To be hon-
est, I didn’t immediately understand some of the
experience, as well as a constant evolution for me.
AsKeW: I followed The Exchange since it started and
I won’t lie, I actually hoped to get involved… This proj-
ect came along at a very interesting time for me. Just
because in the past 2 years I have been so deter-
mined to break free from my influences but still draw

members to pair up, trade letter styles and rock

these swaps. By picking what I believe are some of
the most stylistic and innovative writers with some-
times vastly different approaches to style, we are
forced to take a look at what we offer as individuals.
This project has brought personal style to light.
When taken out of our personal norms or com-
sketches I was given. However, upon painting
these sketches, there were critical points where
I had these “AHA!” moments, something clicked,
and I realized how dope the sketch was… The act
of painting the sketch, moving my hand to create
a line in the same way that the original artist did,
from the lessons that rang true to me. The Exchange
represented a chance to play with new letters, see
what had perhaps been missing in my own graphic
conclusions and at the very least was a bit of fun.
At first the whole thing threw me completely,
I was thinking to myself, “shit! I have really bad

diverse styles outside of their usual comfort

fort zones, we are made to take a closer look at
ourselves. The true challenge is seeing outside of
24 25
our own box and then removing ourselves from the
constraints we have made.
It takes a person who can go with the flow and
switch out of what they normally do. It can be a
struggle to create a certain shape or lean that some-
allowed me to understand the style in a way that I
could not have as a passive observer.
Hesoe: The more I paint and travel and get to under-
stand writing from people that have lived through the
different stages of it, the better I know my history and
can appreciate the foundations of style. I had been
letters!” and then I started to see how much more
individual my stuff had become without even re-
alizing it. I even learned something quite unex-
pected with this whole thing. I’m going to come
out and say it, I think I learned to identify my own
strengths from seeing where others struggled with
my sketches. Although I don’t want that to be taken
Pose: Actually I see The Exchange as a way to
further validate the graffiti movement by highlight-
ing the universal importance of style, letters, tech-
nique and structure to graff writers. How much
ENSOE paints a SIRUM style sketch / Vancouver, Canada / 2009
It’s probably impossible to paint a piece of graf-
The Exchange pushed me to activate my
fiti today that’s 100% original. It is however possible
to have integrity with your craft and contribute to
“mind. After 20 years of painting, it’s not easy
to just step out of your shadow.
”
the culture by being innovative. Work hard, honor

zones. These experiments are then posted online to be applauded and

one else has drawn out for you, your first instinct is
to change it to what you would normally do. I guess
the ideal thing is to be able to put your own twist
on someone’s sketch without using your personal
touches as a crutch. I would feel more compelled to
accept the challenge of painting something that is
looking at The Exchange as the only ‘style college’ out
there, so when I got the scholarship it felt awesome.
To be able to see different outlooks and structures ap-
plied to my letters is priceless study material.
sWK: Being invited to participate in The Exchange
out of context or seen as arrogant. Also, I had a lot
of personal battles with this project. It was amaz-
ing how The Exchange could push you either into
a very receptive state or even make you feel totally
the opposite. There were days when I just really
wanted to paint my own stuff for the sheer indul-
work, history, tradition and experimentation go into
a writer’s work. I feel that the general public and
even many less experienced writers might see a
toy piece next to a master piece and as long as it’s
got colors, some techniques and general move-
ment, it’s fairly equal in their eyes. Getting them
your history, and then write your own history.
Understanding the rules doesn’t mean you
have to follow them, just make it yours and make it
hot, point blank. To be honest I didn’t get into graf-
fiti to hear people’s opinions or be thoughtful. I got
into graffiti to be completely lawless and free.
POET
stantly broke rules and traditions set before them
and that’s how history was made. So sometimes it
seems strange to say “woah bro, you’re crossing
the line”, or “that’s not graff anymore, that’s some

critiqued by members. A verbal and visual style assault from some of the
not programmed into your usual motions by years was a huge surprise, as well as a great honor, be- gence of enjoying my own ideas instead of work- to take a deeper interest in seeing the differences Rules and tradition are a slippery slope, ’cause other next shit”, cause essentially graff has always
of painting or drawing a certain way. cause this is a serious project recognized world- ing with other people’s. might educate people on our craft and history. in essence the forefathers of this movement con- been some other, next shit.
98 99

finest active writers across the globe: Ewok, Revok, Rime, Persue, Yes STAE 2 paints a SCOTTY 76 style sketch / New York City, USA / 2009
SERVAL paints a STAE 2 style sketch / Geneva, Switzerland / 2009

2, Pose, Stae 2, Snow, Bates, Serch, Poet, Kacao 77, Scotty 76, Askew
(just to name a few). This book is jam-packed with expert style antics. You STAE 2 sketch by JURNE / 2009

