2. About Saul Bass...
Saul Bass (1920-1996) was an
American graphic designer
who became famous for his
work in film and classic logo
design.
3. He is best known
for his use of
simple, geometric
shapes and their
symbolism. Often,
a single dominant
image stands alone
to deliver a
powerful message.
4. Early Career
• Born on May 8, 1920, in New York
City.
• He studied Design at the Art
Students League in Manhattan.
• After apprenticeships with
Manhattan design firms, Bass worked
as a freelance graphic designer.
5. Bass’s posters had an uncanny ability to
capture the mood of a film with simple
shapes and images. This was his preferred
method as opposed to using a boring
photograph of a film star.
6. These shapes, as well as type, were often hand drawn
by Bass to create a casual appearance, always packed
with a sophisticated message. Used to great effect in
some of his most well known film posters.
7. All of Bass's posters had a distinctive
style
His work spanned five decades and
inspired numerous other designers.
8.
9. He revolutionized the way that
people viewed title credit
sequences by using the time not
just to display the information
but give a short visual metaphor
or story that intrigued the
viewer.
Often it was a synopsis or
reference to the movie itself.
12. The Man with the Golden Arm
Bass’ titles for the film feature spiny, cut-out
projectiles, vaguely redolent of veins and syringes, that
manages to be disconcerting despite the accompaniment of
Elmer Bernstein’s rather brassy jazz score. The lines
proliferate and jab at awkward, unsettling angles with
respect to the titles. And the title of the film is
seemingly penned in by four of these lines, suggesting the
many forces hemming in Sinatra’s Frankie from all sides.
Finally, privileging Preminger’s credit, the titular
“golden arm” (which actually refers to Frankie’s prowess
as a card dealer and not the location of his track-marks)
appears as a bent and tortured appendage, reaching out for
either redemption or a fix.
14. West Side Story
• Vibrant orange fills the entire screen. Specifically
placed vertical bars strew the composition—an abstract
form, yet strangely representative. The static image is
in unison with the varied overture; as the “mood” of the
score changes the colour follows suit. The kaleidoscope
culminates in a blue frame, and pulls backward to reveal
the film title below. The image segues to an aerial shot
of Manhattan, and the source of the vertical pattern is
confirmed.
• This simplistic sequence is an exemplary use of colour,
and is complementary to the accompanying overture.
Perhaps more so than any other example in Bass’
catalogue, this is a wholly dependent exercise.
Likewise, Leonard Bernstein’s score is complemented
invaluably by the visual treatment. In unison, the
visual and aural elements import the title of the film
with resounding significance—the abstract bars, even,
resemble a perforated music roll.
16. “I want everything
we do to be
beautiful. I don’t
give a damn whether
the client
understands that
that’s worth
anything, or that
the client thinks
it’s worth anything,
or whether it is
worth anything. It’s
worth it to me. It’s
the way I want to
live my life. I want
to make beautiful
things, even if
nobody cares. “
—Saul Bass
17.
18. Saul Bass’ work
influenced generations Steven Spielberg’s
of graphic designers to 2002
follow and transform the Catch Me If You Can
, created by
ordinary movie title Florence Deygas &
sequence into an art Olivier Kuntzel.
form in itself.
Various film
title
sequences
and movie
posters
19. In 1958, Saul Bass The design
worked once more influence for
with Otto the Anatomy of a
Preminger for Murder poster is
Anatomy of a evident in the
Murder. I think poster for
Clockers (Spike
his deconstructive
Lee, 1995). This
technique works was not put
especially well together by
the dead body, and Bass.
is a clever play
of the “anatomy”
part of the film’s
Most recently, a homage to
title. Saul Bass in this poster
for Precious (Lee Daniels,
2009).
21. Researching for a Presentation:
•Make a powerpoint/prezi as this
can go on your blogs.
•Divide research areas between
group members.
•DON'T JUST COPY AND PASTE - you
need to PRESENT your findings to
the class, not just read them off
the board.
22. Areas to research & present:
•Brief biography of the designer - how and why they came
to work in title design, other areas worked in the
industry etc.
•Catalogue of work
•Close analysis of two title sequences with particular
attention paid to the use of the titles themselves
(typography, how and when they appear, order)
•Comment from designer about at least one of their own
titles and about what they consider to be the importance
of the title sequence.
•Useful websites to get you started:
•www.artofthetitle.com
•www.watchthetitles.com
23. • Title sequence designers to
choose from:
Richard Morrison
Danny Yount
Karin Fong
Paul Donnellon
Bob Kurtz
24. Homework
Write a post summarising today’s lesson on
Saul Bass and analyse at least one OTHER of
his titles, considering its use of his
trademark style.
Editor's Notes
Bass’ titles for the film feature spiny, cut-out projectiles, vaguely redolent of veins and syringes, that manages to be disconcerting despite the accompaniment of Elmer Bernstein’s rather brassy jazz score. The lines proliferate and jab at awkward, unsettling angles with respect to the titles. And the title of the film is seemingly penned in by four of these lines, suggesting the many forces hemming in Sinatra’s Frankie from all sides. Finally, privileging Preminger’s credit, the titular “golden arm” (which actually refers to Frankie’s prowess as a card dealer and not the location of his track-marks) appears as a bent and tortured appendage, reaching out for either redemption or a fix.
Vibrant orange fills the entire screen. Specifically placed vertical bars strew the composition—an abstract form, yet strangely representative. The static image is in service to a ripely varied overture; as the “mood” of the score changes the colour follows suit. The kaleidoscope culminates in a blue frame, and pulls backward to reveal the film title below. The image segues to an aerial shot of Manhattan, and the source of the vertical pattern is confirmed. This simplistic sequence is an exemplary use of colour, and is complementary to the accompanying overture. Perhaps more so than any other example in Bass’ catalogue, this is a wholly dependent exercise. Likewise, Leonard Bernstein’s score is complimented invaluably by the visual treatment. In unison, the visual and aural elements import the title of the film with resounding significance—the abstract bars, even, resemble a perforated music roll.
“ I want everything we do to be beautiful. I don’t give a damn whether the client understands that that’s worth anything, or that the client thinks it’s worth anything, or whether it is worth anything. It’s worth it to me. It’s the way I want to live my life. I want to make beautiful things, even if nobody cares. “
Saul Bass’ work influenced generations of graphic designers to follow and transform the ordinary movie title sequence into an art form in itself. Such as...Steven Spielberg’s 2002 Catch Me If You Can , created by Florence Deygas & Olivier Kuntzel.
In 1958, Saul Bass worked once more with Otto Preminger for Anatomy of a Murder. I think his deconstructive technique works especially well the dead body, and is a clever play of the “anatomy” part of the film’s title. The design influence for the Anatomy of a Murder poster is evident in the poster for Clockers (Spike Lee, 1995). This was not put together by Bass. Most recently, a homage to Saul Bass in this poster for Precious (Lee Daniels, 2009).
