I like the first one.

And please do your images vertically instead of horizontally, you have to scroll constantly that way.

Sorry, I didn't realize the images wouldn't wrap naturally.

I'm also leaning towards the first, but I'd still love to hear some suggestions for alternate faces. Which ones do you like? Which ones could you see attached to this sort of visual scheme? I've spent the last few days combing the internet, but I've only just scratched the surface.

The image: it's not supposed to be heavy metal, just abstract. I was hoping the vaguely floral colors and arrangement would contrast with the sharper edges to balance it out a little. Does anyone else have an opinion on this?

At the current size its interesting.

Whats it look like at half-size?

That could be problematic. I'd simplify the shapes and keep the colors.

I like 3 with simplified shapes.

Do you do 3-d rendering, or animation? The complex mark is more appropriate for graphics-intensive fields.

<font class="dontLookLikeCrap">Not messing with the mark yet, but still narrowing down the type.

1. Senator Bold, Emigre

2. Eunoia, Shinn Type

3. Preissig, Storm

4. Regula, Storm

5. Morphica AC, Shinn Type

6. Satisfaction, P-22
</font>

Eunoia and Morphica (lower case) work best I think.

i tend to like the softer forms of Reykjavik and
Satisfaction just because they stand in
contrast to the more severe graphic elements
and give me a greater feeling of harmony when integrated with the design

Arg. For pretty much everything that's been said, someone else has said the exact opposite.

After consideration, I've decided that the complexity of the mark isn't an issue. I don't have to worry about small size applications, because I'll simply remove it. Consistent colors and a strong typeface will work just as well in the identity department, and give me more flexibility in the long run. Thoughts on this?

As of now, I'm still leaning toward Morphica lowercase.

I like Morphica lowercase too. I would decrease the tracking slightly.

Alright, I've purchased a license for Morphica, which gives me the ability to clean up tracking 'n stuff. Here's pretty close to final version:



I'm still open to new directions, but I'd also like a take on the kerning for this one.

Note: the tagline on the bottom will pretty much only be on the business card.

I like it even better with the descriptive byline. At small scale the descriptor is likely to disappear in places, but for once I think that works really well. Morphica goes even better with the graphic element at this smaller scale because of its detail increases in complexity. The descriptor, combined with the bolder and simpler (at large scale) title, "chromatic" looks more like the graphic. The interior shapes of the graphic look a little more simple than the vibrant shapes that seem to be flaring out. In fact, I wonder what it would look like if the interior shapes and chromatic were the same color, while the outer, flaring shapes and the descriptor were similar varying colors

I'm sorry, Daniel, but this doesn't work for me. The mark has a Leroy-Neiman-meets-'80s-bezier look*, and it looks really uncomfortable next to the postmodern Morphica.

If you're bent on using Morphica, pair it with a simple mark that uses color to play off of the company name. Use shapes, sizes or proportions that are sympathetic to the type. Or, as you mentioned, lose the mark altogether.

(*Where some see exploding violins, I see salad tongs.)

I think a very important factor to remember here, is that Daniel has said more than once in this thread that in most applications he will not be using the graphic and logotype together. He has implied that he will use consistency in color along with the logotype to identify his brand.

Daniel, it may be helpful to share some of your application designs as you develop them. I think some of us are having difficulty catching your vision.

Aloha!
Scott

Sorry, Daniel, those references *are* pretty obscure. Let me try to explain. Leroy Neiman is an artist who came to prominence in the '70s, and who, in my opinion, uses color in a garish way. Here's a link to some of his work:

http://www.leroyneiman.com/merchant.ihtml?pid=347&lastcatid=20&step=4

Your mark reminds me of what would happen if his style of painting was combined with the hard-edged style I associate with the '80s, when digital illustration via Illustrator/Freehand became popular.

So when I look at your logo, I see visual nods to two decades, sitting next to type that's got a '90s deconstructionist feel. It just doesn't hang together for me.

Chromatica is a really cool name. I guess that's why I think you should explore more options.

The image: it's not supposed to be heavy metal, just abstract. I was hoping the vaguely floral colors and arrangement would contrast with the sharper edges to balance it out a little. Does anyone else have an opinion on this?

I didn't say it before because I was waiting for an explanation for the icon - about what it is. But now I'll say it - and I hate myself for seeing it, and I'm sure Freud would have something to say - but....I'm being really honest.

to me it looks like a bunch of penis's, penis's in a circle umm? splitting penis's? I donno - if the mark was smaller - maybe just a TM size'd mark or accent above the c and if it was a full flower? I do like the fall colours but I'm not sure what that has to do with chrome.

I do like the idea though - of incorporating alot of colours with a name like chromatic - it reminds me of "Technicolor" except not. same with the typeface - I really like the type chosen here its old and new

haha - ok maybe its just me. but its not as if I walk around seeing penises in every logo...maybe if the colours in the graphic were reversed - skin colours on the leafy part and fall colours on the penises

probably 1 in 5

Wow, Tanya

what would have happened if freud had become a grapic designer rather than a psycholigist?

I saw the logo (initially) as a fiery flower, then I started to see salad tongs with leafy bits. But that's irrelevant, because my initial response was, "cool."

I'm glad you went with the Morphica, because most of the others gave me a very Op, late 80's, surf shirt graphic feel. Your logo could set the stage for a really kick ••• animation, too.

I'm starting to feel uncomfortable. Does that constitute sexual harrassment?

Daniel, I'm anxious to see some of your applications when you get there.

sexual harassment? me to freud (he wouldn't understand) or hrant to me? (no offense made or taken) or us to you (and your uncomfortable why?)

or is it just fun and games until some girl says "penis"?

don't be so squimish guys. falic symbols are everywhere, one day you'll see one and wonder too.

Of course I blew it a bit out of proportion after that . a little self-deprecation dosen't hurt now and then and freud can send me his resume anytime for review - its all cool

Okay, I'm pulling a Frankenstein and resurrecting this. I still really like the illustrative quality, but it just isn't looking good to me at small sizes. I've been thinking about how I can make the type-only treatment distinctive, since the Morphica is strong by itself. I really kind of want to get away from the idea of a twee little image that is contractually obligated to appear with every use of the name.

I was inspired by kris' recent Klim business cards to try a more illustrative approach. The type is the only "logo"

1 - your mark is fine, from the beginning. It does not look heavy metal to me, in fact that just confuses me.

If all logos were not busy, were would the busy people live?

2 - I like the very first font you posted. Morphica lower case. Suits it perfectly.

3 - The first thing I saw in the mark was a noisy flower. Energetic and fast. Swift!

4 - That last business card, based on KLIM's inspiration, is the choice for me, yes precious.

5 - I would be attracted to your studio with this design. The choice of colour is young and vibrant. Contemporary.

Great stuff!

The seasonal idea is great, but I doubt I'll be able to implement it just based on costs. I'll have to see.

Very soon now, I'm going to be asking for some specific advice on the printing process, so please bear with me. Y'all have been amazing so far.

Weaver, I like your idea of seasons