In the vocabulary of graffiti styles, wildstyle is considered the most visually complex, and generally the hardest to read. However, once you can read one letter of a person's particular wildstyle, you should be able to decipher them all. That is because these styles each depend on a unique set of geometric relationships and operations, including translation, rotation, glide symmetry, and scaling, to achieve their particular "look", although regional/localized styles may impose similar rules and operations on many writers in a particular area.

This means that, after the viewer has "reverse-engineered" the style of any one letter in a wildstyle graffiti piece, they may apply the same steps to the other letters of that piece and end up with the same result - a decoded letter. Of course, even the bare letter at the end of that process has its own natural characteristics - whether minuscule or majuscule, serif or sans-serif, Art Deco, Victorian, Gothic, modern-influenced, or something entirely new. These styles and many more have been incorporated into the arsenal of the modern graffiti writer.

The basic traditional styles are those easy-to-read (with the exception of Gothic, script and some decorative) typefaces that we are all used to seeing in advertising, publishing, and other popular design. They have a common link, in that they have deviated/developed from the basic letterforms, but stayed within the realm of readability. The shared aspect of all graffiti wildstyles is that they have been pushed past the border of readability into the incomprehensible - camouflaged to the point where they are far outside of their viewers' consciousness. Unless you can do the math, that is...

This is not a message you are supposed to

It is 'sposed to get you

It is a statement, not a question

Your conscience hangs out with us.

She smokes cheap cigarettes

Log in or register to write something here or to contact authors.