Creating a monogram without stair-stepping and diagonals had its share of challenges as my initials are made more interesting by these characteristics. As I examined the counter, legs, and eye of the letters I tried to build relationships between them. I took the cap height and imagined it as a boundary both vertically and horizontally, making each letter restricted by a true square. By the final transformation of the monogram I standardized the heavier left side of the “K” and “C”, translating that property to the “A”, as well as making the stroke of the “A” have the same weight as the instroke and outstroke of the “C”. This process shortened the eye of the “A” and gave a more precise relationship with the gaps formed by the arms in the “K”.