Metaplane development

Once the typographic forms of the logotype were sorted it was time to work on their display as they might appear on the tshirt. Overlaying the typeface slightly offset gives an extra level of visual complexity to the composition and allows for a subtle three-dimensional effect. The repetition enhances the decorative forms and facilitates the desired slightly unnerving dynamic look. There is an element of gothic appropriation within the aesthetic, a clear product of my research into midnight studios and raf simons. One potential problem is the delicate nature of the fine points as this may not come through perfectly via screenprints but trial and error and making the type as big as possible should help with this.    

Overlapping the type once again but the further offset was experimented with in an attempt to use the strong structural forms of the key shape to create some kind of repeat pattern. Treating the type as a series of intertwined shapes instead of stand-alone letters is a clear reference to generative type in which forms often interact for decoration.   

The most effective logotype configurations came together when allowing the key shape diagonal to dictate the placement of the corresponding type. One character influences the next, forming a structure instead of a clear word. The bellow orientation features the letters within the word mirrored against and connected to one another to form what is meant to resemble a spine. This configuration is designed to run down the back of the tshirt as a comment of breaking free from the physical confines of our human forms, hence the title Metaplane.