andrewharrington

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Everything posted by andrewharrington

  1. I always wanted solid white numbers on the blue jersey. There’s already enough gold in the uniform and solid white coordinates nicely with the solid white bison and sword blades, while the blue numbers with gold trim coordinate perfectly with the circle on the white jersey.
  2. I see where you’re coming from because I’ve always held this opinion regarding the throwbacks, but I think the new design executes it better. To me, the new shoulder design reads more like a complementary stripe than the old one, which was much more of a copy/paste repeat of the helmet design (that got butchered as the uniform cut evolved). I actually wish they would have gone with a blue version of this stripe on the road uniform.
  3. That flat laydown is a tailored game jersey, so that’s the color, but it was clearly taken indoors, so it may have an artificially warm cast. It’ll likely change depending on the venue. Those studio lights above take a lot of warmth out of the color, I’m guessing because they’re more of a neutral “sunlight” color. My guess is they’ll be closer to the studio shots on TV, but we’ll see.
  4. It makes perfect sense. The Packers’ helmet logo is a white G inside a green oval. It coordinates well with the stripes on the helmet and pants (white stripe flanked by green), and the numbers follow suit (white on a green background). Adding outlines to the Packers’ numbers goes completely against the principles @hawk36 was illustrating. Similarly, the Steelers solid white numbers coordinate with other solid white elements on their uniform. The Patriots have zero elements with a double outline except their numbers. Thus, they don’t coordinate with anything, while solid numbers would coordinate well with the simple, solid-color shapes in their logo and stripes. The double outline road numbers worked pretty well in the context of the old set, but the home numbers looked off because of the different outlining technique.
  5. How sure are we? Those seats look pretty grey in this photo. For what it’s worth, new colors typically need to be finalized a year or more before the stuff hits the market and the team takes the field because the process involves matching the color and approving the swatch, then dying industrial-size rolls before it can be cut and sewn. Sublimation can be used in a pinch to cut down the lead time or if the need for a certain color is very minimal, but it usually gives the fabric a weird texture and surface because ink is essentially being fried into the garment fibers using heat and pressure. There are a lot of dynamic variables that go on behind projects like this, and unless you get the info from someone who worked on it, you’ll probably never know the truth. Even then, you’ll get different interpretations based on each person’s individual bias or opinions. In this case, though, I think the writing was on the wall that they weren’t going to go straight back to the Dickerson look. It would have made little sense for them to tease it so hard for 2-3 years and then just pull the curtain on the white version and say, “Praise our new threads!” Sure, lots of people would have seen that as a victory, but others who had been following the buildup and waiting for the payoff of something new would have been let down. Remember the ribbing the Browns took when they hyped-up a “new logo” that turned out to be a new facemask and an almost imperceptibly darker orange?
  6. That’s always the crux of this argument; does it make sense for a team to throw back to its history in another city when its new city has no attachment to that? Personally, I don’t think so. Does it make sense for a team to throw back to a different team that played in its own city? It’s not necessary, but to me, it makes more sense so long as the original team has abandoned the name or ceased to exist entirely.
  7. Absolutely. A simple lack of cohesion and balance/hierarchy has long been a weakness in so much football design. You’ve got enormous flag graphics on the two most prominent parts of the uniform. You don’t need more of that pattern shrunk down and printed on the numbers. It’s redundant clutter. The aforementioned graphics are full color, and huge. You don’t need little slivers of those colors on the digits. Solid color numbers would complement those big graphic blocks spectacularly. Gimme a solid black number with red team and player name, or vice versa.
  8. There’s no possible way they can rethink the jersey at this point. The helmet seems like a grey area, though, probably because it’s a comparatively minor retail stream. There’s recent evidence to support this, too, such as the Bucs unceremoniously dumping the cannonball streaks from their helmets (was that mid season?) and these same Rams announced the change to white horns in spring 2017 (before wearing them in fall 2017), then put up a Twitter poll to decide what color the facemask would be. So, if the Rams were feeling squeamish about the Twitter heat and decided to abandon a new helmet graphic in favor of the old one, I’d guess that it’s at least possible, though unlikely.
  9. Man, I thought I was being overly facetious with the compass and ruler joke... You’ve got to ask yourself if people can understand the ideas you’re trying to communicate. Do people know about these blueprints? Do they have access to them? Are you presenting the work in a way that connects the two for your audience? If the answer is no, or even maybe, then the value of the idea is questionable, in my opinion. That’s not an inherently bad thing, but here, they’re relying on that idea to essentially excuse the type for looking overly geometric and lacking polish, and that’s trouble; if people can’t understand the why, all the context is gone and you’re left with a bad piece of type. I didn’t even make the connection that the new numbers look much more like Tech’s at first glance, either. Puzzling move, all around.
  10. Definitely looks like it. I checked Arizona vs. Atlanta pics thinking their red might be darker, but it looks about the same (strangely, a little less saturated in some images, though).
  11. Two blue stripes is indeed even more than one, but I was referring to the part where you argued for blue socks over orange, which is the ultimate support for the point I made.
