“Typography is the craft of endowing human language with a durable visual form.” ― Robert Bringhurst
Typography does not necessarily have to be beautiful to be successful. The fundamental principle of typography is to clearly convey an accurate message to the viewer. Letterforms themselves can imply meaning, even when the context is not understood. An elegant, curved typeface implies something completely different than a bold, straight-lined typeface. For example, you cannot create a garage sale sign using elegant script unless you are planning on selling very expensive items, in which case I'd call it an estate sale. We use these tools to convey appropriate emotions and meanings to the viewer to allow them to clearly understand the content.
The relationship between letterforms also plays a very important role in typography. The weight of the strokes can be utilized to make things more interesting. Figure ground is also a prominent element within typography. The complete form consists of strokes and spaces. When designing typefaces, it is challenging to maintain the uniqueness of the characters while producing a consistent form. Elements such as stroke-width, x-height to cap-height ratio, posture, slant, aperture, serifs, terminals, and letter-spacing all come into play when designing. (There is a lot to consider.)
Measuring typefaces is complicated. The WYSIWYG software (What You See Is What You Get) allows us to accurately measure digital typefaces. Size is determined in relation to structure as opposed to the body. Because of all of these elements, typefaces are difficult to classify.
These readings really brought to light all of the intricacies that I need to be paying attention to when creating my monograms. After reading, I decided to change the weights on my letterforms to juxtapose thick and thin lines, making a more aesthetically pleasing and expressive monogram. I also decided to stray from the traditional idea of a monogram and make it a bit more abstract. The letterforms will be geometric, creating planes and shapes that are not readily viewed as type. The relationship between my letterforms and the overall form are being manipulated to better represent my personality.
I was also inspired by Kazimir Malevich and his Suprematism approach of removing the subject matter and focusing on the essence of the letterforms. I wanted to capture the geometric shapes of the "K'' and "A" because they are both full of angular lines, no curves. What I originally saw as a challenge (no curves) became my source of inspiration. I'm quite pleased with the result.