I am most appreciative especially to my associates Chandler and Brian who gave me specific insights I hadn't considered. Chandler's thorough understanding of the User Experience is definitely beyond my point of reference and was especially helpful, and Brian's turn of a phrase equally so. they both brought up some key points throughout the initial progression which I have now incorporated into further revisions as you can see below.
For ease of reference I've numbered this layout and included the original 18 concepts as well as a large assortment of revisions. The general consensus from everyone is, as I had already assumed, that I should limit the new design to one or two colors. This has always been my own belief when designing logos for my clients for a number of reasons, not the least of which includes cost of reproduction and legibility. There's a reason that some of the biggest corporations on the planet have one colour logos, and it's not because they're cheap.
I'm going to continue a discussion of the process from design 19, which is pretty much just a color tweak of number 18. I've decided that the two "G"s have the greatest impact in black but I've fine tuned the pencil "L" to the traditional Yellow of a Staedtler pencil. This is a fairly recognizable image to many people in the design and business world, even if they don't actually register it right off the bat. On 20 I flipped the highlight in the left eye and added a nice rainbow flow from the tip of the pencil (which I then carried through the next four designs, subliminally in protest to the Russian political attitude). The eyes were okay but it wasn't adding anything to the design, so then I removed the left highlight but that just made it look like I was winking at everyone. As for the rainbow, its addition is fine for specific instances, but it's not very useful for a logo so I dropped that idea after making a few adjustments. Maybe a t-shirt design at a later date with the final brand . . . then again, maybe not. I also played with the pencil length at this point but finally decided that I wanted to maintain a closed image rather than having the point extending beyond the imaginary frame.
With the rainbows having fallen by the wayside I returned to the primary design and a comment another associate had made about the use of negative space. The pencil lent itself quite nicely to that as you can see in 24, which also has the added softness of the curved edges on the "G"s that I began in 22. I'm not really sold on the rounded edges so it was back to the hard edge in 25 and added color back in, but thanks to 24 I realized I don't need the eraser to be pink, there's no need to be so literal in the design. Out the pink goes for 26 which again tries to use the negative space. Better but it's still got room for growth.
Another comment that had been brought up was the lines in the pencil. If you look closely you can see that they knockout from the color but when you reproduce this at business card size they're just going to bleed together. In 27 I fixed that issue by just imprinting the black lines directly over the golden yellow of the pencil, the color of which I removed in 28 but kept the lines. The look was growing on me but there was still room for more adjustments. That said, I don't think 29 is it . . . the image now looks like an inverted raccoon. Great if I want a mascot or focus on being a children's illustrator, but not so much for the feel I'm after.
The Man With The Golden Pencil