Boogie Nights Halloween flyer, red backside (Instagram version)

Halloween flyers are some of my favorite designs to create because they tend to be fun and creative. This BOO-gie Nights flyer is one of my own personal favorite Halloween flyer designs that I’ve created over the years, thanks to the extremely dramatic composition, costumes, facial expressions, and lighting. The flyer was designed for the Boogie Nights Halloween party presented by DJ Frank G and Gil Cabrerra on Saturday, October 28th, 2023, at Islanders on 151 W. Alder St. in Stockton, California, featuring DJ Manuel C, DJ Frank G, and a special Michael Jackson impersonation performance by QStar.

The design features zombies, witches, demons, vampires, a vampire queen, and Día de los Muertos painted-faced girls. It utilizes the fonts Lycanthrope,Trajan, and Futura in the main section. The Islander’s logo utilizes Hawaiian Punk In addition, Cadeaulx and Century Gothic are found on the DJ Emir Logo tag in the right lower corner.

The Boogie Nights Logo was created utilizing the Lyncanthrope font with multiple layers to emphasize that the word BOOGIE is a play on words BOO-gie by highlighting the “BOO” in gold metalic font color over the eerie goulish green color for “BOOGIE”.

The flyer designs were created by DJ Emir and Extreme Flyer Designs as was the logo design for the DJEmir.com logo.

Boogie Nights Halloween flyer, front side (Instagram version)

Boogie Nights Halloween flyer, back side (Tall poster and flyer version)

Boogie Nights Halloween flyer, front side (Tall poster and flyer version)

This tourism campaign video for Denver, Colorado, showcases various activities one can do in that city, and features some crazy, constantly-animated typography to boot. The campaign’s name is a riff on “This is How We Do It”, a song by Montell Jordan that this video uses.

“Serious Fun” ft. BN Zipline and Yorkmade

“Hardcore Groovin” ft. Evogria Italic and an unidentified script with similarities to Neisya and LHF Chicago Script

The script morphs into Genty.

“Casually Refined” ft. more Evogria Italic and BN Giggle

The words stay the same while the fonts change to Yorkmade and MN Latin.

“Extreme Relaxation” ft. Piepie and Broone

“Extreme” then changes into Antípoda Black Extended.

"Extreme" eventually goes back to Piepie, while "relaxation" shifts to what looks like a softened Roylands Font Duo Script (with a modified l.)

“This Is How We Denver” ft. Antípoda and Violeta Jardinera.

“How We Denver” then morphs into BN Binder, with adjustments to W and N.

“How We Denver” morphs a third time afterwards, this time into all-lowercase Genty.

Cherry Creek Framing is a Denver-based company that was created in 2004. The new owner hired me for a brand refresh. Inspired by the block printing they would sometimes frame, I created an identity that feels classic, with room for experimentation and playfulness. As it is a field that does not evolve significantly over time, I drew inspiration from classic European typography and traditional printing methods.

Helena Zhang’s portfolio was designed by Tobias Fried in 2020. The website is inspired by newspapers, as highlighted in Tobias’ project info:

Helena put together a design inspired by newspapers, with dense columns of content and explicit hierarchies of information. We mixed in references to broadcast TV and other analog media to make an experience that felt simultaneously nostalgic and modern.

The website uses two fonts: Bitstream’s version of Cooper, and Maison Neue Mono by Milieu Grotesque. Both fonts are available on MyFonts.

Project infos

Banner for Phosphor app for Android, which is included in the website

Helena Zhang’s Dribbble snapshots with a noise footer

This Sportsman’s Portfolio of Color-Etch Prints by illustrator and painter Fred Sweney (1912–1996) was created by the Brown & Bigelow Division of Standard Packaging Corp. and published by Chase Metals Service in Denver around 1960. The cover makes early use of Safari, an informal face with many alternate and interlocking letterforms issued by Headliners in their range of “naïve gothics”.

Intro header

Phosphor Icons is an icon library that can be used everywhere from UI design to presentations. Icons are designed by Helena Zhang, while the website is made by Tobias Fried.

The majority of the website uses Manrope, while the code and tags are set to IBM Plex Mono. Both typefaces are freely available on Google Fonts.

Closeup of one of the illustrations in the website, with the text set to Manrope

Another closeup of one of the illustrations in the website when it’s hovered. The labels pointing to the icons are also set to Manrope.

The main section of the icons, with the labels and the toolbar set to Manrope

A pop-up showing the icon’s detail. Most of the pop-up is set to Manrope, but the tags and code are set to IBM Plex Mono.

