Criterion Designs

The artist behind our new cover for Hitchcock’s spy-noir masterwork remembers falling in love with the film as a child and walks through the process of illustrating one of its most iconic scenes.

Studio Visits

Known for her lush and imaginative children’s-book illustrations, the artist got her dream assignment when we asked her to work on our edition of Rob Reiner’s beloved classic.

Studio Visits

With her thick, flowing brushstrokes and eccentric sensibility, illustrator Ping Zhu captured the buoyant flavor of Juzo Itami’s “ramen western.”

Studio Visits

When we asked the beloved fashion illustrator to work on our cover for Tony Richardson’s Tom Jones, he delivered a playful look that matches the film’s modern sensibility.

Studio Visits

Go inside the process of creating a Criterion cover with Riccardo Vecchio, who painted the artwork for our edition of Kelly Reichardt’s Certain Women.

The Lone Wolf and Cub film series has its roots in Kazuo Koike and Goseki Kojima’s manga of the same name, which was itself a major influence on Western cartooning and illustration in the 1980s. It felt only natural to pay homage to that connection…

When putting together the Criterion editions of Guillermo del Toro’s films, we assembled a talented group of artists, including Hellboy creator Mike Mignola, del Toro collaborator Guy Davis, comic book creator Becky Cloonan, and Russian artist Vani

The film is is a high-water mark in the careers of its director, actors, and cowriter. But for design nerds, the contributions of Pablo Ferro, who designed the film’s iconic opening credit sequence, are just as notable.

The film is is a high-water mark in the careers of its director, actors, and cowriter. But for design nerds, the contributions of Pablo Ferro, who designed the film’s iconic opening credit sequence, are just as notable.

Creating the design that graces our cover of Masaki Kobayashi’s haunting set of ghost stories involved inks, a tank of water, and a fair bit of ingenuity.

The combination of deep-rooted anger and intellectual trickiness in Krzysztof Kieślowski’s film called for an artist with an unusual combination of skills.

The challenge of designing this box set was in finding a way to convey both the vast scope of the filmmaker’s overarching project—documenting the unique idiosyncrasies of regions and communities rarely seen on film—and the warm, casual intimacy

When it came time to assemble the Criterion release of It’s a Mad, Mad, Mad, Mad World, using Jack’s classic art was a no-brainer, and we were thrilled to find the man himself willing to revisit the film and provide new illustrations for the menu

Criterion designer extraordinaire Eric Skillman used a distinctive drawing style of his own devising for our release of Fassbinder’s Berlin Alexanderplatz (and blogged about it here and here). Sitting across from him in a meeting the other day, we …