I haven't seen something like this - it's cool, but emphasis on legibility is still important - the P doesn't read clearly here and the R is ambiguous. that can be cool when someone knows the word, but not when they don't know it.
Soumya, thank you for the additional takes. I really like seeing the options and the general direction. The boxed versions are interesting and it will take me some review to figure out which of the entries are working best. Right now I've just moved them over so i can play with ranking.
One thing it makes me think, and that I'd like to see - In the boxed versions what if one or both sides showed the text bleeding at the edge of the box into the white space. For example - PRAC in a box that had the letters still legible but touching the edge of the box, a distressed box followed by CIS either crisp - no box or in a crisp full box or some other variation. #107 is the closest to this so far - distressed/sharp
I want to communicate - here is a creative take on something (letters) that you see every day.
Thank you. I like contrast, sweet/sour and so the "pretty/plain" contrast can work as in the designs #137, however the decorative font used is reducing legibility of the P and the C and we can't do that. I like your approaches though and you have a surprisingly wide range. Always happy to see what you come up with.
#146 nice. I am a little wary of courier style fonts though - our current language is a stripped down machine version of courier and generally it has been used a lot to signal "serious art" - which is good and bad. It's a very nice quality of distortion, though.
Soumya, you continue to surprise. I think #175 is fun, but is likely too stylized a font to convince the group. Our general take on font is something clean and classic - timeless but not too familiar. I don't know if we've found the right thing yet, But anything that could not be used to print a book is probably to eccentric.
Because you have such a range, and I never know what you will come up with next. I'll put this out there, I still have not seen a really surprising use of positive/negative space. Have you read the last comment I made in the general section on "Sensibilities"? there are some abstract ideas that resonate.
Thank you for the new entry. However, the strongest reaction in our group came from #203, sense of movement and knocked out planes. I would suggest taking that logo which has a classic symmetry and see what happens if it went through a blender/time machine and emerged with it's planes scrambled or otherwise (dis)organized. Not sure what this would be, but I think the shifting grey-tone panels is something distinct to your design and something we would be open to.
Please see latest comment in the general section. And thanks for the diverse choices.