An initial thought is that the heavy bar underneath seems to oppose the sinuous lines of the tree. Another is the typefaces seem earthy while the tree is almost ethereal.

I think the tree-drawing is very sweet. But I wonder how usable it is (how will it look when reduced in size?). Could it perhaps be made more stylized or 'compact' somehow. I also think the version to the right is the one that manages to let the tree 'grow' so to speak. The large type on the others seem to diminish the illustration. I'd agree that the type + bar are too heavy. What about trying with a lighter weight?

Thanks for the comments thus far. I am in the process of digesting them!

My original thought was, re. the heaviness of the bar / the lightness of the
tree, the tree / the flower, was the tension between the new and the old, tradition vs. innovation,
but maybe that is lost on the whole thing.

As for small size reproduction, I had thought of that and have reproduced it in many
sizes. It is definitely a issue to consider further.

Michael

the type and the illustration (which is ice btw) simply don't work together.

----------
Paul Ducco
Logo Design

The type and illustration don't work together. I think not. The ocre and blue works well and the brown and green and blue, the little yellow dot of the flower. Is cool. If you are not satisfied, try other variations of this style. I like it.

Cheers

André

________________________________________
"Temet Nosce"

André, thanks for the comments.

I did use some clipart for the tree (though it has been modified in all versions to a greater or lesser degree) -- have I committed some cardinal sin? It seems as though Ratbaggy wants to out me! Ha ha. With that in mind, let me also confess that I did not handcut and digitize the typefaces either. :)

Maybe I better go draw my own tree.

I like the silver-and-blue version best. I like the tree graphic very much. But I'm having a hard time relating the graphic to: publishing, books, Constantine I, Eastern Orthodoxy, the Byzantine Empire, or anything to do with your micro-press.

If I try to imagine your logo and a undescriptive headline on a book cover (something like "Studies of Historic Turkey"), my first thought would be of the islamic Ottoman Empire and not the Eastern Orthodox Byzantine Empire.

It appears to me that the point is having a tree there. Oak Tree? (from the wood furniture), or is it a sort of arabesque just so it's mass has whites around and is not a massive square or circle.

If you insist in this tree, you will get it - just need some hours on it. Make variations of color with a result you will get, by modifying what you already have. The clipart feel then will then puff away. The curve is to be not precise or symmetric, like hand drawn. Well, just work on it. The result can be seem at the end, many hours later. :-)

KenBessie,

Thanks for your comments. As I had mentioned above, the idea is the tension between new / old, tradition / innovation, old growth / new growth. The point of the tree is old growth / the flower new (unexpected) growth. The use of the tree / flower harkens to much that is familiar with byzantine illuminated design, though nothing specific. I was trying to avoid something that would say "byzantine" too strongly. As for the connection to publishing, well -- you definitely have a point. I was again trying to play with the ideas rather than hit you over the head with them. Again, maybe it is too vague and undefined. The word PRESS is really the only indication.

AGL,

Thanks as well for the comments. As for trying to not be precise / more handrawn look, the silver tree was the result of this; the leaves are not round and the curves have been edited freely. Not sure how that plays out. The point is the tree and the delicate lines that surround it.

I have played around with the tree quite a bit -- below one of the results. It seems totally impractical, but....you tell me. I haven't added the flower as of yet.

All of the logo types here are too illustrative. and too busy. Simplify the elements.