Blu-Ray box, sleeves, and booklet cover for Arrow Academy
One highlight of my design career thus far has been my relationship with Arrow Video and their Academy label. They liked the minimalism on display in some of my daily movie posters and felt it would be appropriate for their Film Noir collection, released in November 2017.

As you can see, they wanted a Saul Bass look. Emulating one of the most famous (and most parodied) graphic designers of the 20th century was certainly a tall order. All I could do was absorb as much of his work as I could, including his non-film posters and title sequences. At the end of the day, the only question was, "What would Saul do?" (Incidentally, if you want your own Saul Bass prints, check out Film/Art Gallery here.)
I watched all four films, starting with The Dark Mirror, taking notes as I went along. These are my (very rough!) notes followed by my initial pass. The Arrow producers liked the direction I was going in but felt it wasn't quite there yet.
After trying to "age" the sleeves (lightening the blacks, "fading" the whites, adding some noise texture overlays, etc.), they liked what they saw so I proceeded with the remaining films. For The Dark Mirror, they chose the first concept seen below.
I hadn't seen any of these films but I must say I enjoyed The Dark Mirror and The Big Combo the most. For you Browncoats, The Big Combo is where Joss Whedon got the names Fanty and Mingo.
For Secret Beyond the Door, they went with the second concept. The door was simply traced from a screenshot.
For Force of Evil, they went with the first concept. On the final artwork, I had to shift the text toward the center since UK home video releases feature the rating on the front.
And for The Big Combo, they went with the fourth concept. Once again, to make room for the rating, the final version has the names on top and extends the dark area closer to the bottom. I'm particularly proud of the text on the second concept: I traced the letters from Saul Bass' Bunny Lake Is Missing poster in Illustrator and approximated the missing characters.
I submitted six concepts for the box, followed by another seven. Eventually they decided to use my concept for The Big Combo for the box cover as well. The first concept seen below was inspired by Saul Bass' 1957 "Truth" ad for the Container Corporation of America.
The Arrow producers wanted some ideas for names for the set and I was happy to contribute. They weren't used, but I enjoyed researching old slang terms. Incidentally, I only noticed later that the fourth concept below (top row right) should've been "Femmes Fatales."
The final box is a slight revision of the last concept seen above. I did two versions, flipping the film titles with the directors. Arrow's in-house graphics department did the individual spines, booklet, and disc artwork. 
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