6A on the second page speaks to me the most. Out of everything, it feels the most complete. While it's showing the 'a' in 'Alignment,' it's also got these dots that form a neat grid, despite the fact that the dots are connected at various angles. That direction seems closest to the idea of 'bringing disparate objects together.'

thanks bluealgae, i agree. it's quite technical in that respect, it's also a free font and i'd want to do something to make it a little more distinct or unique. any ideas on a typeface for the name though? from existing? ta!

I agree with Dana, 6a seems the the best from what you have posted here. What's good about is what you did with it however. The type itself is quite rough & unfinnished in feeling. I would look for a font that has more legibilty. This one is a bit hard to decipher.

I also wonder if you could put a cross hair at the end of alighment. It would look like

Alighnmen+

Cross hairs are the cheese so I hesitate to suggest it. But it would read & is simple. Also crosshairs as used by printers feel culturaloly different than those used on say - hunting rifles.

Maybe it wont read...

But I think it could be good to keep going even as you work up an idea that seems promising.

You need to work on your spacing. Everything is too tight. Try this, make the mark as small as you would ever use it and see if you can print it out without plugging. Many corporate logos have specific spacing for different usage as: sizing for print or signage. I would also get away from your computer and explore new ideas for Alignment. Did you look at type on a perspective casting a shadow. Type as blocks. See what I mean, just sketch, let your creativity come out and don't worry about the limitations of the computer.

I understand they want wanting sleek/fast/smart logo, because hey bring disparate objects together, hence the name.
I have to agree then about A6, and I want to add 8b, I am not sure of arrow shape inside that logo, because I find arrows and triangels are disrtub the eye. but the idea still make sense for me.
good job

thatnks for all your advice. i have been doing a bit of sketching - computers drive me mad sometimes. and thanks dan for the mention about spacing. i do have a tendancy to just cram it together because of some odd compulsion. eben, are you referring to page 1 or 2? because blue was referring to page 2. i should probably have labelled more clearly on the two page thing!

Ashley some ideas in general. Do me one favor don't use Avant Guard ligatures until you have studied Herb Lubalin's work extensively. Its at best, its a long learning curve. The problem with logos are end use. Make a list of all the end usage and any idea that doesn't fit the end usage is probably the wrong idea. This is a general principial and its a rule thats waiting to be broken. Work on your logo in black and white and investigate color when you are in testing mode. Test the logo! Make the design process into baby steps. Don't try to solve all problems at the same time.

thanks for the heads up on the avante-garde-faux-paus dan. at the risk of sounding dense, how do you mean 'endusage'. on the colour thing, i defintely prefer b&w, any colour i used was just as a contrast and (naughtily) i hadn't given it any/much thought. p.s. thanks for being honest too, i much appreciate the criticical advice.

I was agreeing with Dana (blue). Dan's advice is excellent especially about - sketching , & keeping the purpose of the mark or logo in mind. I hope you keep posting samples.

logos are some important unit in visiual communication, you may consider it a new word in language. So you have to be carious in telling your message. For an example I am not sure what A.1 message is? it looks like atoms. And what B.2 says? just an a with shadow and nice drawing for circle frame by shadow .. good artistic work but what is behind these shapes are telling me about alignment, and the reason they select alignment as a name to describe their service.

hope this attachment thing worked. i've tried playing with simple squares. and lines for grids, although it's quite hard to make something unique or identifiable. and i've eased up on my kerning. hehe. i'm really still not convinced though. ...perhaps i've been looking at this tooolong

Ashley, who is your audience. Ask your self this question before any project. Then when making a design ask your self will they get it. A lot of your work seems like an inside joke with only the ones in the know will get it. Think about the common user and you will come up with simple solutions that communicate effectively. Isn't communications the goal or is it art for arts sake. Remember the logo isn't going to be alone in the communications effort. You will have supporting copy and possibly a tag line. Don't try to make the logo do all of the communications effort. Its like a acting troop, the logo doesn't need to be the star but a supporting member of the cast.

The one I think is ok is the one which you devided " i " in it for 4 parts, then you colored dot with gray. Good idea here, having 4 parts aligened verticaly can point they bring separated objects aligened together. changing one of their colors " the dot of i " can mean there is no matter what object is. I just disagree with changing porportions of "i"'s dot for this trade gothic ( or alike ) font .. you may use red color.

for the other logo let me ask why avant garde? This font was basically done for being a logo for some magazine, and by just typing it is making me feel you redo the same logo of that magazine.. it need some more work to get it from that.

for 3 logos at top they are good start for something, I don't have a clear message yet from them. But may be another try will bring something.

What about typing it out normally - & then get rid of the 'i' and just leave the dot. The dot can be red.

Why? No reason. Which is a problem. To use that ( or any idea) you do need a reason why. And the reason is the solution to a probelm. And the problem has to be defined before you can solve it. Define your problem well and you will be off & running!

hehe.sounds like the chicken or the egg question! i was thinking the icon things at the top would probably have to work together with the logo, perhaps two colours for the parts or the a (can you even see that?!) to suggest a coming together. I get your idea eben about just a dot. it was kind of the problem i was having before in that yes it is aligned, but that's not immediately realised, because in some way that is taken for granted with all typefaces. it is no more aligned than usual type so you'd need something more 'aligned' (?) or something unaligned (which then negates the brand, so i don't think that's good) in order to suggest alignment. sorry if that doesn't make sense. but thanks again guys&girls!

I think a dot looks like a point, a nexus. Because it's red even more so. But what do you think alignment means to the client, or your client? Does it mean that the priorities of 'Alignment' are the priorities of the client? Maybe A mirror idea or some other idea can come about if you thing around the question from various points of view.

I think the simple boxes approach might work better if you look at a treatment using an uppercase A I think it will be easier to produce an instantly recognisable letter, especially those of different proportion (kind of square peg in a square hole, rectangular peg in a rectangular hole, the whole working together).
Colours would help this proposition but as Dan said you should work toward that from a black version.
Tim

Hey there,
You know I was thinking that you could really make a leap here and use something other than the simplistic alignment of shapes. You can make a visual connection by using other things that align. Furthermore, if you could incorporate a cliché or saying visually that would make it pop even more. Do a wordlist and really think of the different things that align. Think living, breathing, alive. Soldiers line up and this company recruits, there may be a great visual there. "get your ducks in a row" is a good one-liner that brings up very visual thoughts. Since this is a recruitment firm you may want to be warmer and down-to-earth. Anyway, these are just some things to think about and mull over. Good luck!

Joseph Szala
Vigor Graphic Design, LLC.
www.vigorgraphics.net

If this is being directed towards a human resources company I would really think about what they do for people. They give personal attention to help people with their lives in and outside of a work environment. I think you really captured a human connection with a few of them.

8B specifically: the adjustment and markers on the "g" scream personal attention. It is a graceful and clever way to say, "Hey nobody's perfect, and we'll help you figure this out."

page 2 #1-4: these examples also include an element of human touch. I would encourage you to include these non-typographic additions. It gives them more warmth.

The AvantGarde examples feel cramped and uncomfortable. Would you want to work between the "l" and the "g" in 1-5 columns A and B? I wouldn't. :)