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MONTANA CANS LOOKBOOK #9 2024

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  • Wwwmontanacanscom
  • Photography
  • Jepsy
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  • Mural
  • Artists
  • Recap
  • Edition
  • Cans
  • Graffiti
  • Montana
Montana Cans LOOKBOOK 2024 – back in black! We’re happy to unveil the Montana Cans LOOKBOOK for 2024, and this edition is particularly special! It’s been an exhilarating year, filled with events, collaborations, and of course, our continuous commitment to fostering the vibrant culture of graffiti and street art. The past year, we’ve journeyed through numerous Jams and events, championing the graffiti culture and creating opportunities for artists to interact and showcase their work. Our involvement ranged from facilitating platforms for emerging talents to celebrating the contributions of legendary figures in the graffiti world. And let’s not forget, we also expanded our innovative product lines! #montanacans #germanspraypaint https://www.montana-cans.blog/the-new-montana-cans-lookbook-2024/↗

M Does fame count as a

M Does fame count as a motivating factor for going for bold actions in visible spots? R Well, not in the sense of an ego boost. But I like the way these actions have opened doors for me. The benefits have helped me in many ways, not only in the graffiti world. M So, it’s not about the fame but rather the result of it? R Yeah, more or less, it’s always nice when someone appreciates what I’m doing because I put a lot of time and effort into it, but I could live without that. The benefits and outcomes are a bigger factor for me. M Speaking of outcomes and effects of these actions, to what extent do these missions affect your painting style? Can you paint what you want, or do you merely paint what you can, if that makes sense? The whole body movement must be very different from standing on firm ground. Being quick is one part, and chrome is so efficient that I can cover a lot of space with fewer cans. I can do a lot with two big chromes. R I do adjust my style to fit the vertical constraints of painting, but there’s always a way to achieve something else it just takes more time which isn’t always possible. Lately, I’ve started doing more block letters, which because it was pitch black where I was getting ready, and I missed something. Another time where I had some gear fail. The thought of death isn’t so scary until it’s happening, then it’s not so chill. M I believe that! Is that not a reason to reconsider or stop? What makes you get up a roof again the next time when such things happen? What is the appeal of these missions for you, and what is the experience or the recognition for doing hardcore spots? R Rappelling opens up a whole new category of spots, and it’s a really effective way to stand out from anything else in a city. Initially, that was the intention, along with trying something new. Now I think it’s more from habit. Rappelling or trains are the most effective things to do if I have limited time in a city, so it’s mostly just that at the moment. 100 Artist in focus RAMS

makes painting a bit easier since straight lines are easier to gauge scale when so close to the wall and unable to stand back. I was more into complex wild styles, but from afar, the pieces would be hard to read, like a blob of colors.So, my pieces, in general, became more legible. M Interesting! Your work is highly technical, and the rappelling must be somewhat technical, too. So, do you ever paint spontaneously? R Yeah, I mostly paint freestyle. While I have a plan for the mission, the painting part is very situational. I might have an idea for a block letter, but I figure out the details and variations on the spot. I want to avoid repeating the same sketch over and over. Painting trains helped me handle pressure and helped me think about efficiency a lot more. I spent a lot of time rendering my pieces as fast as possible, and it’s actually the same approach for the rappelling. I want to be on a wall for the shortest amount of time possible. M Do the circumstances influence your way of painting, in the sense that your reach is limited to an arm’s length while hanging from the rope? R That depends on the spot. If I’m painting on blast and I’m visible from a busy street, that might be the case because I can only go down once. But if it’s a spot where the potential of being spotted is lower, I can adjust and do whatever I want. Swinging back and forth to get more width or moving the rope across are really good ways to do a bigger wall properly, but of course, it’s just time-sensitive. M I believe so. Time is always the most prominent factor. Does your choice of colors reflect these circumstances, too? R Yeah, I use a lot of chrome and black. Being quick is one part, and chrome is so efficient that I can cover a lot of space with fewer cans. I can do a lot with two big chromes. But if I have more time, I might use 15 chromes plus outline, etc. Bold letters above the Highline in Berlin make the subway look like a model train. I use a lot of chrome and black. Being quick is one part, and chrome is so efficient that I can cover a lot of space with fewer cans. I can do a lot with two big chromes. M That makes sense. Is rappelling physically challenging? Do you have to be fit to do it, or can you become fit by doing it? R It’s more about technique. Of course, it’s physically draining to do it, but it’s not like you have to pull your Artist in focus RAMS 101

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