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  1. Those aren't mutually exclusive goals. I expect both from résumés I receive in our design studio, certainly for applicants applying as designers. I would be looking for page layout skills; whitespace, typography and the grid.
  2. Kit

    New Portfolio

    Just some quick thoughts: 1. The disclaimer on the back page should be split over two lines at the end of the first sentence instead of left to a natural line break. 2. You appear to be using hyphens instead of en-dashes for the date ranges in your résumé 3. I agree with the others that said the cover was too busy; it distracts significantly from your name and the book's title. Can you maybe reduce the photographic elements to simple blocks the size of your icons and distribute them randomly on the horizontal axis leaving the rest of the page white? I think you need to really play up to the whitespace on the cover because the rest of the pages are quite dense already. 4. Not sure if you're looking for feedback on the architectural renderings but the first one ("Rethinking Percival Stern") is obscured a bit too much by the silhouettes of the trees and the lens flare on the interior shot. The other renderings do a better job of presenting the design of the buildings. Still, this is pretty nice and certainly shows a flair for presentation. When it comes to printing, don't cheap out. Find a good local printer (doesn't have to be offset or anything, and certainly doesn't have to be a big chain). Printed on good quality stock with a basic finish you're not going to be looking at much more than $25-30 (based on a rough AU?US conversion rate)
  3. Kit

    NRL/AFL Concepts

    Your colours have gone all weird in the Tigers export; sort of green? The zoom of the logo stitching looks fine, but the others have particularly weird colour. As far as the looks go, I like almost everything you've done. I'm not sure about the logo double-up on the Swans and (especially) Blues for the AFL guernseys, and I don't like your secondary uniforms for the Dragons or Broncos particularly. Rest is great!
  4. They've already played at Commonwealth so I don't see them scheduling another game there. I also don't think you'll ever see a Winter Classic in Canada; the point of the event is pretty much getting a high profile game of hockey in front of US eyeballs. It would make a lot of sense to have a game involving the Rangers (being the last US O6 team not to have played in one). Can't really imagine who they'd play except perhaps St Louis?
  5. Awesomely detailed rundown of the known changes for next season. For the most part I'm opposed to practically every change coming up (except the Bulldogs and Eels changes, which are really reverting to their old look). I like the Newcastle Henny Penny/Yellow numbers jerseys but again they ruin it with terrible whites. The Panthers used the chocolate soldiers jerseys to great effect this season; now they're introducing a jersey that if worn by a fan in the stands, makes them look like they support an altogether different team. I think we've already discussed how tragic those Canberra abominations are. Black for the Raiders is ridiculous. Bad in literally every way. Part of me thinks they picked the jerseys with the explicit goal of drawing additional attention to their sponsors' logos. The Titans' jerseys don't look bad here, but near as I can tell that's mostly because it's hard to see the sublimated illustration of the swords in the scan. I must admit I thought the team looked pretty good on the field this year (despite my general distaste for overtly sublimated/gradiated jersey designs). Turning that into something downright illustrative seems ludicrous. I hate everything about the new Sharks jerseys *except* the fine text over it, which I think is a reasonable way (for a single round) to pay tribute to the people who financially support a team in utter turmoil. I've never liked the Sharks' look (maybe just the local rivalry, though). I think their current wordmark is a travesty, and this new jersey isn't much better. I wish jersey manufacturers recognised that the best league jerseys feature large, uninterrupted blocks of single colour, with simple, geometric lines/stripes of a single colour. Like the Dragons, the Roosters, the (good) Raiders, the chocolate soliders Panthers, the old Balmain and Wests jerseys, the current popular Sharks jersey, etc., etc. Gradients (like in the Eels' current jersey on the sleeves) and complex compositions (current Cowboys) just don't work.
  6. Kit

