Letter-Letter Monogram Study
In this project, I explored the relationships between different letter forms utilizing the positive and negative space that each letter expresses.
Planning
Using sheets of various different font families, I gathered references from blocky and condensed type. Mixing and matching using the negative space of the letter forms I came across a few ideas that I felt were good enough going forward.
A few matches that caught me was #12, the Haettenschweiler Q and Bell MT J, #1 with Impact and Garamond, and #7 using Impact with Constantia in italic.
InDesign Planning
Putting together the ideas into InDesign made the forms work together as a composite prior to selecting the idea that I felt worked best with the font styles and within the positive and negative space.
I selected three that I liked the most using the templates I created with the tracing paper, then decided on the QJ combination, but felt it needed a new letter rather than J.
This combination of QF felt the most functional. I had made note of the line thickness of each box formation to make the F form fit in the Q with no visual issues.
The next progression was to select a suitable texture that would show off the monogram's dynamic potential.
Overall, this monogram study set me in the condition to establish a visual plan that's organized and concise for each new project or exploratory process that would end up being a final product.
Being able to have the type at my desk and use my markers to create the letter forms also aided me in constructing the individual elements of the fonts I selected. Having a range of serifs and modern type families gave me an appreciation for the formal aspects of the families I had available. My struggle with utilizing the positive and negative space of a composition felt more improved as this project greatly explored the possible space utilizations that the letters inherently possessed.
