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First off...Morpheus posted:Fronts Move the "critical" ahead of the "hit"/"miss". The "critical", given it's size and being a quarter-obscured by the text, doesn't read or is understandable as that word. Bringing "critcal" forward over the "hit"/"miss", which obscures them but is far less and still allows them to be read clearly. Morpheus posted:Backs: For these, I would either go with a d20 silhouette, no gaps in from the faces, so the number is clearly readable; go with a similar but darker outline for the face edges, so it reads as a die, but doesn't interfere with the number; or try the black outline for face edges. I'd prefer the second option as it's a compromise in identifying the 20-sided die but doesn't distract from the number. Young Freud fucked around with this message at 23:50 on May 28, 2014 |
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May 28, 2014 23:47
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Young Freud posted:First off... Thanks for the input! So for the backs, the second suggestion means making the greens and reds darker, so as to make the numbers more visible? it's just the word 'outlines' that's confusing me there. I'm also thinking of making the background a little darker on those, so that would also help with the overall color scheme...I think. Man, visual design is hard, I don't know how people do it.
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May 29, 2014 14:19
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Morpheus posted:Thanks for the input! So for the backs, the second suggestion means making the greens and reds darker, so as to make the numbers more visible? it's just the word 'outlines' that's confusing me there. I'm also thinking of making the background a little darker on those, so that would also help with the overall color scheme...I think. Man, visual design is hard, I don't know how people do it. I was commenting on the gaps or negative space that make up the edges of the D20 faces. Along with the bright tannish background, it blends too much with the white number, making it hard to read. What I was suggesting is either fill the die completely, fill that negative space with a slightly darker color or just use black to fill the gaps. I'm away from my computer, so I can't draw my suggestions, but hopefully its a bit clearer now.
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May 30, 2014 23:50
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I'd play with the transparency of the dice so some of that background texture shows through.
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Jun 3, 2014 01:34
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I'm an illustrator and I hate doing graphic design. I like crazy, maximal paintings like Ron English's. Logos are so minimal and pedantic. I like sports logos because there's more to look at. I guess I'm too liberal and lateral with the way I brainstorm. It gets me nowhere:  It's a logo for college admissions counselors. Here's the best idea I have so far (just a rough doodle):  Any advice on how someone like me can make a better design?
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Jun 5, 2014 04:27
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eminkey2003 posted:I'm an illustrator and I hate doing graphic design. I like crazy, maximal paintings like Ron English's. Logos are so minimal and pedantic. I like sports logos because there's more to look at. I would start using your drawings instead of using the computer to make a 'logo' or digitized drawings. Probably only the typography should be computer-generated, but that's debatable depending on your hand. Start using the designs in the left-bottom corner of your first example I guess. Logos can be as crazy and maximal as you want, forcing yourself to create computer-assisted designs won't lead to any good results if it restricts your way of working. It's meant as a tool, not a straightjacket. Start making some drawings, simplify them, play with contrasts, then digitize them afterwards and see where you end up.
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Jun 5, 2014 08:30
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I've been experimenting with a personal brand. I'm a photographer & graphic designer, so I thought I'd try abstracting my initials rather than coming up with something gimmicky to combine the two things I do. Here's where I am at with it:  Any thoughts? I know the initials aren't readily apparent in it, it could be seen a few different ways. I've just been staring at this for so long I don't even know if I like it at all anymore.
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Jul 10, 2014 15:02
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What are your initials? Nothing is particularly striking about the current idea, it's just not bold enough. Here's a handful I dug out of my branding inspiration folder & my old one underneath, they all use strong purposeful lines & shapes, nothing too abstract but interesting nonetheless 
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Jul 10, 2014 16:14
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Creepy Goat posted:What are your initials? Nothing is particularly striking about the current idea, it's just not bold enough. Here's a handful I dug out of my branding inspiration folder & my old one underneath, they all use strong purposeful lines & shapes, nothing too abstract but interesting nonetheless Thanks, I'll keep working on it. To be honest logo design isn't my thing at all... I'm a graphic designer but haven't really had any branding experience (As you can see) It doesn't help that my initials are "KS", which makes for a pain-in-the-rear end lockup. In this case I just made an angular S to fit into the straight lines of the K, then ended up tilting it to make the point where they intersect hit the center of the circle.
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Jul 10, 2014 16:19
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While this is a thing, I wouldn't mind reading peoples comments on my one of these:
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Jul 10, 2014 16:37
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For a personal brand, I believe it's more important to say something about yourself and who you are as a designer/photographer/whatever. Initials are safe. Don't be afraid to have some fun and inject your personality into it. Plus, if you have a strong portfolio, you can afford to have some fun with your logo because people will associate the two anyway.
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Jul 10, 2014 16:47
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Unless you're a typographer/calligrapher.
