Halloween Design Sampler: From spooky to just plain weird

Alex Bigman

Halloween carves out an awesome space in graphic design, where artistic impulses toward the dark and horrifying as well as the humorous and just-plain-weird enjoy free reign.

We scrapped together a small but spooky sampling of graphic art we came across, from grim logos to iconic horror film poster re-designs.

Not only are these in the spirit of the holiday, but many of them also present some pretty awesome, conceptual design solutions. So get your concept ‘ween on with these.

A suitably chilling logo for The Woodshed Horror Company, by Olly Moss

A gig poster for Conspirator. Victorian attire — terrifying!

Grace Potter and the Nocturnals (left) know that blurred out faces are creepy. French pointilist painter Georges Seurat taught us this over a century ago (right)

This haunting poster of deceased Joy Division frontman Ian Curtis (left) combines the musician’s visage with the iconic imagery from the album “Unknown Pleasures” (right)

Gremlins (ach!) in these posters for Yonder Mountain String Band, by Johnny Sampson

monsters

Awful creatures with awful hair styles, also by Johnny Sampson

David Cronenberg’s masterpiece “Dead Ringers,” about identical twins gone mad, had a pretty scary and conceptually intelligent poster design to begin with (left). This alternate version (right) conveys the film’s dramatic gravity through a new concept.

Hands down the best Rocky III poster ever.

Ach! Super twisted collage work for the film Paranormal Activity

The Shining — a virtually endless source of cool designs. Two by Billy Perkins (left) and another at right

More Shining!


And a great Ringu illustration. VHS tapes — so spooky!

Alien — another franchise ripe with re-design potential

Can you make out what these three poster designs by eivindmolvaer for the London Horror Film Festival say? Hint: they are your three options when facing a monster.

Seen any dark, ‘weeny, horrifying or weird design work lately?

The author

Alex Bigman
Alex Bigman

Alex contributes from New York City on topics ranging from branding and typography to the history of design.

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