Kres logo

serene's picture

I am a graphic designer and currently I am employed by an advertising agency named Kres to design a logotype for their corporation. They are a leading advertising company in my country and would like somewhat tycoonish look. Nevertheless, they have a predilection for style, like all of us.
I would like you to review this logotypes and come up with ideas/suggestions to strengthen
the appeal. Please feel free to critisize the work harshly and I am free to accept it or disregard it.

Thanks in advance.Kres logotypes

dan's picture

Galin, could you give some background on the agency. Is it full service or does it specialize in an area like print or direct response. Any reason for the arrows in number one. What does Kres mean is it a family name?
Versions 3 and 5 don't read.
Have you done any research into compeating ad agencies to see what they are doing with their marketing? It amazes me these days people design before any sound marketing has been done.

squeeze's picture

If you're going for "tycoon", then scrap versions 2-5. Version one has some potential, but like Daniel asked, what does it all mean (arrow, title, etc.). I think these darker colors contribute well to the "tycoon" objective also.


dart's picture

I think I got the arrows: The white vertical lines plus the dark negative space between the arrows equals K for Kres.

Is "Kres" meaningful in the language of the country where the agency is (I presume Bulgaria)?

serene's picture

First of all sorry for the flood, but the PC, on which I posted this message kept on showing Error messages and the normal thought was to try until it accepts it (the post). Once again sorry for the flood, it would not happen again.
Now about the agency. Kres specialized in every single aspect of the modern/contemporary advertising. Print, TV commercials, Web design, etc. Main clients include : Banks, Television companies, chief brands(like Nike, Adidas, Coca Cola, Nestle, Dolce & Gabana, Prada, KIA, Opel, Ford, etc.
Every logotype I did has a reason. The first one focuses on the prefered color, which is red and the arrows create a subtle logotype, which is not so straightforward but is perceivable.
On the second one there is a K, in white(with stroke) and a diamond(with a greenish tint).
The third logotype symbolizes the ideology of the corporation, which is the Art of Craft (they are great zealots of tools).
The fifth contains scissors forming the K.
On every logo there is "K".

Please critisize freely :-). I am all very eager to learn your view about this project.

P.S The project is still in progress, so I can revise the logotypes. They are currently being viewed by the Creative director of the advertising agency, but that doesn't omit the possibility of revisions.

designalchemy's picture

First one has good potential, the rest lack balance and/or legibility. I am gathering the firm is based in the eastern block (russia?) . This makes it a challenge for me to critique. As much of the current design from the region is not to my personal liking (which in this situation makes no difference).
As you know it important that the design appeals to people in the region or at least the firm's clients. So what works?
Hard to say. Start with thinking, make a list of all the attributes and values the firm has. What kind of work/clients does the firm like to get. Etc..
Once the identity is done, consider changing the site as it has too much useless/time wasting graphics when entering.

dan's picture

Galin, you need to make the K much more visible and straight forward. I'm a designer and I didn't see it when I posted my first post. Communications are clear, not just cleaver. So be clear first then, cleaver. Those are some nice clients and all corporations you might want to create something more upscale. Think about process not just design. examples: Silver mylar stamping on an uncoated paper or maybe a heated blind emboss of the name. Thats the problem of only designing with the computer you tend to loose sight of the overall picture.
As for posting, you always get an error message when you post, just go back one page after the error message, scroll up to topics and you will see your name as the last poster.

squeeze's picture

I see the "K", but that doesn't explain the arrow(s). Design with purpose. If you are going to use the "K" to create an arrow, why? Why create an arrow? I think it's a great element, so why not capitalize on it. Give the arrow some meaning/purpose. For example, it could represent fast turnaround, response time, driving your message to your target, always moving forward, and so on. Think beyond the aesthetic.

I still think that first design has some great potential. You might try experimenting with some alternative typefaces to unite with that mark (Arrow-K).


Chris Rugen's picture

As others have said, toss all of them but variation #1.

Version 01 reminds me of nautical flags/sports wear. I understand the < shape and the K being similar, but I can't stop thinking of Nautica and Tommy Hilfiger. It's also the navy blue and red with white type. I prefer the version on the business card, because the blue arrow doesn't show.

I'd use V01 as a start and explore type, like Scott said. Copperplate Gothic (that's what you're using, right?) is a solid face, but it's got a dated look and is used by a lot of novice designers and pseudo-designers who pull their type from the default menus. Again, it's not bad per se, but an agency of that size and breadth should use a more exclusive, 'designer's favorite' typeface. The style of Copperplate works, but another face could work much better. Because the logo is abstract geometry, the type provides a lot of the communication and message.

Also, the arrow shapes are pointing to the left, which signifies (for me, as an American) rewinding or going backwards.

Keep exploring, and good luck.

serene's picture

First of all I would like to thank all of you for providing me with such remarkable advices.

To Scott : I also thing that the #1 variation needs some refinement and unification if possible. Can you be more specific about the blending between arrow and type of the #1.

To Chris : You did a very sophisticated guess on the font and of course a right one. I simply used it because it has great presentational properties and is a good ground for starting.
I was thinking more like Knockout Series D. Can you give me some alternatives for fonts?

