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Colors constantly accompany our lives—but what happens when we remove them entirely?
Following my last post on Color & Color Systems, I now turn my attention to another module from my studies at the OfG / Online School for Design: the exploration of pure form. In the “Monograms” module, my initials took center stage – stripped of the distraction of color, reduced to black and white.
This exercise took place quite some time ago, but it sparked a process that extended far beyond the actual assignment itself.
Note: The following insights are a selection only; the actual sketching process was far more extensive.
The Challenge: Three Categories, Three Characters
The task was clear: I was to develop three original monograms in the categories of serif (Antiqua), grotesque, and cursive (calligraphic). The goal was to translate the initials of my identity into different typographic realms. In the process, I delved deeply into working with vector graphics and learned how crucial even the smallest details are in shape creation.
Antiqua: The Play of Positive and Negative Space
My first design was based on a classic serif typeface. The allure here lay in simplicity: The two capital letters (known as versals in typographic terms) stand clearly side by side. What makes the monogram intriguing is the subtle perception of positive and negative spaces. It was a lesson in how black and white communicate with each other to create a balanced lettermark.
Grotesque: Compact Fusion in a Retro Style
In the grotesque variant, I ventured further into abstraction. I used lowercase letters (minuscules) and allowed the shapes to interlock—for instance, by cutting an arc as a negative space into the other. The rounded terminals gave the work a charming retro style. Here, I learned how to create a very compact unit through densification.
Calligraphy: Organic Shapes and Their Limits
The third design was the most freeform: An organic, self-created shape with a broad nib style. It was the most original and dynamic attempt, yet it also taught me an important limit: legibility. By focusing on the dynamic composition, the clarity of the letters was partially lost—a valuable reminder that design must always balance expression and clarity.
What I Learned from the Feedback
The constructive analysis from the OfG was very encouraging. My “playful sense of experimentation” was particularly highlighted. I realized that I boldly push the boundaries of legibility, which is exciting in art, but in design, must be a deliberate choice.
From Exercise Piece to Personal Symbol
Even though I am now about six modules further into my studies, this topic continues to engage me. What made this module special was that I independently developed and expanded one of the concepts beyond the coursework.
While designing a functional icon (essentially a logo) for my new app, Jot Diary, the monogram represents my personal design identity in projects that are still growing in the background. It’s a living example of my motto: “Texts and designs that emerge from experience and remain open.”
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Form Finding
Connection
Own Symbol
Supplement to the Emblem: Word-Image Sign
My Personal Conclusion
This module provided me with an intensive insight into the world of fonts and vectors. It sharpened my eye for form, detail, and typographic relationships and showed me how much expression can lie in reduced means.
For me, design is a privilege. I am grateful for the opportunity to continuously develop through such tasks and to responsibly manage the talents entrusted to me.
Outlook
The journey continues: In the upcoming posts, I will share my experiences from additional modules of my OfG studies—including areas like editorial and logo design. These will also explore the tension between personal taste and strategic design.
If you have questions about my learning path or about designing monograms, I would be happy to engage in a discussion.
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