Launching a magazine into the world of graffiti, is no easy feat, most printed matter isn’t. Putting together the right layout (at the right price) helps matters, but all in all, the most important factor relates to the content featured between the covers. Thanks to the internet, staying up to date with the happenings in any culture, let alone graffiti, is slowly killing the idea of holding a collection dear, with each and every click exposing new works. Vinyl has converted to mp3s, bookcases have shrunken to a flat screen and pieces are held with less regard, as one follows the other. Thankfully, there are still individuals willing to fill our bookshelves with a collection of choice pieces and damage, with the new release GhettoGraffik Magazine, hoping to do so. Spreading its many lens’ across six states, this Australian based release offers some pretty big features for its first issue, along with a train load on the outskirts.



Covering itself with a blinding cover from Next, taking down yet another panel, this inaugural issue lays all its cards out on the table from the get go. Completely void of any words or statements, Issue 1 uses it’s 80+ page spread to deliver some of the best pieces from around the country, dividing itself between the time consuming intricacies of still walls and the sharp efficiency of the many moving steel structures surrounding the major transport districts. Between the visual chaos, standout features from Blex, Basix, Phibs and Tarns, sit alongside heavy contributions from the Melbourne, Sydney and Brisbane scenes in particular, with names like Snarl, Sofles, Close and Noise being just a few of the standouts. There’s plenty to consume from this first issue and the layout accommodates the spread perfectly, never being too small to have a closer look, but also allowing more to fill the page at each turn. Having put together a handful of (shoddy) zines in past, structuring an album from page to page can be a tiring and (somewhat) never ending experience, but GhettoGraffik has managed to pull this off without feeling stale or repetitive.



With it’s landscape layout and high energy content, GhettoGraffik Magazine has appeared from nowhere to become a welcomed addition alongside the many other magazines, so many of us like to collect. While the internet may provide us with instant access to so many tags, throw ups, pieces and panels, so much can on forgotten in years to come, as one follows the next. Magazines like this are a necessity, as they lock such integral moments into this small capsule, allowing you time to go at your own pace and appreciate an uninterrupted point in the world of graffiti.

I found my copy of GhettoGraffik at VILLAIN, but it should be available at your local aerosol supplier now, if not, very soon.