Origin Series Part II print designs + Art book with all 18 designs now available in a new Kickstarter!
Click here to see more prints, and support this project! We need all the support we can get! Thank you so much for your consideration!
“This is a series of unique art prints of your favorite comic book characters & their origin stories. Each print has it’s own personality, and at it’s very core each print represents the story of one character. Although all the prints may not look the same, they still fit together as a series. They were all illustrated the way we thought fit the character, and story best.”Designed by The Ninjabot.
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Amazing! These should receive as much support as it can!
GHOSTBOOK (HARDCOVER) GIVEAWAY
A few of the spare hardcovers of GhostBook have sold, and for the last two we’re going to do a giveaway!
- First prize!:
- 1 hardcover GhostBook signed by at least Shy, Coey & RJ
- 1 GhostBook shirt (winner’s choice from the remaining few left over from the KickStarter campaign)
- 1 pack of GhostBook extras
- Second prize!:
- 1 hardcover GhostBook signed by at least Shy, Coey & RJ
- 1 GhostBook shirt (winner’s choice from the remaining few left over from the KickStarter campaign)
- Third prize!:
- 1 softcover GhostBook signed by at least Shy, Coey & RJ
Shipping is of no cost to winners, and we’re happy to ship worldwide!
Reblog up to three times! (Likes don’t count!)
Winners will be randomly selected 2pm EST, October 2nd!
Great illustrators and artists working under the ghostly theme to make this book. Check this out!
Being exposed to a large range of typefaces in candy wrappers was a very interesting experience. Seeing as many candies, I realized I have developed certain preferences. Several are as follows:
Bold sans serif typefaces being used at headers can be very problematic.
Their weight can become too distracting and suffocating.
Script typefaces are very nice, but it cannot be too decorative.
These typefaces should be seen as elegant by their tone, not their swashes.
Slab serif typefaces are one of the most flexible typefaces.
Thin slab type can be seen as elegant, subtle, and modern;
Bold slab type can be seen as solid, concise, and classic.
The script typeface is very attractive due to the small contrast between the thick and think strokes. This larger typeface is also very clean and easy to read. Having thicker strokes than the script type, the middle text seems more solid and direct. Having a successful combination of two clean, linear, and simple typefaces makes the message be read with a softer tonality, yet with a direct and harder message.
The combination between the serif and sans serif typefaces in this box gives the packaging an elegant form of decoration. “Mr. Stanley’s”, being the brand name, is stylized with swashes for decoration. Having the description (in script text) placed beside an end of the rule (part of the logo), it directs the viewer from one element to another.
Also, the larger text, composed of slab serif, sans serif and script type correspondingly, is placed at the bottom half of the text block. Although it follows the hierarchy by placement - most important being on top while the least important being on the bottom - the hierarchy seems somewhat contradictory. Although “LIME” is not the most important word in the packaging, it is being emphasized as such due to its size in relationship with the others. However, this box is elegantly designed with an interesting combination of slab serif, sans serif, and script types.
Bosco’s typeface projects motion with the extra strokes along each letter. In general, I appreciate script type, but this script is slanted, therefore oblique. Although I dislike the script type in this packaging, it does project fluidity and penmarkship. This fluidity resembles the hand motions made when applying (melted) chocolate on a surface. Overall, despite my personal dislike on the typefaces chosen in the packaging, both typefaces are used properly to reflect the flow of chocolate as well as the aesthetic of the company’s history.
The dark, long, and bold type on the top portion of the box seems to be hand lettering. This characteristic of having unique strokes and bents on each character reflects the lines on a tree bark. Additionally, it projects the organic aesthetic.
The type on the bottom portion, in contrast, is placed to indicate the specifics of the product. Although this elegant and clean typeface does not project the same qualities the type on the top does, its color choice does it instead. This contrast between the organic display type and the smaller, cleaner typeface balances interestingly. By using high contrast of colors as well as sizes, the hierarchy is well established.
The various typefaces selected for this packaging creates several dynamic layers that contrast one another.
For instance, the “Whitman’s” curvalinear typeface is the most prominent word in the design due to size, color, and placement. Size is the most notable property so there is nothing worth mentioning.For color, the contrast between the softer hue of yellow against the dark green places the type in the front-most layer. The yellow, in result, is automatically placed in the background.
Secondly, the red ribbon becomes the second prominent object according to the layout’s hierarchy. Although the color choice of the ribbon makes the type and illustration more noticeable, its placement ( on the lower part of the center) makes it a secondary element. Due to the three-dimensional effect on the ribbon, the object becomes dynamic. The ribbon shifts from the foreground to midground: creating a third layer.
Thirdly, “Sampler” becomes part of the background due to its relatively smaller size, its placement, and its texture. Being a lighter shade of green, “Sampler” follows third in rank. Having a similar, if not the same, “pixelated” or “fabirc-like” texture of the background pushes the words behind towards the background.
Lastly, the type seen at the bottom edge of the frame (net weight) is the most dynamic. Being a very light typeface (with thin strokes), the type can be shifted backwards. However, due to its placement within the decorative border surrounding all type, it can also be shifted forward towards the foreground.
Not being a fan of big bold or heavy typefaces, I found the type in this wrapping quite nice and comical. I appreciate the boldness of this type because it mirrors the thickness of the candy bar. One detail that is intriguing is the letterspacing in the letters of each word. The letterspacing on the “Oh” is 0 or negative since both letters are stuck to one another. On the word “Henry”, however, the amounts of spacing varies. A somewhat “comical” detail is the swoosh under the Nestlé logo due to its placement between the e and the n. It flows perfectly with both letter tops, yet slightly mimics the é and the ñ. Also, the condensensed type under the name gives a nice contrast with the bold type as well as the yellow background.