Gauntlet Gallery
What is Shepard Fairey’s piece called “No Runs No Drips”?
Artist Statement
NO RUNS NO DRIPS Screen Print 18 x 24 inches Edition of 100
Summary
No Runs No Drips is a 1999 screen print, 18 x 24 inches, published by Obey Giant in a first edition of 100. The record provides only the title, medium, dimensions, and edition size, with no descriptive text about the imagery. It belongs to Fairey's late-1990s Obey Giant screen prints, catalogued under his collaborations and pop-culture strand. Without a description, the specific visual content is not documented in the source, so the print is best understood as one of his small early editions from that period.
Why It Matters
No Runs No Drips is part of the dense run of late-1990s Obey Giant editions through which Fairey built and tested his screen-printing practice and visual vocabulary. Even without a documented description, its 1999 date and small first edition of 100 place it among the formative works that preceded Fairey's wider fame, making it relevant to collectors mapping his early output year by year. The title itself, evoking paint and printmaking craft, hints at the hands-on screen-print process that defined this era, though the source does not elaborate on the imagery. For a knowledge graph, the value lies in anchoring the print within its cohort of same-period editions rather than overstating significance the record cannot support. Collectors who pursue completeness across the early Obey Giant catalog will care about this title precisely because it is one of the smaller, less-documented runs that fill out the narrative of how prolific Fairey was during these years. Caution is warranted: with no description, any claim about subject matter or message would be invention, so the piece is presented as a documented early edition awaiting fuller context.
Collector Perspective
No Runs No Drips mainly appeals to completist collectors of Fairey's early Obey Giant period who want every small edition from the late 1990s. With a first edition of 100, it is a modest-run piece that fits a chronological or thematic grouping of his pop-culture-era screen prints. Because the source carries no description, buyers should treat its visual content as undocumented here and seek images before purchase. For display, it works best as part of a set of same-period prints rather than a standalone centerpiece, and its appeal rests more on catalog placement and edition scarcity than on a known iconic image.
Historical Context
No Runs No Drips dates to 1999, during Fairey's productive late-1990s Obey Giant screen-printing years that followed the spread of the Andre the Giant sticker campaign and preceded his Obama-era recognition. This was a period of frequent small editions in which Fairey refined his graphic style and printmaking craft. The record files the print under his collaborations and pop-culture strand, but offers no descriptive detail, so its precise place in that arc is limited to its date, medium, and edition size. It stands as one of many documented early editions from this prolific phase.
FAQ
What is No Runs No Drips?
It is a 1999 Shepard Fairey screen print, 18 x 24 inches, published by Obey Giant in a first edition of 100. The source record provides the title, medium, dimensions, and edition size but no description of the imagery.
How large is the edition?
The record lists a first edition of 100, published by Obey Giant. No other editions are noted.
What does the print depict?
The source does not include a description of the imagery, so the specific visual content is not documented here. Prospective buyers should consult images directly to confirm the subject.
What are the dimensions and medium?
No Runs No Drips is a screen print measuring 18 x 24 inches, according to the source record.
Related Works
About the Artist
Shepard Fairey (b. 1970, Charleston, South Carolina) is an American street artist, graphic designer, and activist, and a graduate of the Rhode Island School of Design. His 1989 “André the Giant Has a Posse” sticker grew into the global OBEY GIANT campaign — an ongoing experiment in propaganda, obedience, and visual culture. He reached worldwide recognition with the 2008 “Hope” portrait of Barack Obama, now held by the Smithsonian National Portrait Gallery. Across screen prints, stencils, murals, and collage, Fairey channels propaganda aesthetics toward themes of peace, justice, environmentalism, and civil rights. His work is in the collections of the Museum of Modern Art, the Victoria & Albert Museum, and LACMA.