Meanwhile I have made some other variations...
Your thoughts are welcome.
btw. thanks, for the help so far

serene's picture

Sorry for the typo on line 2 (the intended word was think).

squeeze's picture

RE: "Can you be more specific about the blending between arrow and type of the #1."

As Daniel suggested, the "K" might not be apparent to the non-designer. Adding the black to the interior of the "K" helps, but for the record, I think I like the aesthetic of the original better. Another approach might be to separate the K-arrow from the title

Chris Rugen's picture

Knockout D could be good, it's very strong, etc. But I'd probably choose faces of a different sort. Though, your explorations generally show that the typeface may not be the issue.

Look at #1 and #1b, for example. They are both using generally the same shapes with different typefaces. Then look at the other three. I don't see what they're all trying to do for Kres. I think you have some more fundamental explorations to do before taking them to such a polished level (color, type, kerning, etc.). All of the logos say something, but they all don't say anything specific enough for my tastes. You are constructing a series of completed logos, but I don't detect a strong visual theme. I'm not implying you're not doing a good job, or working hard, but you seem to be firing in the dark at your target. What's happening is that you're making the mark equally important to the type, without a strong connection between them, or a smooth coexistance. I like 2 and 4 because 2 allows the mark to take over and 4 makes the graphic mark and type come together. The symbol in 1 and 1b is cool, but the type isn't tied in (or as interesting as the mark). For that mark, I'd avoid serifs completely. Additionally, you could move 'advertising' over to the left and extend the bottom ovoid shape in 1b down to cover the 'ad' in 'advertising' instead of using a new circle. Or even use the bottom leg of the K to do that. Not sure if that'll work.

If you go with the #1b mark (I prefer it to #1), try Cyclone or Neutra, or maybe Chalet. Something simple and strong, but with a slight European, hip twist or curve. You can probably see I'm going with condensed faces generally. Take a risk. And these are just my first few suggestions. I chose them because I looked at your client list and thought: global, dynamic, hip but not trendy, contemporary, elegant but not elderly or historic. Look to the younger, and/or hipper font houses, also the independents (do a search on this board, or buy Indie Fonts). Step a bit further outside of the norm.

I also agree with Scott's statements about keeping the K more apparent if you use the echelon shapes from the original variation 1.

I can see you know the general feeling you want. Keep pushing. Hope this helps.

serene's picture

To Scott : I have to admit that the aesthetics of the initial concept is more pleasing to me also, but as you suggested the design is not so apparent. I think that I could play a little bit with the kerning and the Sans and Serif interplay. However, I didn't perceive what you said about the font and the illustration. Do you suggest to use a sans serif font for the head (if so, would Frutiger or Officina Sans be a
good choice?).

To Chris : I think that Cyclone is a little too radical for my taste. Maybe Neutra could be a good choice, but I don't thing that they would
exult on the font choice. :-) I have tried some of the major sans fonts (Helvetica, Futura, AvantGarde, Gill sans, etc.), but I don't see how that font choice could contribute to the overall logo image. Don't understand me wrong. I want you to persuade me, because I have the inner feeling that my views are erroneous.

Please comment on the following logotypes.
Btw, thanks for the immense help.
Galin Krasimirov

squeeze's picture

"I didn't perceive what you said about the font and the illustration. Do you suggest to use a sans serif font for the head"

My main point was that the contrast between the two wasn't working because the two K's were competing. The resolve was simply to make one dominate the other in a unified, rather than competitive fashion. I wouldn't say that it matters whether one is sans or not.

serene's picture

On variation #5 I have tried to suggest the idea of a price tag(like the tags on products). Could you see that idea? Is it lucid enough?

serene's picture

...(double post) sorry
I would use this double post to thank all of you for the great help. If I sound impolite at times it is not to insult anybody or to disregard his/her opinion. I take every notion and consider it carefully.

P.S Can I delete double posted messages?

serene's picture

Could you give me some basic points from which I could expand my further design on this particular logo project?

Chris Rugen's picture

I'd keep the type outside of the oval. It doesn't sit right with me. Also, I prefer the circle to the oval, but I don't have a strong reason for that preference.

The pricetag idea seems more shopping oriented, but if you and the client like it, then keep going. Close up the word space between 'advertising' and 'agency'.

"I have tried some of the major sans fonts (Helvetica, Futura, AvantGarde, Gill sans, etc.), but I don't see how that font choice could contribute to the overall logo image."

Well, that's a problem. :-)

The font choice is extremely important. The design of the letterforms can evoke associations and emotional reactions that have to do with a variety of factors. Try putting Bodoni or Centaur by the logo, then use Officina or Scala Sans. The logo mark you've designed doesn't really say anything specific, so the associations could be very wide and different. The type helps to clarify the image.

Here are a few quick versions I threw together that are loosely in the direction I was thinking.

KRES logo examples

These examples use Scala Sans Bold and Caps. The condensed faces didn't look as good as I thought they would. I think the simplicity is the important part here. Also, the font is a modern and clean sans, but humanist in some of its construction. That softens the impression a bit and lets the san serif feel more at home with a mark that's so curved. It's all about the type choice, in my opinion.

serene's picture

Thanks to all for the great advices.

Special thanks to Scott and Chris for the time and efforts they spent on my logo.

P.S The client is quite satisfied with the results, so this means we did a good job. :-)

designalchemy's picture

much better. "s" seems a bit too big otherwise I like this a lot.

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