Raymund has always respected graffiti from a distance. The cultural movement has had great influence on his art and his admiration manifested in certain projects revolving around paper cutouts and stencil-like drawings. It was his way of showing simultaneous appreciation for the rawness of street art combined with the formal training he received from Parsons School of Design.
In college, he referred to this style as “Planar Surface.” It was an intentionally flat drawing reminiscent of a topographical map used to describe forms in space without the formal cues of spatial recognition (overlapping shapes, variations in line weight and edge definition). The greater image as a whole was a call out to the complexity of wildstyle graffiti, where the letters were often camouflaged within various decorative elements.