Footer

Absolute Elsewhere is the fourth studio album by American death metal and progressive metal band Blood Incantation. It was recorded at Hansa Studios in Berlin and released on October 4, 2024, through Century Media.

The album artwork is credited to Steve R Dodd. There are some versions of the artwork where his signature appears. The vinyl release contains photographs taken by Nissa Lai and Julian Weigand.

Windsweep by Rodney Matthews is in use for the title on the album cover. It’s credited as “Wind Sweep”. Chances are the font in use is actually Rick W. Mueller’s digitization named Windswept MF [edit: no, it’s composed from a scans of the original alphabet, see the comments]. The typeface is also used on other promotional material such as tour posters and T-Shirts, alongside Hightower by Tobias Frere-Jones.

The band released a documentary about the making of the album on Youtube, called All Gates Open: In Search of Absolute Elsewhere. The typeface is used for the title cards of each chapter of the documentary.

[More info on Discogs]

Web poster with the dates of the Europen leg of the tour

Access is a new yoga and movement studio bringing a fresh perspective to New York City’s wellness space. Design studio Mammmal described their work as follows:

The brand symbol, which behaves as a submark, conveys the notion of personal growth within the context of this “third space.” Meanwhile, the logotype’s friendly letterforms convey the studio’s inherently approachable attitude, with an unexpected ligature between the “e” and “s” nodding to intuitive movement and flow state. [...]

We aimed to introduce an entirely new and distinctive flavor into the mix: a brand that is contemporary but unpretentious, easygoing but mature. The type system helps us to strike this balance, with headlines set in the elegant and expressive Self Modern (Bretagne Type Foundry) and body copy set in the clean and friendly Riposte (Good Type Foundry). Amber serves as a highly ownable primary brand color that is at once energetic and deeply soothing. Whereas competitors aim to convey prestige by leveraging the social capital of celebrity influencers, Access’s communications strategy builds rapport through direct but down-to-Earth phrasing that busy New Yorkers can digest at a glance.

Mammmal used Pangram Pangram's PP Acma for the logo.

The Awake Volcanoes is the first solo show in a U.S. museum for Sandra Vásquez de la Horra, a Chilean artist based in Berlin. It’s on view from April 7 to July 21, 2024, at the Denver Art Museum:

Sandra Vásquez de la Horra reimagines the world and deconstructs societal and cultural norms through her playful and surrealistic drawings and paper sculptures. Her work delves into shared and untold histories, trauma, desire, fantasies, and taboos. Born in Chile during the repressive Pinochet regime, she has lived and worked in Germany for decades, incorporating Latin American and European traditions into her unique artistic language. Her drawings – along with paintings, photographs, and films – explore mythologies, fantastical hybrid botanicals, diverse geographies, and text, with writing in Spanish, English, Italian, Latin, and German, that expands the possibilities of meaning for each image. She imbues the traditional technique of drawing with tactility by dipping finished drawings in beeswax, and she continues to challenge our preconceptions of what drawing can be by turning paper into three-dimensional sculptures. Sandra Vásquez de la Horra’s work invites us in and exposes the mysteries and intimacies of our shared experiences.

The exhibition catalog was designed by Matt Avery/Monograph. It uses ABC Whyte Inktrap for headlines and a beta version of Euchre for text.

KSP Productions is a full service production company that partners with brands and creative teams to produce photography and video content.

Their website uses Marlide Display for titles. It’s paired with Dunbar Text. The script used for the signature is Turbinado. The logotype appears to be custom.

Elzevir Gothic is a contrasted sans, or serifless roman. It originated at the Crescent Type Foundry in Chicago in 1896 – two years after Dickinson’s Florentine Old Style. Elzevir Gothic was also cast by Bruce and continued by ATF. Linotype adopted the design before 1905. In 2014, Nick Curtis made a a digital interpretation named Lodewijk Gothic NF.

Here it can be seen in use for hot-foil stamping. There are no special pin marks obvious on the metal type itself.

From the studio of David Ashley, a bookbinder in Denver, Colorado, USA.