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Jul 10, 2014 17:25
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Bogan Krkic posted:While this is a thing, I wouldn't mind reading peoples comments on my one of these: I think the contrast is a bit too sharp in the stroke-to-crossbar of the letter, if you would smooth out the cut in a similar way to the other serif-stem connections it would still read as both a B and D. Still, the BD combo isn't an easy one to pull of elegantly so it's a good solution! triplexpac posted:
The circle and slant make it confusing to read (I thought it was a V and something else.) Good monograms are usually simple and don't have a lot of extras. The KS combo is tricky though, but you could also look into different script-styles of the letters (something like the script-lowercase-s) which would combine easier and are still readable.
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Jul 10, 2014 18:42
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In light of the abstract design being a bit split, I thought I'd show some of my other roughs. They're a lot more straightforward:
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Jul 12, 2014 14:10
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Typography is a fickle mistress and kerning letters super close while still looking good tends to be quite tough. I feel like the only things really working on that image are the second from right, middle column and the bottom right set in that nice condensed font. If you really want your letters touching I would recommend starting from scratch or heavily modifying some fonts, preferably with pencil and paper first as that will be a lot easier. Here are some ideas I've had.  edit: basically what I'm trying to say is don't let the top halves of the k and s touch. It doesn't look good.
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Jul 12, 2014 18:08
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Imo none of the KS combinations are working very well. I fear you're trying to force it.
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Jul 12, 2014 18:32
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im bored so i did some more
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Jul 12, 2014 18:36
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I like the bottom set Fayez did above. I agree a lot of your examples are working a little too hard. Those two work because they take common ground in both, the angle of the lower portion of the k and the lower end of the s, and they work with it rather than trying to fit them together. Logos are something so small and simple that they jump out immediately if they look forced.
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Jul 12, 2014 18:46
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Yeah I think I might take things in the direction that Fayez suggested... seems like a good way to dial back my original idea so it's not so forced. Thanks for the input!
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Jul 12, 2014 21:41
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So I worked on my personal logo more, I liked Fayez's idea. I just reworked the K a bit so it's longer on the bottom, clicked the S in to fit inside. It's funny, I've shown my sheet of logos to 10 different designer/arts friends, and each and every one picked something different.
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Jul 14, 2014 14:53
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triplexpac posted:So I worked on my personal logo more, I liked Fayez's idea. I just reworked the K a bit so it's longer on the bottom, clicked the S in to fit inside. I'm no designer, but the first thing I thought when I saw this design and Fayez's post was Schutzstaffel.  Perhaps avoid runic-looking S's in white on a black background? Blue Footed Booby fucked around with this message at 15:52 on Jul 19, 2014 |
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Jul 19, 2014 15:04
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Blue Footed Booby posted:I'm no designer, but the first thing I thought when I saw this design and Fayez's post was Schutzstaffel. The right angles aren't helping either. I'm sure you're probably going off some punk aesthetic like the Dead Kennedys logo, but a lot of the time they were using Nazi-style imagery to either be shocking or play up some social satire.
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Jul 20, 2014 04:34
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Haha, to be fair the letter K is pretty much only made up of straight lines and sharp angles.
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Jul 20, 2014 18:30
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Fayez Butts posted:im bored so i did some more Sudden urge to eat a gyro, here.
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Jul 20, 2014 18:47
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This is the closest thing we have to a general design discussion thread, so I thought I'd drop this question here: Are there any good resources, guides, or communities on putting together a color palette? I don't just mean definitions of triadic, complementary, analogous color schemes, tints, shades, etc, but rather a more in-depth exploration of color relationships and specific situation-based tips. For example, say the advantages of a low-contrast/muted color scheme in certain situations, or when to choose a scheme with warm/cool contrast versus a purely analogous one, or the psychology behind pairing a vibrant color and a low chroma color of its complementary hue. I've been browsing through the Kuler user submissions, but there's no discussion on how these specific colors were chosen and paired up. I'm interested in color schemes for both logo/web design and illustration, so anything would be appreciated.
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Sep 4, 2014 06:23
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I would start by looking up "color theory"
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Sep 4, 2014 06:29
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Fayez Butts posted:I would start by looking up "color theory" What I'm looking for is advanced color theory essentially. I know all about the contrasts of hue, temperature, value, and chroma, but I was looking for more insight into refining those ideas and applying them. Things like finding the right amount of contrast, pairing a dominant and recessive color, using an accent color to establish hierarchy, etc.
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Sep 4, 2014 15:58
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It's certainly not exhaustive or even what'd I'd consider ground zero for what you're after, but -- if you have an iPad -- check out the Josef Albers Interaction of Color app. It's nice to have a hands-on tool for quick studies and manipulation, and the videos and articles are supposed to be great, though I don't know for sure how informative it'll be (I've only goofed with the free version on my gf's iPad). Your next best bet is researching definitive, authoritative books and hitting up a library or used book store. Hop over to a local college and see if you can find some used color theory textbooks. You're bound to find a lot of info online, but in my experience it'll only get you so far.