    NRL/AFL Concepts

    Alright! I was waiting for an update from you! Awesome! OK, feedback: the Panthers uniforms is much improved, and the template is a lot better. The tan (rather than brilliant white) away jersey is better. The new numbers fit very nicely. I'm amazed I didn't notice them before, but I really like the shorts numbers. Do you know if that's ever been done before by any other teams? The Manly outfit is terrific; particularly the return to the consistent striping. I wish the primary sponsor wasn't *blue*, but hey, what can you do? The Canberra uniform is a perfect balance between your old concept and the golden era of the club. Kudos! The updates to the template for the Warriors kit is an improvement too. Hey, everything here is fantastic. You're very good at what you do (I'm sure you know that)
  7. Looks good! Printing them matte satin?
  8. I feel (as a total typography nerd) that Verdana is a screen font and so was never designed to be used in print (see for the history). The shape of Verdana is explicitly so because of how neatly it fits into a pixel grid at screen font sizes.
  9. Yes I am, and no it's not. Sans was built for headings and serifs were built for body text. Often the best looking layouts use font pairings rather than a single font. The key is harmony in the font selection and the font weight and point size too. You should look into having a baseline grid if your DTP suite is capable of it to reduce the visual distraction of multiple fonts (that's true in most cases). Some resources on pairing typefaces:
  10. I like the changes to the front of the card, but the back is now so bare it's a little awkward. The padding between the S and the right side of the tab is/appears different to the padding between the M and the left side of the tab on the back. As far as fixing the back of the card, I think maybe aligning the top of the URL with the top of the text rather than the tab may seem more natural. The URL can also afford to increase in size. Is it the same point size as the name on the front? It's probably worth mentioning, too (I'm not sure how/whether architecture teaches it; apologies if it does), that since you're using orange, you should pick the colour based on a PANTONE swatch if you're printing offset (factoring in whether or not you're planning to print on coated/uncoated stock). Orange tends to have a wide colour shift between RGB and CMYK, so you'll often be caught unawares with a colour shift and you'll likely be stuck with 250-500 cards you don't want to hand out.
  11. Critique: you scaled the "a", which changes its line weight relative to the M. That's very awkward to read. You also have the "a" set lowercase, and the "M" uppercase; what value does the "a" have? In fact, why even have the monogram? The wordmark is already compact and representative, and works great in the orange enclosure, which is a great brand device for a client-work driven business. I'd also look into shifting the wordmark to one of the two ends of the tab, rather than centring it (asymmetry is good). I'd also say you should set the text on the back to have the same amount of gutter between the flush-right edge and the tab as the text on the front relative to the edge of the card. Also, what's with the double-colon separators between snippets? There are plenty of good symbols that I reckon would work better there (even simple whitespace), maybe bullets? I'd drop the www. from the URL; these days it's not necessary, and makes the (already long) URL seem longer. Ws and Ms are already difficult to decipher at small font sizes. Looks great though. I think you picked the right option.
  12. Most résumés I receive are PDFs (I work at a design agency). I'm a bit biased because I'm a total typography nerd, but I always like a resume set in a classic serif (a Baskerville or Garamond, or perhaps a Palatino), rather than Times. Of course, I also want a résumé to be two pages (absolute max) with references, so with that sort of brevity you can get away with a sans. Again, as a type geek, the font would need to be eminently appropriate for typesetting (no Futura, no screen fonts). If you're applying to somewhere more traditional, I'd be inclined to recommend you keep the fonts to ones they can read. You should use a sans (not Arial and not a screen font, unless you can't help it) for headings and a serif for body copy.
  13. Does your company actually use Calibri in its logo?!
  14. Kit

    New Personal Logo

    It's an improvement, for sure, but there are still elements that I'd say need work: 1. The very thin strokes on the letters and numbers are both awkward and illegible at small reproduction sizes. You should try to have very few distinct line weights in any identity job; normally you'd have one stroke weight and use areas of colour/shape to replace other strokes; I'd consider the necessity of the strokes entirely on the letters, and increase the white stroke on the 25 to the same one separating the outer ring and the inner circle. 2. The font selection is vastly improved but says a lot more about you than you think. Agency is often used as a crutch (especially in its default condensed width). Your application here is very peculiar; why a condensed font on a slope? You're letterspacing characters that were designed to be tracked tightly. The 25 in the background isn't a bad choice as an evolution of your former logo, but the letterforms aren't kerned naturally and don't work well in isolation (they appear to be standard typeset text rather than unique shapes that form part of your identity). 3. The identity doesn't translate well to greyscale, which is important for watermarking etc. I've seen your logo atop your concepts here, and the strong header banner you're using risks overpowering your creative work. You have introduced three/four colours into a concept before the actual artwork has been seen. You have, however, made a vast improvement over the previous logo; the white stroke between the red and blue rings is an especially nice touch. Here's how I'd tackle this problem differently, though: 1. On a blank piece of paper with a single graphite pencil, sketch your logo concept at roughly the size you've shown it in situ here. 2. Iterate the concept as you feel you need until you're really happy with your concept. 3. Once you have a final logo you really like, turn the page and draw the same logo as best you can. And again. And again. 4. Those steps will do a few things; first, they'll force you to think in single-colour applications first, which is how all good, distinctive logos start. Then they'll force you to simplify the concept to a point where you're not introducing additional crap into the logo. They'll also help you focus on the visual hierarchy of the elements based on their shapes. Designing this way is a great way to achieve balance in disparate elements of a logo. Once you've got something you're happy with, either scan and trace it, or simply reproduce the identity in Illustrator from scratch. Do it in black only (no colour yet). You're lucky in that you only have 6 characters you need to show in the logo; that's enough that you can actually draw the letterforms yourself if necessary, or at the very least you can devote some real attention to kerning pairs and stroke counters. 5. Once you have a great, black-only logo in Illustrator, add your colours to the symbol as required. You'll find this task quite difficult, which is good. 6. Enjoy your awesome logo that works great at small sizes, in single-colour reproduction, and which you can comfortably draw should the need arise . Sorry to sound preachy; I just know that those steps were how we were taught at design school and while they appear backward, they're really useful to force your brain to make important, logo-defining decisions early in the design process.