The ability to hone in on the message of the director over a wide variety of media pushed the visuals beyond the screen.

Marking the 50th anniversary of the original Night of the Living Dead (1968), the trick was to have imagery that melds with the apocalyptic nature, yet still profoundly stand with the logo set in gold foil.

All contained within an ammunition can, the collection of items fit snuggly inside. The can—a Vitenam-era .556 NATO round canister—is stenciled with information matching the theme and age of the can, as well as the information relating to the festival in honor of Romero. Depicting the end of society, Romero’s films all teetered on pushing the boundaries of human nature, therefore, the ammo can was a clear choice to depict survival during the zombie apocalypse.

All of Romero’s DEAD films are included in the case. Each one is styled to look like a worn book, stamped with gold foil to fill the theme of being a survival item, saved from the shelves of a destroyed library. Each film’s cover is textured differently, focusing on the DEAD title. Housed in slim jewel cases, all six films fit within the ammunition box.

Four lanyards were made for particular groups—VIP, general admission, press, and staff—all done in specific colors for instant identification. Each pass utilized an image from the original DEAD film, celebrating the 50th anniversary of the film. General admission passes have a shot of some of the general stumbling horde, whereas the staff pass has the first zombie encountered from the original DEAD film. The VIP passes have the image of Ben—the hero from the first film—and the press pass has a picture from the original taping on set from 1968.

As a collage from the original Night of the Living Dead (1968), the image is colored and dissected to create individual palettes as well as one, solid piece. Each ticket has the same foil treatment as the DVD covers, giving a shining testament to Romero’s directorial history.

As a method to promote the event, a flying logo was created in hopes of communicating with the zombie apocalypse crowd. The 10 second ad uses the original footage from the 1968 version of Night of the Living Dead, breaking some of the news broadcast with the logo and time information.

Sales of brand items during the festival would all have to be survival-related. A survival shovel, .50 caliber bottle opener, and branded multi-tool, help festival-goers survive the zombie apocalypse, while the hats, patches, work shirts, and jerseys all aid in selling the festival. Each item is tailored to represent collectability of the festival, giving goers plenty of things to commemorate their time celebrating the 50th anniversary.

Again, with the nature of the theme, creating a series of visuals that showcased the event without being too offensive meant using color and general shots of what would appear to be those in a zombie-like state. The title of the event screams over the bloody backdrops, each one styled to fit within a multitude of formats.


More ominous than horror, the poster was designed to work in a wide variety of placements, considering the graphic content of the films’ themes. A looming figure in the distance, wipes his bloody hand onto a window; what better way to showcase the impending upheaval of society. The poster is also stamped with the gold foil treatment.

Worn and beat-up, the program is meant to act as a showcase of the career of Romero, as well as showcase the films at the event. A breakdown of the films, a larger schedule, lodging information, and regional information all live within the book.

Since the end of the world and battling the undead horde are the main themes of Romero’s films, creating memorable uniforms that represent the theme meant diving into uniforms that are meant to deal with death and disease. Security would wear bright yellow hazmat-style suits, and vendors sport bright blue-hooded safety gear. The general ticket taker and other workers would wear a solid red one-piece work uniform. Each item sticks out, and each item is something that coincides with the theme of the festival.


While out-and-about at the festival, goers have the ability to keep up with current happenings with the Zombie King app. Styled along the gory lines of the brand, users can quickly slide and access multiple modes of information.

Gore and blood splattered, the website is the place to capture the information about the Zombie King, and the festival events. Users are able to watch clips of films, buy tickets, and sign-up for zombie-related events.

The book documents the entire exploratory journey into the creation of the Zombie King festival. Blood stained and worn, the cover works with the rest of the branded materials, even sporting the gold foil cover.

Able to work within multiple formats, across multiple media, to drive a singular theme through a course of materials, all in hopes of relating to one, singular message. In this case, a director has a particular style—a label that follows them throughout their career.