The latest issue of the free pdf graffiti magazine Bloodwars is out.

UP 41, which should have been released in November has been delayed. New date is mid-december. We’ll post an exact date on thsi website as soon as we have one. Sorry about it folks.
Read below for more info on the content of UP 41.

The winter issue of 2009 takes a closer look at two scandinavian writers with completely different approach: The raw expressions of Black from Copenhagen and 10 years of trains and walls from Stockholm native Recks.
We’re also happy to present some of the most recent works from “The Man Machine”, Fher. undoubtly one of Stockholms most active writers ever. don’t miss his panels, wholecars, walls and bombings and read what other writers has to say about him.
UP 41 will also take you all the way to Canada and a report from a small but active train scene. The “clean trains” in the country of ice hockey is a well kept secret.
From Canada we move south and stop in the Big Ease. In New Orleans the battle between writers and a vigilante known as “The Gray Ghost” has been going on for more than 10 years. don’t miss that story.
On top of that this issues Old School session is a chat with Copenhagen legends The Dark Roses. Jacob Kimvall talks about Duanes pieces in his Top of The Line series. And as always the latest gossip in Word is.

In the end of september and in the around the 20th of october the new OTR Blackbooks will get released. Here are some detailed informations about the books.

PART ONE - THE DEATH SQUAD
Part One – The Death Squad gives credit where credit is due to the unsung legend that is Part One, a true style writing master from the pioneering days―with a taste of classic old school New York subway graffiti, as we follow Part’s contribution to the scene from the mid 70s, developmental years until now. Part entered the subway graffiti movement in 1974 just after the foundations for piecing had been laid down. He began doing the bubble and mechanical styles of the era and by 1975-6 he truly came into his own. From 1977 to 1980, few writers could compete with Part One and his TDS partners. Today, Part is still active and going strong―his funkified pieces give the newer generations of writers a real run for their money even by today’s standards. This is the first publication that deals with his impact on writing culture, with stories from the early days until now.

release date 25th September 2009
Full Color | 128 Pages | ca. 260 photographs and illustrations

SMASH 137 – smash proof
Contemporary European style writing at its finest, ‘Smash 137 – smash proof’ is an exciting look into the style development of Swiss graffiti writer Smash 137 as he refines his craft. Smash 137 is an impressive talent, who has heavily influenced not only the European but the international writers’ scene for years. He is renowned for his super fresh letter styles that while appearing simple are privy to some complex connections and transitions. One could say he is a master of a certain ‘complex simplicity’. While housed in seemingly simple bubble-esque structures his styles contain subtle but elaborate letter interconnections. This is a work in progress full of interesting twists and turns. Watch as Smash takes the art of writing to another level…

release date 26th October 2009
Full Color | 128 Pages | ca. 220 photographs and illustrations

NEW YORK CITY BLACK BOOK MASTERS
‘New York City Black Book Masters’ is homage to the writer’s humble black book. Within the pages of any writers black books are delightfully candid gems; with thoughts scribbled down, pieces planned out and colorful burners setting them alight. In their black book writers practice their craft, fool around and collect signature styles and burners from other writers. The ‘New York City Black Book Masters’ is an intimate collection of personal drawings from some of New York City’s finest old school and new school writers. The likes of, RIff 170, Noc 167, Case 2, Chain 3, Dondi, Erni, Daze, Iz the Wiz, Lady Pink, Zephyr, Ghost, Freedom, T-Kid 170, Cope 2, Nic One, Ewok, Zimad, Ket and many more. It is a great opportunity to see these writers unplugged.

release date 22nd October 2009
Full Color | 128 Pages | ca. 170 photographs and illustrations

There’s a big interview with german graffiti artist Omsk167 on SensesLost with lots of pictures.

Six “intelligent and well-educated” Australians have been jailed for causing damage put at £70,000 during a six-month graffiti spree in London. Read the whole story at BBC.

Who knew dripping paint on a wall could get you worldwide fame! Well if you’re the mastermind behind a revolutionary brand such as KRINK you may well be on your way. Not content with regular paint and spray, Craig Costello (aka KR) set out to concoct a mixture to blow minds and fill his pockets with loot! An avid artist, KR was always on the look-out for something more - a step away from the filled-in fonts and tags that were becoming the norm in the graffiti scene. With a clever package and a simple solution, KRINK dripped its way around the globe, “allowing KR’s trademark aesthetic to develop in the hands of artist and vandals worldwide.” Sneakerfreaker caught up with the man behind the brand on the eve of his first local tour!

