Eric Skillman, the artwork director for Criterion Assortment, is constantly expanding his roster of talented artists. His mission is to curate visually compelling DVD artwork that resonates with both the films and their audiences.

As the creative mind behind the selection of artists for Criterion Collection’s DVD artwork, Skillman has meticulously built an extensive archive of thousands of artists. This collection serves as a treasure trove for artistic talent, ensuring that the film covers reflect the unique essence of each title.

Always on the lookout for emerging talent, Skillman emphasizes the importance of finding the right fit for each project. In a recent Zoom conversation with Variety, he elaborates on his process, stating, “I learn the upcoming schedule one or two months ahead of time. Sometimes, I find myself racing against the clock to revisit films I’ve seen before assignments come in.”

Having access to a wide array of exceptional films enables Skillman to pinpoint the most suitable illustrators and artists globally. The artistic process can vary significantly; it may involve creating a straightforward composition or distilling a pivotal scene into a captivating illustration. Whenever possible, Skillman seeks collaboration with the filmmakers to enhance the final artwork.

“It’s all about finding the right match for each project,” Skillman explains. “The films continue to surprise me; they remain diverse and fascinating, each presenting new elements that lead to the discovery of fresh talent perfectly suited for our ongoing projects.”

In his conversation with Variety, Skillman delves into the intricate process of developing cover artwork. Below, he shares insights into the creative concepts behind some of Criterion’s most notable designs and illustrations.

Understanding the Role of Filmmakers in Criterion Collection Artwork Creation

Our collaboration with filmmakers is far more direct than our interactions with studios. We prioritize engaging with the filmmakers and their artistic preferences. If there’s a particular style or design they appreciate from previous works, we often incorporate that into our approach. However, we are primarily excited about creating innovative designs. Each film’s release presents a unique opportunity to tell a fresh story and introduce it to a new audience, particularly when compared to films that have been around for decades, which carry established associations.

Initiating the Creative Process for Criterion Collection Artwork

The creative process begins with a discussion, typically between myself and our internal producer. Every project has a dedicated producer who oversees its development from inception to completion. During our conversations, we explore our objectives and the message we wish to convey. If the filmmaker is available, we strive to meet with them to gather their insights. Following this, we typically engage an external designer who builds upon our initial ideas. Their creative contributions often surpass our expectations, leading to a standard back-and-forth approval process where sketches are exchanged, feedback is given, and revisions are made. The entire journey from concept to completion usually spans about two months, followed by an additional month for final refinements.

Identifying Key Qualities in Artists for Criterion Projects

The qualities I look for in an artist are highly dependent on the specific project at hand. For instance, with a project like Jo Jo Dance, we envisioned a collage approach and sought an artist whose style resonated with that vision. In other cases, familiarity with the artist’s previous work plays a crucial role, allowing for a collaborative relationship where I can confidently say, “I trust your vision; let’s create something extraordinary together.” I am continually collecting names of talented individuals. Whenever I encounter something inspiring, I make a note of who created it, and I maintain an archive of several thousand names, always looking for the right project to pair them with in the future.

Below, Skillman elaborates on the creative concepts behind four standout Criterion posters, showcasing the thought process and artistic direction that went into each design.

“The Grifters” by Drusilla Adeline

“We engaged in numerous discussions about the shade of yellow for the poster design. Although we never quite articulated why that particular yellow worked so well, it was evident that no other color option resonated with us, and it felt essential to include it in the design.

“The sunglasses are such an iconic element of the film, and their significance is amplified by their prominent feature in the poster and in that unforgettable opening scene. The strong visual presence of the sunglasses in that scene ensures they linger in the audience’s memory.

“Our goal was to devise a contemporary interpretation. While the original poster was excellent, it had become familiar, and audiences had certain expectations. We sought to offer a fresh take, which led to the decision to focus solely on the sunglasses as the central element.

“That concept originated from our designer Drusilla, who is a remarkable collaborator. I had suggested several ideas centered around the sunglasses, and she proposed, “Why don’t we simply do this?” Her creativity was invaluable in shaping the final design.”

‘The Piano’ by Greg Ruth

“Collaborating with Greg Ruth is always a delight; he is endlessly creative, highly collaborative, and brings immense joy to every project.

“This particular project was particularly fascinating. The inspiration stemmed from Jane Campion’s comments in an interview, where she discussed a key scene that influenced the artwork. In this scene, Holly Hunter, portraying Ada McGrath, walks away, and the edit transitions to a serene wooded setting before cutting back to her. Jane emphasized the significance of this edit, highlighting how it encapsulates a pivotal moment in the film, representing Ada’s journey from societal constraints to the awakening of her individuality and sexuality.

“Our challenge was to merge two distinct images into one cohesive static artwork. Greg has a longstanding history of creating stunning composite drawings that I admire greatly. However, he had not previously applied this technique for us. So, I approached him with the idea, “Greg, can you adapt that approach for this scene?” He immediately grasped the concept, and his execution was remarkable.”

‘Celine & Julie Go Boating’ by Lauren Tamaki

“The film runs for approximately three and a half hours. While it’s a delightful experience, its intricate plot makes it challenging for anyone to encapsulate the entire storyline succinctly. What truly matters is the experience of following the friendship between the two central women and the joy that emanates from their bond.

“Lauren possesses a vibrant energy in her life and captures joy beautifully in her artwork. We approached her with the idea, “Watch the film and share your thoughts.” She responded with an impressive collection of 35 drawings, which made it a delightful challenge to select the best ones. Most of her work ultimately found its way into the final package because I couldn’t bear to let any of it go to waste.

“One of my favorite moments is when I reach out to a designer for a film they haven’t seen yet, and after watching it, they express their surprise and admiration, saying, “I can’t believe I hadn’t seen that before.” Their newfound love for the film confirms that we’ve chosen the right person for the project, enhancing our overall artistic vision.”

‘Jo Jo Dance’ by Matt Smalls

“This particular artwork is a stunning metallic collage. Matt utilizes pieces of scrap metal to create his art. We approached him with a simple yet profound request: “Create a portrait of Richard Pryor.” The film’s fragmented narrative aligns perfectly with Matt’s creative style. It tells the story of Richard Pryor’s life as he attempts to reconstruct his identity following a very public and tumultuous episode of self-destruction. The theme of piecing together a fractured identity resonates deeply with both the film’s message and Matt’s artistic approach.

“The project required no extensive art direction or feedback beyond that initial connection we established. Matt delivered a breathtaking piece that exceeded our expectations.”