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13 Responses
Pro
Colin Tierney
name change. photographer decided to go with first and middle name. the mark consists of a monogram/ambigram and a pillar which shows strength and elegance.
about 1 year ago
Pro
Nick Slater
DAMN THAT IS SICK!
about 1 year ago
Great work!
about 1 year ago
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Sean Heisler
Hey, I like that column! Nice update, I like what you did there, makes that vertical stroke work. Nice type too, Colin, great work.
about 1 year ago
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Colin Tierney
@Sean Heisler thanks for checking this out before. i appreciate all your comments guys.
about 1 year ago
Exactly what @Sean said about the column, such a good solution for making the 'P' work. I loved your previous DD version but this has a really nice strong, structured feel that goes very nicely with the type you've used underneath.
I like the serifs you've included throughout, they create a really nice balance between left and right sides. The areas where curve interacts with serif (lower left of 'N' and top of 'P') create quite dark/heavy spots though. Maybe you could bring in the inside of the curve slightly to compensate? (If that makes any sense!)
about 1 year ago
Pro
Colin Tierney
@Claire Coullon i always appreciate your comments. they are so thorough and thought out. i understand completely what you are referring to with the serif and curl interaction. i thought about the weight of these originally because i wanted the whole mark to be the same line weight. then i explored different types to interact with the mark. Adelle seemed to work perfectly in this case because of it's variance in weight along with the elegance and boldness. i agree, it still could be a tad heavy in those areas and i'm willing to explore further if the client likes this route. thanks again!
about 1 year ago
Pro
Jon Stapp | atomicvibe
OK Colin, here's my $.75 (because anyone who knows me knows that I have much more than $.02 to offer):
While it's obvious that you're putting as much thought into the delivery of a meaningful concept as you are technical effort, I feel that this direction is not quite there.
Here's why:
My overwhelming concern is with the column metaphor. I think that, technically, what you've done is quite clever, but, thematically, I don't think it's the right idea; not for this client, anyway.
The column is used time and time again in brand design, by large corporations and financial institutions, because it symbolically portrays structure, solidity, longevity, and perseverance. A stone column can stand the test of time, and thus, businesses that use it as a symbol are saying to the world, "You can trust us. Your money is safe with us. We will be with you always."
I can totally see that it is for these very reasons why you chose to use it, but, unfortunately, given its ubiquity with the types of aforementioned businesses, it's almost impossible for one to look at a mark that uses a column and NOT think of big corporations or finance.
Here, it makes your mark feel corporate and stodgy. If it weren't for the addition of the word, "Photographer," I would never in a million years guess that it's a mark for a photographer. Take away that word, and you have a mark for Desiree Nickole, the venture capitalist.
Now, does that mean that your visual should *always* literally depict the business, product, or service? No. Of course not. Some of the best logos use symbolic metaphors, abstract imagery, or beautiful typography in an attempt to elicit an emotional response — to get you to *feel* what it's like to use the product or service. Thus, you don't necessarily have to depict a camera for a photographer, but think more about what it's like to be photographed by Desiree Nickole. You know her and her work better than any of us do; what is her style like? What is SHE like? What types of photos does she take? Try to use the emotional feelings you get from looking at her photography, and let them guide you to your solution.
That's what I loved about the original D-D monogram; not only was it clever, but it had a wonderfully flowing energy that gave me a very strong feeling about what her work is like; what SHE is like.
However, if you do decide to pursue this concept, I feel there is a significant problem area that, if worked out, would result in a much tighter lockup.
I really do like the ambigrammatic functionality of the D-N-P monogram, and I think that, generally, the way you've rendered it to suggest a column is pretty brilliant. However, the addition of that middle vertical stroke — and its relationship to surrounding elements — is problematic for a couple of reasons.
For one, its intersection with the middle stroke of the N has a somewhat negative connotation, suggesting that something is "crossed out." Considering that I'm looking at the letter N, I immediately think, "NO." Secondly, the relationship of that vertical stroke to the top and bottom horizontal strokes of your column throws off the readability of this monogram, suggesting that there is somehow an I involved.
I have taken the liberty of sketching out a possible solution to this problem, but I won't post it here unless you want me to. Alternatively, I could email it to you. I never want designers to think that I'm trying to step in and do their work for them.
about 1 year ago
Pro
Jon Stapp | atomicvibe
Holy shit. I think that's my longest comment yet.
Did I break the internets?
about 1 year ago
Pro
Jon Stapp | atomicvibe
Oops, I forgot something about the column metaphor:
Unfortunately, despite the monumental achievements of women throughout history, we are still living in a predominantly patriarchal society. As such, whenever I see a column in a logo, I can't help but see it as an extension of masculinity. Because, let's be honest here, since the dawn of humanity, guys have been obsessed with their junk, and every column, or obelisk, or tower that was ever built by a man is an ode to the mighty power of the penis.
So, phallic imagery will continue to evoke a more masculine tone.
Now, does this mean that we should just accept this and continue to feed into the patriarchy? Absolutely not. We should strive to break down assumptions and stereotypes, in an attempt to achieve a more harmonious, accepting, global consciousness.
But as visual communicators, we absolutely cannot deny certain connotations that certain imagery have, so we need to be cautious about how, when, and where we use these images, so as to ensure we're communicating the correct messages.
about 1 year ago
Pro
Colin Tierney
@Jon Stapp good gordon stapp that was a quite a read. let me filter this for a little while and get back to you. in the meantime, email away your thoughts. i have come up with several variations to this and would love to see how yours compares. as always, thanks man.
about 1 year ago
Slow clap for that comment
about 1 year ago
@Jon $0.75? That's more like $30 worth of comment right there. Looking forward to watching this develop Colin, it's been a really interesting progress so far.
about 1 year ago