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o its unique characteristics, has generates widespread concern among various circles. It impacts on local government, public transport and utility providers, local communities and young people in a variety of ways. Graffiti is not a 'simple or homogenous phenomenon' (Anthony Morgan and Erin Louis, 2009) and there are many different types of graffiti and each type has a different profile. Generally speaking, the most identified common form of graffiti in the literature is tagging, which is commonly recognized as stylized signatures, logos, or nicknames. According to Halsey & Young, the reason for tagging being the most notable type of graffiti is mainly rests in the fact that it involves writing a pseudonym on surfaces such as walls, fences and public transport facilities, is the most visible and prolific form of graffiti and those involved in its production are most frequently targeted by interventions (Halsey & Young 2002, quoted in Anthony Morgan and Erin Louis, 2009). And the rest types of graffito can verbal, nonverbal (images), and image-only ones. Besides tagging, pieces are the more elaborate one in that they use multiple colors, can expand the size of an entire wall, and can be completed by more than one artist. The term 'piece' is derived from the word 'masterpiece'. In the eyes of the graffitists, they view their work as masterpieces. Graffiti, being a form of communication, is largely different from the traditional modes of interactions in terms of lexical, syntactic, and other extra linguistic features. This part will deal with the common properties of graffito language.   

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Conclusion 

This thesis, draws on the MCA (Harvey Sack 1972a, b, 1992) and VG (Kress and Van Leeuwen 2002, 2006), attempts to uncover the myth of campus graffito in terms of how campus students’ identities are constructed by image-based and text-based graffito forms, instead of coping with how the graffiti convey information,  which  is  the  largest  difference  that  distinguishes  itself  from  the  previous  graffito-related researches. It mainly investigates the following four questions. 1) How do the participants organize their talk-in-interaction  to  work  up  identities  as  practicing  members  within  campus  graffiti?  2)  What  graffitists’ identities are lexically constructed through wall conversations on campus? 3) What graffitists’ identities are visually constructed by “images” through paintings on the campus wall? This chapter is the conclusion part of the thesis by summarizing the previous findings and some limitations and further suggestions of the study will also be listed below. 
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