The angles on top of the roof are looking weird. It should portray an abstract house. Can anyone tell me how I can fix this problem? It should be geometrically correct.
My eyes (see NOTE1) want to find some perspective lines - no matter this image isn't a perspective drawing of a 3D shape. In the next image the cyan line is considered to be fixed (=not possible to change without redrawing the green parts) and the magenta lines are drawn so that they cross in the vanishing point. The point is selected so that approximately as much should be sliced off at both ends of the green parts. I do not claim no better choice exists.
NOTE1: actually a genetically inherited compulsive habit to try to see known patterns. It has been an essential survival skill and it still is in situations where time is short and only very sparse or cluttered information is available.
ADD: There's a comment which suggests tighter perspective. He is right. It can be made more compact. The green shapes must have different widths and the most distant bar must be drawn closer the mid bar because also distances converge:
Quite frankly, the main problem is that the angles are weird. Specifically, you have a bit of an Escherian inconsistency in what the green stripes actually represent.
Let's start from the basic idea of what shape you're implying:
That already has in principle the issue of being a parallel projection whereas our eyes might expect a perspective... but I don't think this is a big deal at all here, it's just how a house looks when seen from very far.
Next, you add some stripes – evidently you do this on the side wall...
...and continuing onto the roof
But that already is incompatible with the angles you have in your drawing, specifically these stripes all terminate at the roof ridge and therefore should all have inline-cut ends, like so:
(At this point, a “growing towards the back” illusion does seem to creep in, but IMO still not problematic.)
But in your actual figure, this is not how it looks: the green line furthest to the front right away follows the roof, suggesting that the stripe is actually situated thus:
...which is however at odds with the otherwise structure and distribution.
Of course, if none of the stripes are on the facade, then they should strictly speaking be invisible on the left side. But you can handle that quite well by tracing that one stripe only as a thin line there:
Other's have covered all the various angles on the right....
Whether or not you want perspective is your choice. It's a visual decision and it will alter the impression of the mark. So that's your call. But, even without perspective uniformity in the angles is important. Make certain all angles are the same....
You'll also want to ensure all the stripes are the same width.
(The widths in these image may vary slightly)
Merely ensuring all the angels and widths match helps the overall perception feel more deliberate and uniform.
However.... I feel the #1 factor leading to a "weird" sense is the left side end cap compared to the right side end cap for that same stripe.
The right side end cap is angled, the left side end cap is NOT. So, you've essentially got a "front" face shape at two separate viewing angles. Sort of a mobius effect to a degree. On the left, it's a flat front face. On the right it's a side face. This creates an unsettled perception... perceiving something wrong, but not quite certain what....
Simply angling that left side will instantly make things seem less "weird" - even if all the other angles are left as they are....
It may be better to adjust the first right end cap rather/along with the left end cap.. but with that, there would be further adjustments needed for the two stripes along the right side. At least in terms of spacing. Or the right stripe would need a split base, half and half.
Even the subtle change of splitting the right end cap, so it's half horizontal and half angled, without that sharp point on it, helps a great deal....
Simply flattening the right side does NOT work as well...
There is a great deal of exploration which may be needed to find a solid, viable solution which conveys the brand message you wish to convey. I've merely posted what I see as the issues directly, without trying to work out a specific solution overall.
I would encourage you to explore options with the end caps.
If I look isolated at the top of the house the angles of the lines seem to be geometrically correct:
That doesn't mean they are optically correct. The two upper lines look like they are too long. You might need to cheat a little bit and make them shorter.
If I compare the angle of the top of the house with the angle in the bottom it's obvious that they don't match:
The house appears as some kind of parallel projection, so it looks odd that the lines aren't parallel. This should be adressed.
If you want it to look like a perspective with a vanishing point I think the difference must be much more visible and the three lines shouldn't be equally spaced.
Here is a quick and dirty remake I made in Photoshop where I shortened the upper lines and changed the angle on the lower lines to match the angle on the upper lines:
Every combination of a 45˚ roof pitch with a 60˚ isometric projection looks weird. A combination of 45˚ pitch with 45˚ isometric looks coherent, but doesn't look unambiguously like a building.
But a using a 60˚ pitch with a 60˚ isometric allows the gable line and the ridge line to be combined in a way that looks like a deliberate artistic choice.
Acknowledging that the juxtaposition of gable line and roof line is awkward, and forcing the viewer to accept it like this, is a form of "lampshading". This would be ugly in a real estate sales brochure or architectural rendering, but it can work in a LOGO.
Your drawing was in general not quite abstract enough for a good LOGO. Let the lines work more as expressive lines and less than as a picture of something. And as another commenter suggests, your cogwheels should be simpler.
A slight rearrangement of the cogwheels yields a shape that better fits the new building face proportions.
You're confusing the visual processing system. The eye sees one line that almost continues but not quite. So it is unable to decide whether the image is some sort of parallel projection or some goofy mistake.
Since the image is abstract nothing says your perspective angle has to be so close to roof continuation. It may in fact be steeper either by adjusting vanishing point or roof angle. Or it may be the same.
You don't need to do a parallel projection. It can be perspective. But if it is it should be more apparently perspective. Make the lines diverge and converge more clearly. Just doing it a little can also be seen as a mistake. Be bold, own your details.
Also consider ditching the black cogwheels they bring almost nothing to your logo. They make it harder to read. They make it impossible to scale your logo down... Again if you want the cogwheel, make it more prominent, and the color division clearer. Be bold, make your details stand out.
So the trick here is to draw the same thing with a few variations. It takes few minutes after all. And see what works and what not. This way you will learn what works and not.
PS: three cogwheels together is very rare, its useless as a gear. Now there is one use for this config but its rare indeed
In addition to the answers refering perspective issues, I suggest you to be careful with the white spans, the perception of your draw can be improved following the Gestalt principles:
Try to close as much as possible the draw, in order to keep white color inside the house (Also roof and exterior right wall) as part of the draw. It can help to avoid misconceptions with the white space surrounding the house.
There are switches of viewpoint in the right-hand part of the image, even if isometrics rule out perspective.
The upper (here blue) slope, serves as both the gable side front and the roof top. That also spoils the angle at the front apex.
As if to prove that the map is not the territory, or a two-dimensional image hits the mind as a combination of at least three different 3-D concepts, a la Möbius, if not Escher.
Ceci n'est pas un cabanon.