ASKEW: I kind of imagine Jurne being like the studious cataloguer of

styles. I noticed hints of early Dutch flavor in his pieces and wondered if
A lot of young writers think that they become
“better when they buy their ‘Swedish semi fat cap’,
or the newest paint on the market. You become

might want to get your sketchbooks out and start taking notes.
he was the sort of guy that could identify specific regional styles or graffiti
better when you practice! SERCH
from certain eras as individual font sets, like typography, and could cite
them off like ‘Oh, that’s a 1987 Amsterdam style’ haha! I don’t know him
”
personally but that’s the character I made up for him in my head. STAE 2 paints a JURNE style sketch / New York City, USA / 2009
110 111

Softcover / Price: 9,95 € / £ 9.95 / US $ 14.95 ISBN 978-3-937946-64-1 Limited collector’s edition / Price: 14,95 € / £ 14.95 / US $ 19.95 ISBN 978-3-937946-65-8
NEW ON THE RUN BOOK #9

this book is the long-awaited and fully revised edition of the legendary Jepsy On The Run
black book. ‘Jepsy’ of TRD (The Real Deal) made a name for himself in the mid 90s setting
the European transit lines ablaze with his classic New York City styles and elaborate charac-
ters executed with clear-cut precision. Full aesthetic production like this on trains was and
still is a rare and wondrous sight. Naturally, Jepsy gained international fame. Now, back by
popular demand, this edition is a must-have for all die-hard fans of steel burners.
Its predecessor became a much sought-after collector’s
item after its initial success in 1997. Get yours quick
before they disappear again...

AtoM, JePSY / Mainz / 2000

Jepsy... that name stands for style, colors, unique designs,

“backgrounds and great characters. He is a well-rounded
artist. His work will influence a whole new generation of
writers. WAne, CoD / Bronx, nYC
”
HIMS, JePSY / Mainz / 2001
112 113

InTRODUCTIOn
CLAY, GIPSY / Mainz / 1996
49

‘OTR Blackbook Vol.1 – Jepsy’ really had a great impact around

“ the world. It delivered what people expected after the first On The
Run magazines blew their minds. Those were the times before
the Internet and when graffiti books weren’t published on
a weekly basis. This one was a real must-have for every
writer’s bookshelf. Wherever I went traveling, it was
already there... Stone
”
ZEBSTER: The classic On The Run graffiti
magazine stopped in 1992, and after a sleeping
phase of five years, the first On The Run black care of
book came out in 1997—Jepsy. At the time Jepsy the whole project
In the last ten years, since the original ‘OTR pieces were really advanced: classic semi-wild management, artist liaison
Blackbook Vol.1 – Jepsy’ sold out, it has become style panels with European color schemes and and layout. I was already busy on other projects
a much sought-after collector’s item; at times crisp outlines. He definitely owned a place in the and was happy for him to take the lead.
changing hands for triple-digit prices for those German graffiti hall of fame and therefore was a The ‘OTR Blackbook Vol.1 – Jepsy’ was the first
lucky enough to still find one of these rare gems suitable candidate for an OTR book. While other publication ever to concentrate “only” on one graffiti
online or elsewhere. Even today we are inundated magazines worked on the idea of publishing as artist. The book became very successful and the
with requests from all over the world asking for many pictures possible from random writers, we whole print run of 8,000 copies was already sold
this book. This demand, combined with our own thought it was time for a change. The concept of out one year later... Topic then started work on
fancy, prompted the decision to keep the Jepsy this new OTR series was to concentrate on the the next OTR books. In 1998 he brought out ‘OTR
legacy alive with a completely revamped new edi- body of work of one writer and present his art in Blackbook Vol. 2 – Bates’ in the same format, fol-
both pages: JePSY / naples, Italy / 2008
tion. ‘Jepsy – The Real Deal’ revisited and revised, big photos. The idea for that format came from lowed in 1999 by ‘OTR Blackbook Vol. 3 – Seen’, 120 121
is both a tribute to the artist and to the humble Kotthoff aka Topic One, who was editor in chief (which by then already had 138 pages with glue-
beginnings of the On The Run book series. and layout designer for the MZEE magazine and binding). Also those print runs of 8,000 copies each
left page: JePSY / Mainz / 1997 also my partner at MZEE at the time. Topic took were sold out within the year.
5

