The word monogram is said to be derived from two modest little Greek words, monos, alone, only, and gramma, letter. Authorities differ considerably in defining the word monogram. A modern authority refers to it in this wise: "In the true monogram two of its letters, or all, for that matter, should have some portion in common." Again it is said to consist of "characters or ciphers composed of two or more letters interwoven, being an abbreviation of a name." Still another authority contends that the monogram is "a device formed by the assemblage of two or more letters so as to form a single character." Probably the three definitions here quoted determine the limits and significance of the monogram as we wish to know it today. If the monogram is formed of but two letters it is denominated a simple monogram. Composed of all the letters of a name it is classified as a complete monogram. It is not the writer's purpose to inveigh against the elaborate and complicated monogram, which, in some respects, at least, partakes freely of the mystifying characteristics of an oriental newspaper advertisement, but he does wish to emphasize the value of a monogram devoted to the use of vehicular adornment made sufficiently plain and simple to be easily read by one not used to deciphering hieroglyphics. "Handsome is that handsome does," runs the quaint old axiom, and, generally speaking, the clean cut, unencumbered, legible monogram, serves its office as a handsome ornament when it offers to the observer a tale soon told.
The designing and painting of monograms constitutes an art mastered, save in exceptional instances, only after long continued study and practice. Some of our best monogram makers do not ascribe their success to talent, but, rather, to hard work and practice. Works on monograms furnish plenty of examples of the different styles (which consist, principally, of the Florentine, script, and block,) for the guidance of the beginner. With such examples before him the work of making monograms may be begun. Mr. W. A. Thompson, probably one of the most skillful monogram designers in the country, advises the student to "begin practice with a slate and pencil for a time at least, as the lines can be more readily erased than from paper." As some proficiency is gained the slate may be discarded in favor of the writing pad, pencil and eraser. The compass and dividers are not advised as aids to be constantly relied upon. The general practice should be to let these aids severely alone. Free-hand drawing produces, as a rule, the most symmetrical and graceful monogram. Study of proportion and balance should early engage the thought of the learner. Curves on one side of a monogram, for instance, should be followed when possible by similar ones on the opposite side. Also, as a rule, the base should be a little sturdier than the apex. It would prove futile to attempt to append any set of rules to govern the designing of a monogram. The principle that would obtain in the laying out of one design would probably fail of being a principle at all in the drawing of the second one. This by virtue of the law of variation which rules in this as in all other arts. The letter delected from its true course, (its standing alone not being here considered,) either one way or the other, should, as a matter of balance, be matched by a letter swung in an opposite direction. If it were possible at all times to use only those letters which admit of an exquisite arrangement, the problem of balance and proportion would invite an easy solution. But such, unfortunately, is not the case. Hence, the charm and beauty of the monogram must necessarily be governed at times by the individual letters of which it is composed instead of by their arrangement en masse. The perfectly symmetrical monogram is not always possible under the masterful touch of the most dashing originator of monogram architecture.
O. D. T.
W. H. D.
