“The fruit illustrations used in this series are hyperreal in their juicy perfection. Matching them with the simplistic circle and unadorned lettering gives the series a clean, modern feeling without losing any tastiness. My only critique is a minor one: it looks as if the path around the fruit is slightly off, leaving a white line around some of the fruit.”

“A realistic portrayal of the fruit, suggesting a natural source for the juice—something a more graphic and therefore, perhaps more artificial portrayal would not communicate.”

“A nice mix of traditional and contemporary styles are at play. The classically rendered fruit is held in place with a timeless circular shape with a bright, modern green halo. It is anchored by a modern lowercase sans serif font.”

“There is something slightly old-fashioned about this rendering style. It communicates familarity and trustworthiness—real added value in a mark of any kind. The letterforms are a Humanist sans serif: type based on handwritten shapes that have subtle thicks and thins and non-geometric curves. This type choice furthers the friendly tone.”

“The childlike simplicity of this logo is created by a few, quite refined choices, allowing the letters to bleed out of the puddle shape and adding a flower that is just slightly irregular. My only tweak would be increasing the weight of the top stroke of the ‘k.’ It’s a bit thin where it leaves the puddle.”

“Flowing letterforms, fresh colors—this is a playful, summery logo. That it’s for a fashion boutique and not milk just adds to the interest. The execution is polished and refined, and the curves and the way they join the type are almost flawlessly executed.”

“Making ‘milk’ look liquid requires a deft touch where the letters join the perimeter of the pool so neither dominates the other. The inside of the ‘m’ and the top of the ‘k’ are nearly right but curve off a bit too quickly, giving the light blue milk priority over the letterforms.”

“Everything is working splendidly here; even the drop shadows are treated with a professional touch. The choice of condensed serif mixed with Copperplate evokes a classic richness perfect for a line of tea. Even the arched type is well handled and spaced. Bravo!”

“Elegantly balanced execution, great color combination, and a good example of a logo that DOESN’T fall foul of the ‘drop shadow more forward in the mix than the letters casting it’ rule.”

“Timeless in its classic handling of form and counterform, particularly the generous space between the type’s perimeter and the inside of the border.”

“Oh so close! I like the combination of photographic elements here, but the logo looks like it was stuck on later. If the logo had been printed onto the plate and THEN photographed so there was a little shine and distortion of the letters as they curved up, this logo would go from pretty good to totally great.”

“Plate and tablecloth indicate this take-out food company serves more upmarket grub than your average take-away.”

“An actual photo rather than a simplified rendering is a refreshing approach. Note the precise bisection of the plate and ‘zigo’ by the background: that is a purposeful relationship.”

“It’s amazing how well this reads considering how much is missing. A software logo is the perfect place to play with geometric abstractions and missing pieces. The designer did a nice job of moving and removing elements to create a feeling of kinetic motion. My only issue is the curve in the ‘S’—it needs to be smoothed out just a touch.”

“This logo plays some interesting games with positive and negative space. The ‘E’ and ‘Q’ are formed from the same shape, one with the bar dropped. However, there are some areas that, because they’ve been derived from purely geometric forms, need finessing. For example, the bend in the middle of the ‘S’ needs smoothing out—getting this part of this letter to look elegant and beautiful is one of the hardest elements of font design.”

“Sequel is an Indian software developer, so the stark on/off feeling of the letterforms is a thoughtful interpretation of a computer’s binary language.”

“This is a great fly icon—simple and strong. The use of repetitive angles gives it a slightly aggressive feeling that isn’t reflected in the type. I think a few adjustments to the letterforms of the word ‘FLY’ to create some resonant angles would improve this logo.”

“A computerized fly, stylishly and simply executed. This logo has the bold simplicity of the best marks without any loss of character—it’s iconic and memorable.

“Typographically, the ‘F’ of ‘FLY’ is slightly too wide, and the decending tail on the ‘Y’ could be lifted to the baseline for even more chunky geometric symmetry. The stroke on the ‘Y’ that sits on the baseline is too thin.”

“The lettering has distinctive stroke endings. The fly does not, though its wing shapes are ‘right.’ Rework the fly to further absorb the best part of the type for design unity.”

“This border could be a piece of jewelry, it’s so great. It’s clear that time was taken—its imperfections are perfectly charming. I wish the primary type had some of the same character. It feels a bit light and clean. I want the type to be printed letterpress, or salvaged from some other already-printed source and then rescanned to give it the same feeling of craft as the border.”

“A good balance of line weights. The logo uses a serif and a sans, and careful spacing gives an even visual ‘color’ and coherence with the border.”

“Although this would be a nightmare to reproduce at smaller sizes, you can certainly appreciate the details when closely inspected. The elegant border delivers well on the handcrafted theme, and the designer was considerate to use a similar approach for his border.

“The symmetrical shape could very well be a computer shape that was simply inverted, but it appears here to be hand drawn. A classic typeface has been selected for the name, which is then solidly anchored by a more modern surrounding type.”

“Though there is certainly nothing wrong with the type, the star here is the fanciful border. The subtly boldened north, south, east, and west makes it look alive. It is almost organic.”

“The 60s op-art feeling of this mark is right on target. The number ‘2’ is fabulous. I wish the lettering had been given some of the same attention to detail. It doesn’t add anything of interest.”

“Using variations on a tight grid is a useful way to achieve design cohesion. Here, the ‘o’ and the ‘2’ are constructed from joined dots, indicating connections between individuals.”

“This designer clearly enjoys playing with form. Tasty figure ‘2.’ Love that the colors have been reversed in the type below. My eyes want to see a relationship between the letterforms at the bottom and the gray dots of the artwork. Maybe a nine-unit grid could have been used?”