Kit

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Everything posted by Kit

  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 http://www.fonts.com/aboutfonts/verdana.htm 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: http://www.typophile.com/wiki/typeface%252Bpairing
  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.
  15. Kit

    My NHL Redesign

    I can't fathom the motives behind changing the Flyers logo, particularly to something like that. Clearly I'm in the minority here, but seeing as though you clearly know your way around a concept I just don't get any of the decisions you made for the Flyers (whose logo is in the Montreal, Hartford, Stick-in-the-rink Canucks, Coyotes sort of echelon). I will admit; the white jersey does something for me (and I'd like to see the Flyers use the orange more sparingly as a spot colour when it's not the primary colour, as you've done here). Is it just me or has your orange tinted magenta? Orange is a notoriously difficult colour to reproduce in CMYK; perhaps the shift in the orange is why people are likening the look to the Ducks? Edit Love the logo on that third too. Awesome stuff.
  16. Is this going to be printed on a digipak? Or a standard jewel case? Either way, the spine is likely too thick, which would affect the feasibility of the photographic border (which I must say I like). If you're designing for a jewel case, remember the back is *not* square. It also has two spines (one on the hinge side and one on the reverse side). These days, the inside of the jewel case is typically clear plastic too, so that's another spread you'll need to design (the reverse of the back insert). If you're working against a digipak (or similar) packaging layout, you will be able to get the templates for it here: http://www.duplication.ca/printspecs/digipack.htm If you're working against a standard jewel case, you can either measure the inserts for any other CD you might have, or get the templates from http://www.theadsgroupdifference.com/templates/cd-jewel.htm It's very helpful when doing work like this to work with actual templates so you don't make false assumptions. I sometimes find it easiest to start from a photo of existing packaging and then design over the top of it to get relative scales right. I also strongly agree with williamrhys' suggestion of doing this all real-world. Even if you take the photo against a flat-coloured background, you'll get natural variations in lighting and texture that will fill that whitespace around the polaroids harmoniously without ruining your aesthetic.
  17. Is there a reason why the design has the front and back on the wrong sides of the spine? I think the style of the text works well but I'm with Andrew; you don't have to be quite so literal. I do like the plastic dinosaurs though.
  18. It looks fairly authentic I'd say. Perhaps a good way to gauge how authentic it looks would be to try your 49ers endzone paint and compare it to a photo?
  19. Aside from being an NBA logo on grass, I'd say that certainly fools the eye better than anything you've posted so far
  20. I'd say you've made it a little *too* patchy there, but you've clearly got the idea. I'd have pushed the black point so far that it introduces imperfections but not visible spots.
  21. That's mountains better that it was. Just an incredible improvement with just a minimal change. The lower jaw is the most clearly improved. I still think the shape of the mouth could be more dynamic, but it's much less awkward-looking now. The added neck makes a huge difference. Do you envisage the pick/shield being in the same reflective silver the Preds currently use, or more of a flat grey? I still think the sabretooth motif on the shoulders won't work when the arms are lowered to a natural stance, though.
  22. You mention repeatedly that you don't know anything about the team. Please understand that any logo or brand development work must be appropriate for both the client's image and their customers, and be workable into any required applications. Before you even start designing a logo, you absolutely *must* do some research. Ten seconds of Googling or even just searching this board would show you how and where the current logo gets used. You'd be able to get a feel for how Rugby League logos are used in practice (a small embroidered patch on the chest), and what 100 years of history means to that team (I've seen many, many fans literally cry over the various management decisions made by the Rabbitohs in their recent history that haven't fully respected the team's history; it seems stupid, but any logo needs to gain the favour of the team's fans first and foremost for it to be worth the investment of the team). Especially important to understand is that your logo, by necessity, will be presented on a backdrop of green and red alternating horizontal stripes. Your brown bunny is not going to be seen in that (its most integral) application. While the logo itself has merit, and the pose is good, but design is all about thought. The actual drawing and fabrication aspects of design are merely the inevitable outcome of the thinking process.
  23. Wasatch: the most notable thing I can see that breaks the illusion in your picture is the scale. If those blades of grass are at best 2 inches long, Photoshop's ruler tool measures your whole logo as at best 7' across. I get the impression the logo is supposed to be much bigger than that in real life, which means you're losing the look a bit. You'll need a better starting image I'd say, with finer grass detail. To answer a question brought up very early on about how to dapple the paint a bit, the easiest way is to render some clouds on a layer mask: 1. Group all your layers (except the grass) together 2. With the group selected, click the add layer mask button at the bottom of the layers palette 3. Press the D key to reset the default colours 4. Choose Filter > Render > Clouds. Your logo will go all patchy; that's OK so long as no vital parts of the logo totally disappear. If they do, just keep pressing Cmd/Ctrl + F to rerun the filter until it looks good. 5. With the layer mask still selected, choose Image > Adjust > Levels (or press Cmd/Ctrl + L). Make sure Preview is ticked, then drag the black point (the bottom left draggable gripper) to the right until the amount of patchiness is right. That makes a pretty noticeable difference to how authentic the logo looks (though by very definition it makes the logos look a bit more worn and less freshly painted).
  24. I like the thinking behind the concept but I think the proportions of the cat's head are off. Cats have very round heads and short snouts. A good place to look at for reference is this photo: If you overlay your logo on that photo, you'll see it gets a lot right, but it's the general shapes that are different and which most significantly detract from the illustration's integrity. The shape the mouth makes between the top and bottom jaws is quite a straight line and rakes backwards (like in the current logo): Yours is too round. You should also consider raising the top lip into more of a snarl like both the photo and the current logo like the animal is baring its teeth more deliberately. Likewise, the lower jaw (representing the bottom edge of the animal's head) should be tending up toward its ear near where it joins the skull, whereas yours appears to be joining the body at the neck. Also, your eye is too high on the brow, and the effect is exaggerated by the long leading blue line. While I think your eye looks terrific, it should be brought forward and down so it meets more at the point the snout joins the rest of the head. It's also worth considering rotating the head a little forward so the menacing eyes are more present in the leading edge of the animal. Draw an imaginary shape in the filled-in space of the head and the photo version looks like a large triangle (whereas your logo looks more like a T-bone steak, where there's a triangle, but the snout pulls too far away from the expected point. I think the logo itself is well rendered and I like the guitar-pick idea a lot. You might be able to subtly reference the former logo by letting the logo extend outside the shield on the left side too: I do think the new jerseys are very Sabres-ish, which is a natural problem for these sorts of jerseys. I think an important consideration is that the inward-facing hooks on the shoulders will likely be bent by the natural fold in the fabric when the player's arms are held by his sides which would ruin the effect somewhat. Sorry for all the criticism; I can get a little precious over the teams I like (even when I can clearly notice that the team needs some help with its look). Hopefully the pending "original 6 style" thirds will address some of my concerns.