Ovo - Shag

Painter, illustrator and designer Josh “Shag” Agle is the master of sharp, swinging lounge aesthetic that embraces illustrative finesse, flat perspective, vivid colours and the type of subtle humour that has been described as addictive. He says, “Achieving the slick look of the commercial illustration and design from the '50s and '60s is something that really appeals to me. I take a lot of time trying to keep the paintings sharp and clean, and… working on the colour palettes… I'm just trying to make something that I'd like to look at myself!” The paintings are visually influenced by avant-garde animation of the early fifties and sixties (Terry Toon animated shorts when Gene Deitch headed the studio, Disney's educational short-subjects, beer & cigarette commercials) as well as generic advertising art of the same era (sci-fi pulp art, sixties clip art, etc.). His highly collectable paintings celebrate consumerism through depictions of characters who smoke, drink and socialise in fantasy settings. High profile fans of Shag include Seth Green (Dr Evil's son), Whoopi Goldberg, Ben Stiller, David Arquette who all have Shag originals in their collections. His paintings that are filled with references to popular culture from across the ages capture slices of intriguing moments Screen printing is a printing technique that uses a woven mesh to support an ink-blocking stencil. The attached stencil forms open areas of mesh that transfer ink or other printable materials which can be pressed through the mesh as a sharp-edged image onto a substrate. A roller or squeegee is moved across the screen stencil, forcing or pumping ink past the threads of the woven mesh in the open areas. Screen printing is also a stencil method of print making in which a design is imposed on a screen of silk or other fine mesh, with blank areas coated with an impermeable substance, and ink is forced through the mesh onto the printing surface. It is also known as silkscreen, seriography, and serigraph. Our Name The term “safe walls” refers to legal spots in the urban landscape for local graffiti artists to do their work without the fear of sanctions. The Poster As A Vital Art Form From the public notices of Antiquity and the first leaflets and placards handed out by traveling performers—which hark back to the end of the 15th century—to the advertisements of contemporary circuses, the poster has had a long and colorful history. With the advent of printing, circuses all over the world were able to produce posters in large quantities for display in public places to attract the attention of passers-by. Generally created by local artists, these visually striking works were the ambassadors of traveling big-top circuses and spread the word of their imminent passage in a city. Like the circus itself, the circus poster of lore exerts a fascination all its own; it strikes the spectator head-on. Poster artists and illustrators have had the uncanny ability to distill enormous amounts of information into iconographic images that penetrate and endure. Posters are designed to mystify, arouse curiosity and the urge to see, but more than mere advertising tools, they have long been recognized as a vital art form—one that shares common roots