Design for Free Software
Continuing after going a bit wild previously🙂
Filed under Logos, Lumiera
About thorwilI'm a designer from Germany. My main interests are visual and interaction design, free/open-source software and (electronic) music.
First letter looks like capital I.
never mind about the capital I. there is no “iumiera”, people will get it.
the font must definitely be put into context of the logo, and the strokes should not be too thick.
i still think the original is fine.
I agree with you that the original is too thin. It also looks unbalanced or unfinished in my opinion. I think there’s a middle ground. I also think there could be some improvements in the overall geometry of the logo. I’ve posted about it (and of course linked back to your posts) on my own blog right here: http://blog.rfquerin.org/2009/01/03/lumieras-new-logo-concept-and-a-couple-of-suggested-tweaks/
Nevermind the darn logo, where is the app and who is it’s audience? It already worries me enough judging from what I have seen, and I have a deep interest in the emergence of an NLE for Free Software…
While I don’t believe the overall thinness of the logo is an issue in and of itself, the bland monotony of the repetition of contrast would be a thought. Contrasting the thick with thin wordmark to tagline would be more along the lines of a contemporary twist on things.
Second, the balance of the composition is once again subject to the Free Software law of poorly implemented symmetry. The wordmark portion is symmetrical thin met with thin. The whole of the text portion is contrasted against a logo that fights equally for half the real estate. Reducing one or the other would go a long way to alleviating this. In addition to these problems of symmetry, the kerning between that a and it’s partner is rather unfortunate.
Finally, it appears that only (2) is closer toward a balance of colour when used at the given tracking space. Wider – the colour is intermittent, and tighter showcases the unevenness of the eyes and like negative space. Even still, there is a worryingly low degree of flow to any of the strokes. The a and r in the original are certainly borderline awkward. Perhaps working towards adjusting that awkwardness is a good starting point? In particular, where the a’s bowl connects to the upright stroke one might expect a tapering with many classical faces, while your sample fattens. The same standards would apply for the u.
It would seem that some of the original logo / wordmark issues are raising alarms to the passing observer. Trying to find out what exactly is going on and triggering those alarms is darn difficult…
After all of that, I still worry more about the application itself.
Keep creating Thorwil!
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