Sort with a capital W under a magnifying glass

Detail of a specimen for Elzevir Gothic, which “reigns supreme over all similar faces”, in the Inland Printer issue from June 1896

From Police & Thieves:

We started Police & Thieves in response to the political and social blanching of marijuana by an industry that has stripped the plant of its power. This commodification has made CBD bath balms ubiquitous and has sterilized its subversive potency with the scientific term, “Cannabis.” Part of our reconquista is to embrace the history of marijuana in its totality, including its counterculture, by acknowledging the past and celebrating the creativity that has arisen out of oppression. Police & Thieves is an apotropaic symbol of that possibility. Police & Thieves holds in respect sophistication and aesthetics. Marijuana has been used for centuries as a medium to motivate the mind, to create, collaborate, and build community. It has been used to subvert power. It has been used to commune with power. Our goal is not to reduce flower to its highest THC content but to give prominence to previously neglected qualities of marijuana (such as the entourage effect) in order to cultivate a customizable experience. We are a woman and minority-owned company based in Denver, CO.

Inklination is used throughout the identity of the luxury marijuana brand.

Access is the leading destination management company in the country, with over 50 years of experience. They coined the term “DMC” and have continued to redefine what it means. Access sought a new identity that reflected the true nature of their business, and prestige in the event industry. An identity that communicated their driving forces and motivated internal teams around the future to come. FRNDS in Denver brought us on to build a daring identity that balanced warmth with sophistication, and embodied the strategic and creative powerhouse behind the nation's biggest corporate events.

We use the highly-contrasted serif GT Super Display as the display font to push into the neighborly aspect of their new tone and voice. The display font is complemented by the mono-linear geometric sans-serif Roobert, packed with loads of personality and detail.

Read and see more in the case study.

VMP (a.k.a. Vinyl Me, Please) released The Story of Vanguard, a box set presenting “a story told through six albums of peerless folk, with an eye towards historical accuracy and faithful mastering.” The vinyl albums in the set were lacquered from the original master tapes of Vanguard Records, a label known for both the music library of its 1950s–60s heyday, as well as for its memorable cover designs created under the art direction of Jules Halfant.

Designer Clay Conder paid homage to that history with dramatic use of Ballast and sparing subheads in Franklin Gothic Condensed. VMP’s house typeface Studio carries the main running text (printed in blue!) for the booklet of extensive liner notes.

Clay Conder shared these comments by email:

Since the aim of this project was to bring the wonderful Vanguard catalog of 50s and 60s folk music to a new, modern audience, I wanted a font that felt fitting for that era, but with a quirkiness that brought it into the current day. For that, Ballast was the perfect fit. It has all the elements of a classic slab serif like Egyptienne Bold Condensed, but with fun fresh touches that I really enjoyed playing with.

A circle-shaped pendant-style logo for musical artist Skyy Malay, utilizing a modified Republik Sans 01 coupled with Anthoni Signature. The S and the M of Republik Sans 01 both have rounded edges, allowing the overlapped combination of the letters to create a full circle with the two initials. I modified the S to match the angle of the M for a more unified design.

The Tri City DJs logo features a triangular shaped representation of a Technics 1200 turntable platter with the LED speed indicator’s circular raised bumps on the silver edge representing both the DJ and the Triple City aspects of their logo in one image. The “TC” initials are created in multiple layers with Streetbrush. The “Tri City DJs” text below is set in sans-serif caps from Bebas.

Smokin’ Aces Cannabis logo design

This logo was created for Smokin’ Aces Dispensary, California. The design features four aces playing cards surrounded by green smoke over a metallic green with gold accented marijuana leaf design. The Smokin' Aces is overlaid using Rubens in metallic diamond plate textured black and gold as well as purple and gold lettering. The word “Cannabis” underneath the main logo lettering utilizes the script font Ruthligos.

On this packaging design, Ruthligos was replaced with Coronet. The sans used for smaller type is unidentified.

Flyers for Jeremih’s concert at The Gothic Theatre, Denver, Colorado on November 2nd, 2011, with additional guest performances by Ali Pierre, Rockie, and Dre Lane. The flyers were designed by DJ Emir using New Zelek, A Bite, Century Gothic, and Porcelain.

The logo for Denver’s Best DJs was designed by DJ Emir of ExtremeFlyerDesigns.com utilizing the fonts New Zelek, Bank Gothic and Sloop Script.

F37 Glaser Stencil by F37 Foundry is used for the title of Utopia or Oblivion, a playlist inspired by R. Buckminster Fuller and his book of the same title. It was compiled by Ian Stoufer, multidisciplinary graphic designer, art director, and illustrator from Denver, who also designed the cover art. F37 Glaser Stencil is combined with Ogg Display Italic by Sharp Type and ABC Synt by Dinamo, all of which have been modified with distressed outlines.