On June 24th The Criterion Collection released A Hard Day's Night in a most spectacular and comprehensive edition. There were many hands on deck for this one and I was one of the designers asked to contribute some cover concepts. Ultimately Criterion went with a solution by the estimable Rodrigo Corral but for a while these were a contender. At the time we hadn't settled on a color solution. There were dozens. Here's four. One for each Beatle. There were other designs as well. I'll see about posting those at a later date.
17 December 2013
Shopping for a last-minute holiday gift idea for the film lover in your life? Might I reccomend this swell print for the Janus Films re-release of The Freshman? It's designed by yours truly and is available through the Criterion Collection gift shop!
• The Criterion Collection Online Gift Store
23 September 2013
What happens when Hollywood glamour and post war neo-realist Italy meet? That was the question which directed the design decisions on this one. The Hollywood aesthetic of the late 1940s and early 50s is well known and easily recognized --and for anyone who appreciates Italian film publicity of that era, it's understood how much of that aesthetic was borrowed, filtered and repurposed for their domestic market. The Italians typically illustrated, painted and hand-lettered the film posters of that era. Check out David Kehr's Italian Film Posters (The Museum of Modern Art) for some stellar examples. Criterion wasn't going that route for this one. The imagery for 3 Films By Roberto Rossellini Starring Ingrid Bergman would all be photographic.
|Booklet Cover, back (left) and front (right).|
For this set I tried to evoke as much of that feeling as possible. Most all of the headers used throughout the packaging are hand-drawn --Journey to Italy being the exception.
Critertion was looking to see Bergman exclusively as the face of this package. Three portraits representing the three movies. This was an approach that we'd used to great effect on 3 Silent Classics by Josef von Sternberg. Yet for that set the portraits were all different and the typographic treatment was the same. This time around the formula flipped. It was also important too to stress the three locations in which these stories took place. There are certainly worse ways to spend weeks on end than staring at Ingrid Bergman's face but a designer's gotta do what a designer's gotta do!
Establishing the look of the slipcase cover would likely dictate the look of the individual film covers. Or so I first thought. The lettering on the cover is my adaption of a typeface I spotted on an Italian poster --advertising a rice product of all things!-- it was era appropriate and had the kind of idiosyncrasies I was looking for. The trouble was there were only about 6 letters. So I needed to extrapolate an entire alphabet and also cook up a lighter weight too. It felt like applying this style to all three covers was going to get repetitive so I set out to come up with letterforms that would make each title distinct.
|More sample spreads from the booklet.|
I'll be updating this post over the next several days, adding more imagery and writing more about the process behind the piece. So I hope you'll come back!
12 September 2013
26 July 2013
The best superhero movie of the summer opened today. I'm proud to have collaborated again with my great friend and filmmaker, James Mangold. The Wolverine is a fantastic Eastern-Western and delivers some hair-raising action along with the rich character study you'd expect from the guy who made 3:10 to Yuma, Walk the Line and the rest. Check it out. The title sequence comes at the end of this film after a mighty intense climax. The goal here was to go bold yet at the same time lay back a bit and give the audience a moment of rest (before the X-Men easter egg kicks in!). Pictured here is the main card from the sequence. Special thanks, too, to Bill Lebeda and David Midgen at Picture Mill!
11 July 2013
Here's a look at some of my menu designs for the Criterion Collection edition of Things to Come. If you've seen the film you'll know know that there are some pretty crazy main titles as well as inter-titles throughout. Some of them appear to be painted on glass and then optically printed onto the action. While others appear to be cast, plaster letters shot in perspective enhanced by high-key lighting. It's a real treat. I looked to capture some of that with the headers you see here. Mine were achieved using 3D modeling software and futher noodling in Photoshop.
01 July 2013
Here's a alternate version of the Safety Last! packaging. It was in the running for quite a while before we pursued the version which was published. I originally went with the red type because it's commonly associated with danger and alarm and it played well with with the movie's title. There was some concern that the type on the clock face didn't go completely around --meaning the gap beneath where Harold Lloyd clutches the minute hand. So it was scrapped in favor of something which more organically filled the space. The red color hung in there for a good, long while and had found it's way into the first draft of the DVD menu designs.