GePSY / Mainz / 1996 right page: KLAY, GIPSY / Mainz / 1996

86 87

Softcover / Price: 9,95 € / £ 9.95 / US $ 14.95 ISBN 978-3-937946-66-5 Limited collector’s edition / Price: 14,95 € / £ 14.95 / US $ 19.95 ISBN 978-3-937946-67-2
FROM HERE TO FAME PUBLISHING / BACKLIST
OTR BOOK # 6: NEW YORK
CITY BLACK BOOK MASTERS
This book is a candid collection
of playful drawings from some
of New York City’s finest writers.
Softcover
9,95 € / £ 9.95 / US $ 14.95
ISBN 978-3-937946-60-3
Limited collector’s edition
14,95 € / £ 14.95 / US $ 19.95
ISBN 978-3-937946-61-0
OTR BOOK # 5: SMASH 137
This contemporary European artist
is a writer’s writer, with an advanced
conceptual take on letter styles and
modes of application.
Softcover
9,95 € / £ 9.95 / US $ 14.95
ISBN 978-3-937946-56-6
Limited collector’s edition
14,95 € / £ 14.95 / US $ 19.95
ISBN 978-3-937946-57-3
OTR BOOK # 4: PART ONE
One of NYC’s most influential
style writers, from the mid 70s
developmental years until now.
Softcover
9,95 € / £ 9.95 / US $ 14.95
ISBN 978-3-937946-58-0
Limited collector’s edition
14,95 € / £ 14.95 / US $ 19.95
ISBN 978-3-937946-59-7
OTR BOOK # 3: CUBABRASIL
An exceptional art project with
the colorful urban interventions
of more than 25 artists from
Cuba, Brazil and Germany.
Softcover
9,95 € / £ 9.95 / US $ 14.95
ISBN 978-3-937946-54-2
Limited collector’s edition
14,95 € / £ 14.95 / US $ 19.95
ISBN 978-3-937946-55-9
OTR BOOK # 2: LOGAN
Artworks from the ingenious
young Andalusian muralist,
illustrator and tattoo artist Logan.
Softcover
9,95 € / £ 9.95 / US $ 14.95
ISBN 978-3-937946-52-8
Limited collector’s edition
14,95 € / £ 14.95 / US $ 19.95
ISBN 978-3-937946-53-5
OTR BOOK # 1: SENTO
The life and fantastic pieces of
the legendary New York
subway writer Sento.
Softcover
9,95 € / £ 9.95 / US $ 14.95
ISBN 978-3-937946-50-4
Limited collector’s edition
14,95 € / £ 14.95 / US $ 19.95
ISBN 978-3-937946-51-1
HIP HOP FILES
Martha Cooper’s bestseller and the refe-
rence on the history of Hip Hop culture.
Hardcover
39,99 € / £ 35.00 / US $ 39.95
EU / Asia – ISBN 978-3-937946-02-3
USA – ISBN 978-3-937946-00-9
Softcover
29,90 € / £ 29.90 / US $ 29.95
ISBN 978-3-937946-05-4
SCHWARZ AUF WEISS
A fine selection of characters,
styles and vector graphics by
international urban artists who
work on the philosophy that
“style needs no color”.
Hardcover
9,95 € / £ 9.95 / US $ 14.95
ISBN 978-3-937946-18-4
THE NASTY Terrible T-Kid 170
This autobiography chronicles the
life and art of a former gang member,
turned graffiti artist—an uncensored
Bronx Hip Hop story.
Hardcover
34,99 € / £ 34.99 / US $ 34.95
EU / Asia – ISBN 978-3-937946-11-5
USA – ISBN 978-3-937946-10-8
Hardcover / 25,00 €
ISBN – 978-3-937946-12-2 / french
BACKJUMPS
THE LIVE ISSUE # 3
Documenting Germany’s original and
most authentic street art exhibition
series, located in Berlin.
29,90 € / £ 29.90 / US $ 29.95
ISBN 978-3-937946-27-6

PUBLIC WALL WRITING
IN PHILADELPHIA
The history of wall writing is
celebrated at its place of birth.
19,90 € / £ 19.90
EU / Asia – ISBN 978-3-937946-07-8
www.fromhertofame.com / info@fhtf.de
STREET PLAY
Photographs by Martha Cooper.
70s, NYC, Lower Eastside:
A warzone-like wasteland, but still
a perfect playground for children.
Hardcover
29,95 € / £ 29.95 / US $ 29.95
ISBN 978-3-937946-16-0
Softcover
19,90 € / £ 19.90/ US $ 24.95
ISBN 978-3-937946-15-3
WE BE GIRLS
The first book focusing on girls in
Hip Hop culture with international
artists speaking their piece.
Price: 25,99 €
ISBN 978-3-937946-17-7
(only available in Europe,
except for the UK)
DISTRIBUTION
FROM HERE TO FAME Publishing
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10405 Berlin
Tel.: +49 (0)30-210 21 86-70
Fax : +49 (0)30-210 21 86-77
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