i’m curious why there’s a difference between the connections of the CH and the IS along the x-axis. I realize the serif of the h is there, but does it have to be? Check pic to see what im referring to.

But then that leads me into the question of the half of the stroke on the I and the top half being different weights. I see why you did it, if the bottom half is the same width the connection between that and the S loses its weight...but it still bothers me any may need some kind of adjustment.

but i like it. good use of ligatures.

evanbrog’s version has a very neat flow from C into the right stroke of H.

I would make a suggestion for the ch, why don’t you use a usual ligature for those two letters, by the top of the c and the h instead of their bottom?

Chris

This is fast and furious, down and dirty, etc...

I think you need to slim the joins, separate the i from the h and knock out the serif and I really think the ball serif needs to be incorporated into the s. Raise the branch of the r and heighten the i.

Remember advice is free, that tells you the value of it.

Just keep refining until you are pleased.

Edit: yes I know all the balls are different. What do you expect after a whole day with a cardiologist : )

Michael

Some really good thoughts here, thanks everyone.

To me, those inconsistencies I created by joining the letters don’t jump out or anything. But that could just be because I am looking at it too long.

Like the c-h connection actually feels like a good solid chunk to me. And cutting away that thick connection I made makes it feel awkward as a mark, though more accurate if you are thinking of the font.

I like adding the ball to the end of the “s” though. I think that would be a good improvement as well. And separating the “i” could work.

I’ll work with some of this stuff and get back to you all. Thanks for the advice, very nice to get feedback like this...

-Chris

“the c-h connection actually feels like a good solid chunk to me”

Yes it does, but it also creates a hot spot, a dark spot that draws the eye away from the “word.” You want the viewer to digest the mark without be drawn to 1 particular facet of the mark/design. That is the reason that I suggested cutting the serifs... minimize.

When working on a word project like this I always think in terms of the pen... keep thicks from joining thicks, unless of course it is monoline.

Michael