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Sep 4, 2014 20:33
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spider wisdom posted:It's certainly not exhaustive or even what'd I'd consider ground zero for what you're after, but -- if you have an iPad -- check out the Josef Albers Interaction of Color app. It's nice to have a hands-on tool for quick studies and manipulation, and the videos and articles are supposed to be great, though I don't know for sure how informative it'll be (I've only goofed with the free version on my gf's iPad). Thanks, that's what I figured
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Sep 5, 2014 00:47
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Nov 1, 2014 17:30
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Hey y'all, I wanna try this Dribbble business but I haven't been able to grab an invite/I don't know anyone on there who has one to give. If by chance someone here has one, I'd appreciate it -- here's a sample shot up on draft.im.
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Jan 6, 2015 02:20
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edit: no, I just don't have any invitations. Sorry, I'm a monster.
Fayez Butts fucked around with this message at 02:27 on Jan 6, 2015 |
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Jan 6, 2015 02:23
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I'm currently working on designing invites for my wedding and could use some feedback if anyone has any to give.
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Jan 18, 2015 16:16
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Raffles posted:I'm currently working on designing invites for my wedding and could use some feedback if anyone has any to give. Use more fonts. Maybe cross those arrows and have your initials in the space. Put a bird on it.
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Jan 19, 2015 02:49
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Raffles posted:I'm currently working on designing invites for my wedding and could use some feedback if anyone has any to give. Congrats on your wedding! I still consider myself a novice designer, but here are a few things I should point out: 1. I'm pretty weak when it comes to using typefaces, but the general rule is to use the least amount of different typefaces as you can, typically not more than 2-3. Right now you have 3 different copy fonts (the main text fonts) and 3 different display fonts (the more decorative fonts in the title). There is no reason for "Visit https://www.weddingurl.com" and arguably "You are cordially invited" to be different fonts from the rest of the body copy. If you really want to emphasize something, use one font but make use of different weights/styles (Bold, Italic, etc). I can't say about the display fonts, but I think it would definitely benefit from more consistency (using all hand-lettered fonts for example).  2. Really pay attention to the spacing between your lines of text and aim for consistency. Also, I don't see the need for a break between "Two Thousand and Fifteen" and "At two in the afternoon" since they both seem eqaully relevant and shouldn't be broken up (it reads like an awkward pause). 3. I see that you've already tried to darken the photo to let the words stand out more, but most of your text is still unreadable from the busy background, particuarly in the grass area. Unless your photo has significant empty space for text, you have to go the text overlay route where the picture is mostly reduced to texture. I managed to find the same photo off of Pexels.com, so here's an extreme example with a quick recreate with Open Sans and Minion Pro:  I still think the background grass texture interferes with the text. Oh and here's a second version that is more practical.  Hope this helps! It's not perfect, but you want to tinker with the version I made for you, I'd be happy to send you the original .psd
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Jan 23, 2015 02:33
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Octorok posted:Great advice That's super helpful, thanks.
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Jan 23, 2015 14:20
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This is my personal logo. I'm really happy with this and I've gotten a few compliments on it. I'm not really looking to change it but I'm always interested in what people think. Hopefully it reads as "JB". If anybody wants the vector or a black/white version to play with I can certainly make that available. Thanks for the feedback! voodoodle fucked around with this message at 18:42 on Jan 28, 2015 |
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Jan 28, 2015 18:38
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Cool concept. It look like a built-in illustrator effect at the moment, though. I'd like to see some finesse in the points/curves. The B's counter space is super slim for the modifications you're making, too. I'm curious how it might look with that space being equal to the spacing between the letters.
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Jan 28, 2015 21:08
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triplexpac posted:It's funny, I've shown my sheet of logos to 10 different designer/arts friends, and each and every one picked something different. That's because art is subjective.  Some of them are also probably more right/better artists than others. Personally I think you should go with one from Fayez's greek yogurt page.
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Jan 29, 2015 04:19
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My what? edit: haha, oh wow, that was so long ago! I didn't even make the Greek connection but I do kind of see it. Voodoodle: Your logo is a pretty good start but a lot about being a designer is consistency. That means line weight (positive or negative space), curve angle, etc. Since it would be tough to make everything balloon out from the B in a good looking, consistent way (I gave it a shot!), I would try to make your counters as consistent as possible. This is what I came up with:  Working on a grid with snapping makes life super easy, but your true starting location should really be with pencil and paper. Fayez Butts fucked around with this message at 05:34 on Jan 29, 2015 |
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Jan 29, 2015 04:44
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