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Using red and black ink on paper, Mylona tested the physicality of block letters through rough, experimental strokes. Some letterforms are densely layered, others sparse; edges vary from jagged to refined, reflecting iterative trials. The absence of polish suggests a process-driven approach, where each mark was a hypothesis about how a word might occupy space as a sculptural object.

These studies emerged during Mylona’s broader project to realize word-based sculptures for public spaces. Two outcomes—'Love' and 'Justice'—were later fabricated in isometric form and installed in the courtyard of the Museum of Contemporary Art at the Thessaloniki International Fair. The 'Eros' drawing remains an unexecuted proposal, preserved as part of his archival process.

Mylona’s work emerged in post-junta Greece, a period marked by re-examination of civic values. His focus on ethical keywords aligned with broader cultural efforts to rebuild public discourse through symbolic language. The drawings reflect a quiet resistance to political abstraction, grounding philosophy in the materiality of form and letter.

Though few of Mylona’s word-sculptures were realized, his studies influenced later Greek artists exploring text as spatial object. The surviving sketches, held in institutional collections including the Museum of Ethnography, serve as documents of conceptual rigor—where language, form, and ethics converge in quiet, deliberate experimentation.