PROCESS
The process for this monogram was all about iteration. In the early stages of the project, I moved between quick sketches and tighter tracing paper sketches. I arrived at my basic idea for the monogram early on: I wanted to somehow marry Johnston's calligraphic roots with his sans-serif type design. This was important to me because while I was researching Johnston, I discovered that he was accused by calligraphers of selling out when he was commissioned to design the London Underground face. I hoped my monogram would show that Johnston's calligraphy and sans-serif type weren't mutually exclusive—rather, that each influenced and connected with the other, and each deserve recognition.
I found it helpful to pay attention to the negative shapes as abstract forms. Minuscule adjustments to weight, size, and positioning became important. Color also played a role; I was ultimately advised to use only one color in the monogram, but experimented with the implementation of a secondary blue before arriving at that conclusion. I spent time making sure the monogram didn't evoke other brands, like Coca-Cola or Internet Explorer.
The next step was setting the circle on a rectangular business card. I finally hit on cutting off the circle, which made the interaction of the circle and rectangle feel more organic. The colors are meant to reference the colors of the London Underground.
I used Gill Sans for the copy because Johnston was a direct influence.
After some more adjustment to the type on the back, including to positioning (making certain widths on the front and back match) and differentiating the email/web address by changing its weight and color, I was finally finished.
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