  12. I see where you’re coming from, but that fix (at least to me) feels a little too flat and elementary, like all the shapes were drawn individually, stroke added, and stacked on top of one another in Illustrator. It reminds me of that uniweight linear illustration trend we’re finally coming out of in that there’s a fine line between simple and simplistic. It doesn’t feel much like a cast shadow when it goes all the way around, so you lose a little depth, and I think the integration of the pieces helps it read as a unified shape, which is what makes it work as a parody/pastiche of the star on the sign. That said, I really like the other fix that’s floating around out there with no shadow at all. Looks great. The underlying issue is that this mark was tailor-made for a dark background, and the strength of it is much more evident there. I thought it was best suited as a pant graphic so it always sat on a black field and the single, asymmetrical position of the star would have given it an even better connection to the sign. Quibbles like this remind me why I try to avoid using outlines when I can; they have a tendency to steal too much focus and change the way our brains read line and form, which is especially disruptive when the mark has a complex footprint like this one. If it were me, I would have used gold for the swords and rotated the colors when I switched from light background to dark so it would hold up on both without needing an outline, but there will always be clients and other designers see things differently than I do. That’s how it goes.
  13. Sure, but if you’re relying solely on the 1’s “unique” flag and a slightly exaggerated vertical/horizontal contrast to make your type identifiable to the genpop (or to make them care at all), I think you’ll be disappointed. Nearly all type has thicker verticals than horizontals (of varying degrees, obviously). It’s not a mistake and doesn’t look like one. Thicker verticals are one of the best ways to make your type look more polished and less like a mistake.
  14. I’d be surprised if the fabric color changes, unless it’s already in use (as fabric) by another team. It seems like all the “red” teams use the same bright red fabric, and the next darker step is Washington’s color. Atlanta, if I recall, has long used the darker shade of red that Tampa Bay just switched back to, but the base garment fabrics were the same color as far as I can tell:
  15. I’m not talking just handwriting-inspired type. I’m talking all type, even type that’s designed to look uniform, geometric, or monoweight has thicker verticals, including many block uniform numbers. The science behind it.
  16. I dunno. It just seems like it always ends up looking off one way or the other. If the Chargers are insistent on italics being part of the uniform, I think their best option is upright body numbers paired with italic names and TV numbers. The body numbers are the wrench in the machine; because they’re tall, the angle covers a much greater horizontal distance compared to something short, like nameplate lettering.
  17. That type is... rough. It looks like the brief said, “We want a new wordmark that’s clean, sharp, and looks toward the future, but it’s very important that you only use a compass and ruler to create it.” This needs major optical corrections before it looks polished. Also a great example of what happens when your verticals and horizontals are the same thickness; the verticals look thinner than the horizontals in some cases.
  18. There’s no impossible layering in the Knights’ logo. It’s two swords behind a star, and the star casts a shadow onto the swords underneath; no different than this:
  19. They look fine on the front, but they never look good stacked underneath a name. You simply can’t center them under something else.
  20. The verticals are thicker than the horizontals, and it’s exaggerated by the side shadow (because it adds weight to only the verticals). You should reconsider your position on thicker verticals, though; that’s the proper way to proportion type and 99% of letterforms are built that way even if it’s not as noticeable as it is on Atlanta’s type.
  21. If there’s only one pair of pants, and they’re blue, I think that would be the reason. Atlanta has the flexibility to create a good look out of its components if it wants to. New England does not.
  22. If the Rams’ unveil goes terribly, I hope people protest by wearing this jersey to their games. There’s some cruel irony in the Rams being so enveloped in their own self-importance that they campaigned their redesign process as an epic, multi-year strategic plan to unveil the greatest brand sports has ever seen only to watch their thunder stolen In real time by a trio of sub-.500 teams who slightly updated past looks, one of which is the “little brother” they let use their stadium at essentially no cost for the next several decades. That’s tight. I think their identity works best when the fill color of the bolt is the higher-contrast color. It’s bright, it’s striking, and the trim gives it a little glow. It’s... electric. I wish they would have done reverse italics for the left side of the helmet. The numbers seem to fit more naturally in the space when they’re “charging” toward the front. This would have been preferable. Trying to center anything above an italic number is a fool’s errand. You can center an italic name above a straight number, but if the number is italic, the name will always look off center. No exceptions.
  23. You just proved its relevance by saying the Broncos would have looked better by having *even more* blue down below to balance the helmet, which, again, is my entire point.
  24. I always liked the solid TV numbers that matched the trim of the body numbers. I think it worked especially well in this case because it gave the smaller, less visible TV numbers better clarity and contrast. I often look at how the elements and background interact to create unity and cohesion, so the white TV numbers sitting against the blue ground coordinate fine with the body numbers, which have a white trim/base layer sitting against the blue ground. The other way around, however (body numbers with trim and TV numbers or lettering that are the same full color but with no trim), I think that has a tendency to look cheap or unfinished. The Trail Blazers, for example, have a wordmark with no trim and numbers with red trim, and not only does it look like they forgot to add the trim to the wordmarks, but you get an odd clash of color tones because the wordmarks have a crisp, neutral black/white contrast, but the red trim on the numbers gives them a warmer, pinker tone. Undesirable effect, in my opinion.