Saturday Morning Graffiti – Tattoo Ideas, Artists and Models

It doesn’t matter when or where a person grew up: every child has been told that if you keep watching these cartoons your mind will melt. Most of us have only vague memories of the countless hours we spent watching Bugs, Daffy, Mickey, and Stimpy, but Opake’s artistic sensibility was shaped by the Saturday morning cartoons. We chatted with the talented artist about a lot of things, including how he incorporates pop culture icons into his graffiti, the secret to creating an artistic script, and the tattoo images he can’t help but fall for. to recover.

Do you remember the first time you fell in love with art?

I was 9 years old and I was on vacation with my family in France. We pulled into a gas station and my mom bought me my first copy of “Bomb It” magazine, which I still have on the shelf now. I remember I just wanted to find out all I could about this art form. How was it done, why [it was done] and, most importantly, who was doing it. From then on, letter-based graffiti became my obsession and I made it my mission to find out all I could about it.

When did you know you wanted to become an artist?

I always knew I wanted to do something creative from a young age. I started painting graffiti around 13, but when I hit my 20s I got heavily involved in the rave scene (and the nefarious activities associated with it). I painted and sketched every day, but it was only for my own enjoyment and I hadn’t yet realized that this was something I could make a career of. It wasn’t until I got sober and sober that I really started to focus on advancing my own art style – the disintegration of pop culture.

We’re assuming you were a huge fan of cartoons growing up. What were your favorites and what drew you to them?

It must be “Ren and Stimpy”, although I never painted them. I really like the marginal characters in the cartoons: the big boss from “Peter Pan”, the alley cats in “Tom and Jerry” and they are always the bad guys!

Which character could you paint 10,000 times without getting bored of it?

Mickey Mouse, he’s so versatile. Separate it and you will still be able to recognize its iconic figure.

What was the first medium you worked on?

The first room I painted was in the back of a garage with War Hammer potted paint, a fine point paintbrush, and my fingers when I was 9. I had no idea what I was doing! After that, a friend and I went to steal a load of spray paint from a hardware store and walk out of our bedroom windows in the middle of the night with hockey masks looking like mini Jason Voorhees and fence panels painted with a zero style. .

How have graffiti and street art influenced you?

Graffiti is on my mind 24/7. Although I no longer go out and paint as often now, it still motivates me 100%.

Tell us how you found the signature script you are using.

The markings, the projections and that rough and grainy side of the graffiti are what it is for me. My main focus with my work is to elevate my own form of handstyles and combine this element of graffiti with pop art. Ninety percent of people assume a label is just a scribble, but it takes hundreds of hours of work to perfect it if you want to do it right. Just look at people like Some from Birmingham, House from NYC, Skuf, WKK, the list is endless, but these are just a few examples of people who I think fully understand what it is.

How do you strike a balance between style and readability when writing? Does readability still matter?

Yes and no. Readability doesn’t necessarily matter. It’s about creating a letter-to-letter flow to essentially create something that has your own stamp of its own and looks aesthetically dirty. Depending on where you are in the world, readability depends on the individual. In Philadelphia, they write tags that are totally unique to this city, like in São Paulo. As far as what I do, I like the readability. It’s the way I love to write and the personal style I have unconsciously developed and evolved. You often portray legendary cartoon characters covered in tattoos. Tell us where this inspiration comes from. One of my main interests, besides graffiti, is tattoo culture. It’s a scene I’ve always wanted to be involved in since I was a young teenager. When I was 14, I got my first tattoo on my arm and ankle with a needle and India ink and they are still on my skin today. I started an apprenticeship in a tattoo shop at age 21, it didn’t work out, but it’s something I will always love. The traditional bold line work and the colors are elements that I try to bring to my work. If you look at traditional animated cels, it’s just bold black lines and blocky colors and there’s a reason this cartoon style still carries weight today. It’s timeless, just like the traditional tattoo – the panther head, dagger, and anchor – just like vintage cartoons, these are timeless images.

Was the decision to start painting on glass a tribute to animation cells?

I always try to keep my work going and not stuck on one thing for too long, so glass was a natural progression for me. It allows me to play with layering concepts and techniques in addition to being a little nod to old animation cels.

You are selling an NFT right now. What made you choose to do this? Do you think there is a future for NFTs in the art world or that the bubble will burst soon?

Technology has exploded over the past decade and, like everything, the art scene must evolve with the times. Personally, I like something tangible, but I see the value in it and I understand why people want to collect them. I see the benefit once you add the animation. Especially with my style of work, the possibilities are endless. It’s new ground for me, but I’m delighted to be involved and to see how far it can take my work.


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