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MONTANA CANS LOOKBOOK #9 2024

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  • Wwwmontanacanscom
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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/↗

I don’t go to a city

I don’t go to a city with a preconceived plan to paint something other than trains. Instead, I look for spots with the best visibility when I’m there. A whole different set of parameters is necessary for your kind of spots. Do you look for places where pieces are the most visible or where rappelling works best? A good technique allows for quick but technical details, even under stressful situations. The limited amount of time, low light, and the fear of being discovered make train painting special. body weight up constantly. I have seen friends who weigh 100 kg do it, so it’s possible. Being in shape is definitely a big benefit, but being in shape is important for painting graffiti in general or even just for life. It’s difficult to stay in shape while traveling, though. M How do you choose the spots? Do you look at the cityscape differently than a classic ground-level spot? R I approach it a little differently. I don’t go to a city with a preconceived plan to paint something other than trains. Instead, I look for spots with the best visibility when I’m there. Once that’s determined, I’ll consider accessibility and work my way down from there, prioritizing as I go. M The effort to look for spots directly pays off. You are already super up with two or three of these knock-out spots per city! R Ah, thanks, man; I’m not doing anything new, though; rappelling has been around for a long time. But it’s usually used for tagging or political movements historically. I think there’s been quite a big change in the last year though with rappelling and graffiti, there’s a lot 104 Artist in focus RAMS

more people doing pieces now, its really cool to see. Using the rappelling equipment as a tool to be able to do big pieces or block letters down the side of buildings, it’s something you can’t miss. Say there is a ten-story building, and eight of those stories are covered by a single piece. The piece is impossible to miss as you walk by. Even if the city’s ground level is completely covered in graffiti, rappelling pieces give people something to talk about. Size plays a big part; a huge piece in a good spot will leave more of an impact on the viewer than 30 throw-ups, in my opinion. M Did you consciously think about the recognition and fame before becoming a specialist in that discipline? R My initial focus was on painting trains, and rappelling kind of just happened. Being recognized for it is more of a by-product than an actual focus of what I’m trying to do. When I visit a new city, my main goal is to paint the trains if I haven’t painted that system. Once that’s done, I shift my focus. M Best of both worlds? Do you ever paint subtle stuff, like painting in abandoned buildings or tunnels? Or does your painting have to be visible? Amongst trainwriters, painting metros is the undeniable gold standard of the graffiti game. Rams demonstrates his proficiency in this discipline, too. Graffiti still looks the best on trains; I don’t think that will ever change for me. R If I have excess time, I’ll paint chill spots. It’s fun for me just to chill with friends and paint a legal wall or bando. But the time I invest should be as efficient as possible when traveling. I once went on a trip for almost two months where I only painted trains, and more or less, nobody knew I was there, but after I started rappelling, it completely changed. M Trainwriting is a relatively closed scene that is very secluded from regular society. R Absolutely. Trainwriting is under the radar for most people in everyday society, but to me, it has its unique charm. The way a piece is painted, the element of the train, and the local circumstances all contribute to something special. Graffiti still looks the best on trains; I don’t think that will ever change for me. M There are not so many trainwriters who are also proficient in street bombing, would you agree? R Yeah, for the most part, but the people who dedicate themselves solely to trains will accomplish a lot more than I could ever do, which is cool, too. I can only speak for myself, but I like both. My preference usually de- Artist in focus RAMS 105

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