Hi Type Drawers! It feels good to come back with a post here, it's been a while since I've done a purely typographic logo. This time, I wanted to make as many changes as possible before asking for your help, so that, you know, I can be confident with myself and test my skills and knowledge

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Brief
This is MARKESSA, a client's small business looking to sell beauty and cosmetics products. Her primary sources of inspiration were the logos of
Lancome Paris and
Markova, and after some back and forth and discovery sessions, she chose
these alternatives as the foundation of the new logo.
Markessa has three references:
- First and foremost, her name is "Marcela". Explaining the relevance of the M.
- The double "SS" is derived from her surname. I'm not sure if I should reveal her identity, but she has an Italian surname with a double SS.
- The entire word Markessa refers to Marquess people in royalty, and we intend to carry that concept throughout the visual identity.
This is the end result so far.
Since it's a small business, she will first sell her products via WhatsApp. Because of this requirement, readability became an important consideration, and all ideas involving high contrasting letter-forms were discarded because they would cause issues when seen at small scale. Still, I'm attempting to balance readability and still make it look aesthetically pleasing when seen up close. However, as brand awareness grows, we intend to give more importance to the "M" and the icon alone, but those are logo-specific concepts.
Question
Still, I'm not entirely sure if it could look better:
- I'm not that confident about how the "S" and the "A" are drawn
- Letter-spacing at "ESS" feels tight at small scales for me, I'm not sure. But I think there is something in there and needs improvement, despite having already made adjustments.
- If serifs are consistent and if the overall letter-forms look good.
Despite all that, I'm confident that my typography skills have improved since
my first serious attempt 
What do you think?
Comments
The thinnest bits of M and A are significantly thinner than the top right diagonal of the K, horizontal strokes, or the thinnest bits of R and S. I would thin those other letters (K R S etc.) to match.
The lower right diagonal on R and K and the middle/spine of S could be just a *tiny* bit heavier.
However much S has overshoot now, try just a tiny bit more, like 1/6 more than it does now.
It should be the same width as the /E
Search for a Similar font and put the /S on your background layer, it will help you to improve the curves. Junge is a different style, but has similar proportion to your logo, it may do the job. Scale it if needed.
- The /M is narrow, make it wider
You will also benefit of having more white space around the little birdie thingy. It will look less crowded. Use the same method as the S a guide.
Typical uppercase proportions goes like this (from Narrower to Wider), of course you can change them as you wish for different type styles, but this is a good reference:
I
J
L
F
E S T
P Y Z
B K R V X
C
A
D G U
H N
O Q
M
W
You can learn a lot more about proportion by reading this curated selection of type related book, all online and for free. Start with the ones that have 5 stars.
- The /A crossbar looks bolder than the 1st thin diagonal
Make it about the same as the 1st diagonal
I will also suggest you to try a standard, simple straight line /A crossbar
This is personal opinion only, because I hate this current wavy trend
You can tell your client that all this wavy lines will go away as soon as a new and different trend get into fashion next year, hence his logo will look "old" next year, once the current trend goes out of fashion. A more classical /A crossbar will make his logotype last longer. Unless she wants to hire you again next year for a logo update to next year's trend.
Agree with what is already written here, and would like to give one more vote for the classic straight crossbar for the /A and narrower (more elegant) /S shapes.
The lower counter of the S is too big and the whole letter tends to fall behind.
Maybe a bit wider E. Yes, the spacing seems a bit tight for the "ESS" part.
Wavy A crossbar and S shape remind me of contemporary revivals of the Art Deco and Arts & Crafts vibe. The rest of the letters look less romantic and more serious to me, which is my personal preference. But I can imagine the fashion/cosmetics audience would prefer that romantic touch
Currently the more even glyph widths are more “modern”; the narrower S and wider M some folks are proposing would be more “old style.” I think it really depends what feel you want.
Given the brand name and the crown-thing I would have _guessed_ you might go with a more classic, old style widths scheme. But it is up to you!
Cheers,
T