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I am crap with angles, and though the client loves it...I just want it to be right. So anyone got any feedback on how to improve it?
It seems like you're trying to suggest some perspective in the design. If you want the perspective angles to be right I'd suggest drawing out a perspective grid and then place your control points along that grid. I'm also not sure if the windows are just stroked shapes, but if they are I might expand it so the strokes become shapes so you can tweak the control points. On the other hand they do match the line weight you have going and could stay as they are once you fix the perspective but that depends on how accurate you want the perspective to look. Since it's a logo it doesn't necessarily need to be accurate.....it's really up to what you and your client like. I would, however, clean up some of the stray corners you have going in the hanging land part. If those are strokes just expand, merge shapes, and go through and subtract the extra points. Other than those minor tweaks it's looking good.
I like the design and it's a good choice of type considering the client.
That being said, I think more time can be spent cleaning it up and refining the shapes. Since publisher logos are oftentimes printed very small (book spines), you should consider the readability of the mark itself at a very small scale. It may be a good idea to create both a large scale version and a small version so they can use whatever suits their needs.
I'm not sure what the details are in the windows on the black wall side. and likewise, the spikes on the white wall are distracting as well (when your logo is shrunk down, it just makes the window shapes irregular). The windows on the roof might be better as solid shapes rather than lines-or perhaps add a little more character such as arched windows?. The grass details are a bit haphazard and should be redrawn more purposefully. After messing with those I might be inclined to add a bit more character to the roots and different options for the landmass.
But good start. I think this is easily cleaned up with a hour or two of work.
Agree with prepsage. Clean it up. Give just the essentials. Shrink it down to see if it is recognizable at small sizes (like it would appear on a business card).
Last night I slept like a baby: I wore a diaper.
i did a quick perspective sketch to help, but as the others have said its important that it doesn't have too many details given the small size it will often be printed at. logo design can be tricky since its got to look good no matter what size it is displayed at. you could also offer several different text layouts (i like the font, its well suited) however for example on a book spine you will want something quite thin but with flexibility in height etc. hope the perspective sketches help somewhat, and sorry the lines aren't that great, its been a long time since i last used my wacom.
Sadly I had already sent it off before a majority of you replied, but I did clean the picture up and fix some issues. If I am asked to do more work for them (or maybe just my portfolio) I will adjust the perspective like PJB21 suggested.
All the perspective crits are completely irrelevant for a graphic like this. I like the overall concept, but think it could still be simplified and refined so that it works better at a small scale. There are two elements here, the logo itself and the type layout. I would focus on getting the logo nailed down, then seeing how it can be incorporated in various type treatments. Of your last batch, I like the version on the top left (dirt but no roots), but the design of the earth element could still be better. The black triangles don't really work either as shadows or as a design element, do you rely need then at all?
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I'd consider keeping your lines consistent. The rough edges of the typography should be carried throughout the icon as well, at least in my opinion. Perspective accuracy doesn't really matter at all. I'm glad you removed the dirt part on the bottom, while it was cool, it make the logo a little too tall making it very awkward to work with if it's going to be used in a lot of different spaces, as most logos are.