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.
These styles and many more have been incorporated into the arsenal of the modern graffiti writer. 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.
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.
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. However, once you can read one letter of a person's particular wildstyle, you should be able to decipher them all. In the vocabulary of graffiti styles, wildstyle is considered the most visually complex, and generally the hardest to read.
