| FORM&CONCEPT |

I began by choosing fonts that were bold but still contained varying line weight and curved lines. Both Didot and Onyx are fonts that I found to work extremely well. My initial letterform studies are extremely simple and are more geometric in nature, while further into the group you begin to find a lot more fluid lines and shapes. These two different looks is part of the reason I chose my final two, they each represent one of these aesthetics respectively.

The first study did not change much from it's initial design, only a slight enlarging of the letterform and touch-ups within Illustrator to ensure the lines were straight. The reason this design worked so well was the  proximity of the white squares and the sense of depth that is created by having the smaller squares above the larger ones. In contrast, the second study has changed significantly since its beginning stages. Initially, the letterform was parallel with the edge of canvas, by rotating the letterform it doesn't automatically register as being in the foreground. This created the tension that the study had been lacking, though the white space still wasn't dominant enough. I decided to try to redistribute the white space to create different shapes, which is why I ended up moving the letterform off the right side of the canvas instead. This made both of the white shapes large enough and close enough to fit within the Gestalt Principle of closure. Both studies are very different as to how they look and why they work, which allowed me to explore the project's many different solutions more thoroughly.