Growing up in Houston, Texas, in the 1970s and ’80s, Greg Ruth fell in love with art but had a hard time imagining himself pursuing it professionally. But almost three decades of devotedly plying his craft as an illustrator in a variety of mediums—ranging from graphic novels to children’s books to posters—have established him as a true veteran of the field, one whose knack for combining strikingly precise portraiture with highly stylized elements has translated beautifully on a number of memorable Criterion editions, including the covers for Notorious, Moonrise, and A Touch of Zen. For the latest episode in our Studio Visits series, we headed to the small Massachusetts town where Ruth now lives, just in time to see him presenting his work at an annual fall festival. During our visit, he went into detail about how he achieves his simple yet hauntingly beautiful effects with sumi ink, which brings a sense of immediacy to his images, and graphite, which offers a dreamy richness to his hyperrealistic illustrations. Watch the video above to hear him talk about how he envisions these commissions as places where “art and film can dance with each other.”
Combining elements of her own paintings with an improvisatory Photoshop process, artist Vivienne Flesher captured the grim beauty of Bruno Dumont’s cinema for our releases of La vie de Jésus and L’humanité.
How Sam Smith Finds Inspiration in the History of Poster Art
The longtime Criterion collaborator behind our covers for Japón, House, and Modern Times combines his love for film and design in his vividly colorful artwork.
Harnessing the Entropy of Diamonds of the Night in One Static Image
The artist Sterling Hundley details his multilayered approach to evoking the slipperiness of time and memory for the cover art of Jan Němec’s war film.