Scott Williams

Mission Future Pattern 415

Scott Williams

Mission Future Pattern 415



Edition Size



Airbrush, Hand-painting, Stencil




11.25 × 8.5 × 1 in




San Francisco, CA

$ 12,000.00

Out of Print

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SMFA at Tufts, School of the Museum of Fine Arts

This is one of the most important personal sketchbooks/design encyclopedias of the GOAT Stencil Pirate Godfather Scott Williams. Started in 1989 and just finished at the height of the first Covid 19 lockdown, when Williams was losing his eyesight to the point where he could no longer cut stencils, the book is a unique, exceptional, and stunning work of human book production; it’s an illuminated manuscript that rivals any other and a veritable kaleidoscope documenting the specific sunlight of the California Coast and the culture that sunlight seeded, and still sustains, as one of the most creatively active loci of human cultural production. This book was one of the last available unique illuminated manuscripts from Scott’s personal collection. There are only 8 more of his sketchbooks available.
William’s intricate stencil cutting and the addition of microscopic iridescent glass beads to the paints (the same used for traffic marking paints) make for an almost impossible-to-photograph visual environment of numerous viewing perspectives adding to the already complicated tessellations that at times seem reminiscent of the genius of M. C. Escher. Williams is internationally known for his stencil work, first starting on the streets as a stencil graffiti artist he later painted numerous canvases, boards, cars, storefronts, and murals. In 2005 Williams was awarded the esteemed Adeline Kent Award from the San Fransisco Art Institute.
Godfather of the street art based both the San Francisco New Mission School and the Global Stencil Pirate movement, Scott Williams was the leading pioneer in the painterly expansion of stencil and airbrush media. The relentless intensity of William’s artwork compels you to see the way he sees, to think the way he thinks; his drawings draw you into his own parallel universe. Williams’ work is pan-American in its roots and unique to California culture. It’s a hybrid mix of both Catholic and indigenous Mexican paper-cutting techniques, with the intelligence and sardonic commentary of Jose Guadalupe Posada, and the spice of modern Chicano aesthetics (Williams has lived in the Mission District of San Francisco for about 20 years). Throw in some beat, punk, and psychedelic San Francisco influences and you have an exceptionally original and potent aesthetic vernacular.
Note that the book was bound by well-loved and respected artist, and cultural organizer Carrie Galbraith (1956-2018, member of San Francisco Cacophony Society and author of “Tales of the San Francisco Cacophony Society”).
Within the eccentric and diverse Booklyn canon, Scott’s work stands with the artists’ books of San Fransisco Graffiti Godfather Cuba (AKA Clarence Robbs) Karuk Nation hero Brian D. Tripp, urban folk artist Fred Rinne, revolutionary curator René Yañez, and Mission District meta-historian Dana Smith, as one of the columns of the isolate temple of the root wisdom of Northern Californian artists’ bookmakers. This group of artists developed an important historical body of books whose aesthetics are completely immersed in Pan-American/Turtle Island culture that have almost no cultural acknowledgment of Anglo-European book art aesthetics and in many instances are both overtly and subtly critical of the white supremacism that often informs constrictions on bookmaking culture while privileging Pan-American and other hybrid cultures.*
*An extended West Coast version of this cohort would include James Enos from Portland, Oregon, and Carletta Carrington Wilson from Tacoma, Washington, both of whose work also taps into that particular orientation towards the unique palette of West Coast sunlight and culture.
Bayerische Staatsbibliothek
Bibliotheque nationale de Luxembourg
Boston Athenaeum
Bowdoin College
Chapman University
Fine Arts Museums of San Francisco
Florida Atlantic University, The Jaffe Book Arts Collection
Franklin and Marshall College
Grinnell College
Hammer Museum, The University of California, Los Angeles
Harvard University Art Museums
Harvard University, Widener Library
Jack Ginsberg Centre for Book Arts, Wits Art Museum, The University of the Witwatersrand, Johannesburg, South Africa
La Jolla Athenaeum Music & Arts Library
Library of Congress
Mills College
Museum of Modern Art (MoMA)
San Francisco Museum of Modern Art
Scripps College, Denison Library
Smith College, Mortimer Rare Book Room
Staatliche Museen zu Berlin, Preußischer Kulturbesitz, Kunstbibliothek
Stanford University
Temple University
The University of California at Irvine
The University of California at Irvine
The University of California at Santa Cruz
The University of California at Berkeley, The Bancroft Library
The University of California at Los Angeles
The University of California at Santa Barbara
University of Central Florida
University of Connecticut
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University of Nevada, Reno
University of Southern California
University of Vermont
University of Wisconsin (Madison), Special Collections
Yale University, Beinecke Library