Growing up in New York, how did the street art and graffiti of the time influence you to start doing your own thing?
Graffiti was everywhere and a part of the general landscape. Most of my friends dabbled in it, and graffiti was a style that young kids explored their creativity with. I think at that time the overall attitude was DIY, we were young kids with not a lot of money, we made our own skate ramps, stole spray paint, and painted illegally in the backs of warehouses etc.

How did you discover and master your signature stylings of the ‘drip’? What started it all off?
I wanted to stand out and separate myself from other writers. Having my own ink turned out to be a great solution, because I was able to push my aesthetic with my own product. It took a while for people to figure out what I was doing. By then I had established my style, people saw it was successful and started to copy it. Everything was a very natural progression, there was little to no planning. The root of it is wanting to separate myself from the norm and experimenting with materials and style.

Did you always relate your style of art to graffiti?
I started as a totally traditional graffiti bomber. I was all about racking paint and materials, doing tags, throw-ups, and simple styles.
All the other more abstract stuff came much later because I became a bit bored with graffiti in the traditional sense, it began to feel very restrictive and the ’scene’ also felt restrictive and full of rules. I wanted to do something different, so I removed my name, KR, from the equation, but the methods and attitude remained very similar. The response I got was really positive, and I saw that a lot of different people were interested in what I was doing, not just graff writers.

Did you truly see yourself as broadening the realms of what street art could be? It seems that your style stood out from other graff artists that were neatly ‘filling in’ lines!
My time as a graffiti writer informs a lot of what I do. I am not just a ’street’ artist. I am interested in contemporary art and design. I went to art school and studied conceptual art and photography. ‘Street’ art to me is cool, but I do not always associate myself with the current explosion. I like to think of myself as a creative person that can apply myself to many fields. I am not solely speaking to graffiti writers or ’street’ artists with my work. I want everyone to be interested. Also, I feel that for some people out there graffiti and the ’street’ is very free. You create your own rules and impose your vision on the city.

Back then, what paints were you using?
I have always been about economy. When I was younger I racked 100% of my materials. Rustoleum was the number one paint of choice, but beggars can’t be choosers, so I would take what I could get. When spray paints became harder to get, I started using bucket paint. Again, it was economy and accessibility, for me this was a very important part of my process. A gallon of paint and a couple of cans of spray and I was all good. Eventually, I went to all bucket paint, as I saw it as a natural progression and at the time the use was very limited by other writers. If anything most writers frowned on bucket paint. I am open to new materials and ideas. A wet sponge on a dusty window is just as cool and effective as a can of paint.

How then did you come to create your own signature mixture that became KRINK?
Experimentation. I knew what I wanted, and how I wanted it to look. I tried a wide variety of things and over time I developed Krink. Krink is all about individual style.

When did you start to see interest in Krink taking off?
When I was living San Francisco it was still pre-internet. News traveled much slower. People would come to SF and see Krink and immediately try to copy it. The Krink style was a must have/use if you spent any time in SF back then. When I moved back to NYC. I met Alife and had also just been featured in ‘The Art of Getting Over’ by Steve Powers. The book/press helped me to be recognized specifically for Krink on a wider platform. Alife thought Krink was really interesting and helped me package and sell it. I was really surprised at the response. It sold right away and people were always very positive from day one. Also, Irak a crew of young graffiti writers took to Krink right away and started really killing streets in downtown NYC. The street presence was undeniable, and NYC being what it is, a lot of people noticed, and were like, ‘What the hell is this?, and where can I get some?’ Over time the demand continues to grow globally.

Read the rest of the interview at Sneakerfreaker

If you aren’t tired of the 100th interview with the photographer Alex Fakso from Italy here is another one.

Italian-born, Alex Fakso began his career in the early 90s as a skate photographer. He subsequently embarked upon a more targeted personal quest which led him to record the entire process of graffiti writers in action, in both train and subway depots. A skater and graffiti writer himself, he has a raw, direct, uncompromising approach to photography and is always looking for images that portray hard and extreme situations.