Hunger (for life)
@cryptoreforma
Posted 1d ago · 5 min read
In the summer of 2024, I published a post on @cryptoreforma/graffiti-fonts-eng-pt" target="_blank" rel="noopener noreferrer">Graffiti Fonts, where I showcased various styles and their names based on artistic and visual patterns. For CCC’s Street Art Contest #296, I’m returning to the topic of fonts. They are forms of expression for emotions, slogans, reflections, and thoughts.
The title of the post is inspired by this first image. Influenced by classic graffiti lettering, the focus is on the word FOME (hunger)—with sharp angles and internal cuts, in a simplified Wildstyle. However, someone later added two more words that completely alter the original message: “de viver” (for life).
This second piece of graffiti represents a different style within urban culture—it’s much closer to the classic throw-up (throwie), with a strong bombing influence.
In addition to the throwie, we also see the Bubble style (featuring inflated shapes—almost like balloons) and the Bombing aesthetic, which focuses on repetition and the occupation of urban space, prioritizing presence over artistic detail.
This graffiti is an excellent example of how urban typography uses distorted letters to create a unique visual identity, transforming a dilapidated wall into a canvas for artistic expression.
The style falls somewhere between a throw-up and a simplified piece. Although it appears simple at first glance, it incorporates technical and stylistic characteristics that are very unique to urban culture.
Very similar in style to the second graffiti piece, this one is also technically challenging, as the horizontal grooves distort the lines. The artist managed to maintain the proportions of the letters despite the irregularities of the material.
Using the splash/dots technique, small fluorescent yellow circles are scattered in an apparently random pattern. This technique serves to add texture and a sense of “vibrancy” or controlled grime to the piece.
Here, the frame of the billboard was used as the boundaries of a canvas, as if they were writing an illegible manifesto, filling the space in a rhythmic manner. This work moves away from traditional spray painting and enters the realm of “Tags & Handstyle” with a much more calligraphic and gestural approach.
The technique used takes on extreme importance in this creative work: the Free-Flow Ink Marker (Dripping Marker), based on the use of broad-tip markers (such as “mop” or “squeezer” types). The fact that it is on an acrylic billboard allowed the ink to flow differently than it would on a porous wall.
The style used is Urban Calligraphy (Handstyle). Unlike the previous images, which featured a “block letter” structure, here the style focuses on repetitive signatures. It is almost a form of “tags” that cover the entire surface, transforming the text into a visual texture executed in a chaotic and urban manner.
A piece that exemplifies the classic “vandal” street style, focused on speed and marking territory, in a “Silver Piece” / “Chrome & Black” style. The fact that the letters are filled with silver (chrome) and have black outlines isn't just for aesthetics; it's functional. The high contrast makes the graffiti visible even in low light.
This graffiti features a more architectural and stylized lettering structure, in the Semi-Wildstyle style, where the balance between legibility and decoration is the main focus. The letters are very close together or overlapping, creating a unique visual unity, almost like a logo.
The color palette evokes a sunset or a heat haze. The contrast between the dark top (purple) and the bright base (yellow) creates a natural light effect that makes the piece “shine” against the gray wall.
A classic Bubble Letters-style graffiti piece, one of the most iconic styles in urban art. A vibrant and technically flawless example with a focus on color theory and spray control.
Finally, a double dose of overlapping styles and a direct link to the history of global graffiti. In the graffiti above, SIRG!, the simplified Blockbuster style dominates. The letters are straightforward, square, and highly legible, with impact and a strong sense of presence. The use of red on white creates a visual impact that allows the name to be read from a distance.
In SANE, the evolved Throw-up style predominates; the letters have more movement and “swing.” The name SANE carries historical weight in street art culture; Sane and Smith were one of New York’s most famous duos in the 1980s. Sane (David Smith) passed away at a young age in 1990, becoming a legend. It is very common for graffiti writers around the world to paint the name “Sane” as a tribute or due to the direct influence of classic New York aesthetics.
All of these graffiti pieces can be found on the streets of the city where I live and work, Coimbra, Portugal.
