Some of my favorite work is the stuff with no color. Just black and white. People think color makes things pop, but take it away and you see the bones of it — the angles, the rhythm, the space between lines. I've been doing monochrome since the early days. On the street, sometimes you only have one can. You learn to make that work. The symbols get sharper, the contrast deeper. Every drip of paint becomes part of the composition. The image you're looking at is a studio piece, black and white with just a touch of blue to give it depth. But that blue could be anything. The real energy is in the line work — the way the characters stack and weave and pull away from each other. That's the language without the decoration. Just the letters, telling you what they need to tell you.
