I'm gonna start by going back to the first typeface that I set the M and the W in, which is Universe Bold. And these are fairly regular sans serif forms. And I'm just gonna play around with how the two letters fit together, see what kind of ideas I might come up with. So straight away one of the things that I notice is that the M is straight. And the W is flat, or angled. And I also, unfortunate that my name has an M and a W which are almost symmetrical letter forms. So to begin with I start to wonder what would happen if I turned the M into a W for instance. And if I turned the W into a M. And just by a simple move like that, it means that I've suddenly got two letter forms that might interlock in a more easy way. So you can see the M and the W, form a fairly harmonious pattern together. And the same with the straight m and the w. And even little accidents like that when you're moving things around, you can see negative and positive space. You might start to think about how things might line up. And what the relationship between the two letter forms might be. So let's just take this one and put it in another spot. So just starting to think about how the letter forms link together, and what their relationship is, how they might overlap, sit side by side. And just starting to play around with what those letter forms are, and how they sit together. And don't worry about legibility or trying to get any meaning into the letter forms and their arrangement. For now, just experiment and have fun. Move things around. Really look at the forms. It's kind of just a way of really playing and discovering really, by moving form around. So rather than have you watch me shuffling around an M and a W, I'm gonna go away and make some M's and W's with the typefaces that I chose. And then we'll look at them really quickly, just to give you an idea of, again, process. Which is, in this case, just one of iterations and generation. Trying to make a lot of work and a lot of possibilities, knowing that they won't all be good. But at least we'll have something to look at and react to. So here's some M's and W's working together. And I'm gonna go through them quickly and just point out some of the strategies that are used for making these two letter forms work together. So here you can see we've flipped the W to make an M, so now we have this nice repetitious harmony in the angle of the strokes, and even-ness in negative and positive space. That feels quite interesting. Here you can see if we just add a little tiny bit of space, in between the two letter forms, it actually makes it a whole lot legible as an M and a W. Here we're just playing around with scale, taking one of the letter forms, making it smaller, seeing how it might fit into the counter space of the other letter form. Here trying to do the same thing, but have them interact and overlap a little bit more. Down here you can see a similar idea to the strokes of the M and the W here, and the rhythm and repetition. But with totally different and more solid letter forms, starts to be a little harder to read. And here you can see trying to line up the serifs as a way, as a strategy for making the letters work together. And in this case, rather than trying to make the two letter forms be harmonious in terms of being straight or flared. Here I'm trying to make the two work together and accentuate the difference between the two. My strategy for making these monograms will be to generate as many as possible as quickly as possible. Just so I can try and see what the range of ideas are that are out there. So here's a bunch more that we'll look at very quickly. So you can see here different letter forms start to make different shapes. This one the negative space becomes interesting. Almost looks like an intestine. Here you can see again the flipped letter forms, but with a totally different kind of letter with a modern serif. It has a very different feeling. Here you can see what happens when we use, down here it's the straight capitals, here it's the angled capitals, starts to feel very different. I kind of like this very blobby, cooper black type face, even though it isn't, I'm not sure what it's really doing. Just the forms, and again the negative and positive space seem to very interesting. So let's keep going and look at some more. Here you can see a more traditional italic type face, and how those might connect together. A much less conventional but still really interesting type face. Some very simple forms and really looking at how the two letters might align and start to make a new form. You see this very strange X appearing here. Trapping the negative space to try and make that have some kind of energy or become something else. And generally, just really playing around with a lot of different things and just trying to generate ideas, and sometimes they really don't work and that's fine. It's really just about volume and having fun. So now we have a group of monograms that we can work with. Let's put them into the context or the form of the business card, and add the other typographic elements that we have, and start to see how the two are gonna interact.