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This logo is for a Luxury Brand in Household products. (Tabletop: Dinnerware, Crystal) + (Bed & Bath: Towels, Bedding, Bath accessories)
Any suggestions or comments are most welcome.
N seems a bit wide to me.
Why is the S so large?
like the font, but again why is the 'S' so big? What kind of product is this going on?
The "S" is large to make the logo stand out.. and to give it a little majestic look. Plus, i made it float.. so to give that we're not bind to traditional methods (straight aligned lines..etc). Also, for products check the description, i added few lines detailing it.
The curve of the "S" looks unnatural.
i might suggest actually moving the "S", so that it aligns with the leg of the "a."
Just a thought...
I think there's too much space around the 'A', or not enough around the 'N'. I'm also confused about the 'S'.
Yes, "A" definitely has too much space around it, also the top of the "C" appears optically somewhat lower than the "A", while "A" seems too narrow compared to the other letters.
Yeah, I think if you tighten the space between the C and the A, it would be an improvement.
This is stock Futura light, the URW++ version methinks. It's not custom lettering so complaints about letter widths seem inappropriate.
Futura has proportional capitals based on the carefully-worked-out ratios of the Trajan inscription. The differing letter widths harmonize in complimentary fashion. They're not designed to please people who think every element in a logo or a typeface should be uniform. It amazes me how many graphic designers and art directors evidently fail to appreciate this. Sure the N looks wide---it's meant to be that way.
Since the designer has chosen this font and not one with even width caps, the best that can be done is to optimize the optical density of the composition. So we tighten up the space between C and A, and do the same for A and S.
Increasing the overall spacing makes the uneven density less noticable and adds elegance.
^ The large S looks unweildy to me too, so I moved it to a dropped position to allow A to be brought closer beside it.
^ I think this works better. A tad more letterspacing makes it a touch more elegant.
^ Substantially more spacing gives a more relaxed vibe appropriate to the product(s) conducive to a life of refinement.
j a m e s
Here's the new Logo ready for your input & critisim.
Thanks to Chuck, James, Henry, Quin, Lex, hola and Miss Tiffany... I really appreciate very much your input and help.
Keep it flowing :)
You know it's kinda growing on me. I like it. I would work on the "C" spacing. It feels a little to far to the left.
This is by way of suggestion only. If you're looking for a way to make the mark stand out, and ...not bind to traditional methods (straight aligned lines..etc).. An alternative to the enlarged S:
If you're keen on the enlarged S tho, keep it.
Since the designer has chosen this font and not one with even width caps, the best that can be done is to optimize the optical density of the composition.
I have to respectfully disagree, James. The modulating widths in the typeface are meant to assist in readability as a text. A logotype/wordmark has different requirements. These specific letters need to hold together as a singular unit. So, I consider it necessary to adjust certain letter widths like the N and maybe the A to harmonize better.
That all said, your examples of additional letterspacing do help minimize some of the unevenness. Therein lies my biggest criticism of Casini's latest version: it all feels incredible cramped. The C and A have a nice space, but the S feels a touch too close to the A (some redrawing of the S could probably solve this). And then the INI feels like it's about to get into a fender bender and needs to back off.
(edited to add italicized quote at top)
I agree with Jonathan about the spacing.
The 'S' looks a little lumpy where the diagonal stroke in the middle turns into the curve. I'd move the points closer to the centre and pull the handles out more, or even increase the angle of the diagonal.
I'd also like to see a version with the "AS" broken at the angle of the 'S' rather than the 'A' (diagonal rather than horizontal).
Jonathan, you have such a fixed view.
The modulating widths in the typeface are meant to assist in readability as a text.
Are you sure of that? Futura's caps are based on the Trajan inscription, an all capitals affair where our present-day theories of readability do not hold true. Poportional capitals are proportional for good looks, for the purpose of display lettering.
These specific letters need to hold together as a singular unit.
Oh but they do hold together as a unit, if you allow them to in your mind.
So, I consider it necessary to adjust certain letter widths like the N and maybe the A to harmonize better.
The C and A have a nice space, but the S feels a touch too close to the A (some redrawing of the S could probably solve this). And then the INI feels like it’s about to get into a fender bender and needs to back off.
Stop looking at individual letters and look at the overall picture.
It's possible that you are looking at this more from a typographer's point-of-view and I'm from a logo designer's POV. So, I'd understand why you hesitate to change someone else's letterform. I don't see an error in alterations if it benefits the logo. But you are free to disagree with me and I with you. That's life, right?
Probably I do tend to put a typographer's POV on these things. Variety is the spice of life and that's what I love about proportional capitals---a team of oddballs who work together.
Diversity of opinion and the freedom to express it are two of Typophile's strengths.
Sending you good vibes :^)