Saul Bass ( May 8, 1920 - April 25, 1996) is an American graphic designer and Academy Award-winning filmmaker, best known for his movie title design. sequences, movie posters, and company logos.
During his 40-year career, Bass worked for some of the most prominent filmmakers in Hollywood, including Alfred Hitchcock, Otto Preminger, Billy Wilder, Stanley Kubrick, and Martin Scorsese. Among his most famous sequel is an animated piece of paper from a heroin addict's arm for Preminger's The Man with the Golden Arm, a revolving credit that eventually led to a high-angle shot of the skyscraper at Hitchcock's North by Northwest , and discontinuous text that raced together and separated in Psycho .
Bass designed some of the most iconic corporate logos in North America, including the Bell System logo in 1969, as well as the world logo of AT & amp; T in 1983 after the outbreak of the Bell System. He also designed the Continental Airlines stream stream logo of 1968 and the 1974 United States tulip logo, which became the most famous aviation industry logo of the day. He died of non-Hodgkin's lymphoma in Los Angeles on April 25, 1996, at the age of 75.
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Saul Bass was born on May 8, 1920 in the Bronx, New York, United States, to the parents of East European Jewish immigrants. He graduated from James Monroe High School in the Bronx and studied part time at the Art Students League in Manhattan to attend night classes with GyÃÆ'¶rgy Kepes at Brooklyn College. In 1938, Saul married Ruth Cooper and they had two children, Robert in 1942 and Andrea in 1946.
He started his time in Hollywood in the 1940s, designing print ads for movies including Champion (1949), The Death of a Salesman (1951) and Blue Month (1953), directed by Otto Preminger. His next collaboration with Preminger was to design a movie poster for his 1954 film Carmen Jones. Preminger was so impressed with Bass's work that he asked him to produce a title sequence as well. This is when the first Bass saw an opportunity to create a title sequence that would ultimately enhance the audience experience and contribute to the mood and theme of the movie in the opening moments. Bass is one of the first to realize the creative potential of the opening and closing credits of a film
Maps Saul Bass
Movie title title
Bass became widely known in the film industry after creating the title sequence for Otto Preminger The Man with the Golden Arm (1955). The subject of this film is the struggle of jazz musicians to overcome heroin addiction, the subject of taboo in the mid-1950s. Bass decided to create an innovative title sequence to fit the controversial subject of the film. He chose the arm as a central image, because this is a powerful image associated with heroin addiction. The titles feature animated, white pieces on pieces of black paper from a heroin addict. As he hoped, it was quite a sensation.
For Alfred Hitchcock, Bass provides an effective and memorable title sequence, creating a new type of kinetic type, for North by Northwest <1959>, Vertigo (1958), working with John Whitney, and Psycho (1960). This is a revolutionary innovative work that makes Bass a respected graphic designer. Prior to the advent of Bass's title sequence in the 1950s, titles were generally static, separate from the film, and it was common for them to be projected onto curtain curtains, curtains only raised right before the first scene of the film. In 1960, Bass wrote an article for the Graphis magazine entitled "Film Title - New Field for Graphic Designers," which has been revered as a milestone for "submission of credit credits to films as object design." One of the most widely studied film credits designers, Bass is known for integrating the coherence of styles between design and the films in which they appear.
Bass once described his ultimate goal for the title sequence as "trying to grab a simple visual phrase that tells you what the picture is and evokes the essence of the story." Another philosophy that Bass describes as its influence. the title sequence is the goal of getting the audience to see their familiar parts of the world in an unfamiliar way. This example or what he describes as "extraordinarily ordinary" can be seen in Walking in the Wild Sides (1962) where ordinary cats become predators roaming mysteriously, and within Nine Hours to Rama (1963) the workplace of the clock interior becomes a vast new landscape. In the 1950s, Saul Bass used a variety of techniques, from cut-out animation to Anatomy of a Murder (1958), to fully animated mini films like the epilogue to Around the World in 80 Days (1956), and live action sequences.
In 1955, Elaine Makatura came to work with Bass in her Los Angeles office. In 1960, with the opening for Spartacus, he directed and produced a series of titles, and in 1961 both married, starting over 40 years of close cooperation. After the birth of their children, Jennifer in 1964 and Jeffrey in 1967, they concentrated on their families, directorial films, and title sequences. Saul and Elaine designed a series of titles for more than 40 years, continuing to experiment with innovative techniques and effects, from the Bunraku-style maneuver at Spartacus (1960), a series of live action on Walk On The Wild Side (1962), for time-lapse photography in The Age of Innocence (1993), and even chopped in Mr. Saturday Night (1992). Their live-action opening series series are often presented as a prologue for their movie and transition seamlessly into their opening scene. This "time before" title sequence either compresses or expands time with surprising results. The sequence of titles for the Grand Prix (1966) describes the moment before the opening race in Monte Carlo, the title sequence for The Big Country (1958) describes the days it takes the stage Coach to do a trip to a remote western town, and the title of the montage opening for The Victors (1963) tells the twenty-seven years between World War I and mid-World War II, where the movie begins.
From the mid-1960s to the late 80s, Saul and Elaine moved from key positions to focus on filming and their children. About this time away from the title design, Saul said:
Elaine and I felt we were there to serve the movie and to approach the task with a sense of responsibility. We saw lots of fireworks and fun and games and I think we lost interest. At the same time, more and more directors are attempting to open their own films in an ambitious way than hiring others to do so. Whatever the reason, the result is "Fade Out." We are not worried about it: we have too many other interesting projects to continue. Equally, since we still love the title-making process, we're happy to take it back when asked. "Fade In"...
In the 1980s, Saul and Elaine were rediscovered by James L. Brooks and Martin Scorsese, who grew up to admire their films. For Scorsese, Saul and Elaine Bass made titles for Goodfellas 1990 (1990), Cape Fear (1991), The Age of Innocence (1993) , and Casino (1995), the order of their last titles. This then worked with Martin Scorsese seeing Basses move away from the optical techniques that Saul had pioneered and moved into the use of computerized effects. The title of Basses' title features a new and innovative production method and a surprising graphic design.
Screenwriter Nicholas Pileggi says of Saul and Elaine Bass, "You write a book of 300 to 400 pages and then you boil it into a possible script of 100 to 150 pages.You end up pleased to see that Basses have knocked you right out of the ball. into four minutes. "
In a sense, all the sequences of modern opening titles introducing the atmosphere or theme of the film can be seen as Basses' innovative work of art. In particular, the title sequence for some of the latest movies and television series, especially those arranged during the 1960s, has deliberately mimicked the graphic style of Saul Bass's animated series from the 1950s. Some examples of title sequences that pay homage to the graph and title sequence of Bass animations are Catch Me If You Can (2002), X-Men: First Class (2011), and opening to the AMC series Mad Men .
Movie title sequence selected
Logo and other design
Bass is responsible for some of the most remembered, most iconic logos in North America, including the Bell Telephone logo (1969) and AT & amp; T globe (1983). Other notable designs are Continental Airlines (1968), Dixie (1969) and United Airlines (1974). Later, he will produce logos for a number of Japanese companies as well.
Logos selected by Saul Bass and their respective dates (note that the link shown leads to the article on the entity itself, and not necessarily to the logo):
Analysis of Bass company logo samples in 2011 found them to have unusual longevity. The most common cause of the end of the company's Bass logo (in analyzed election) is the death or merger of the company, rather than the company logo redesign. The average age of the Bass logo is over 34 years.
Movie poster
Saul Bass designed a movie symbol poster that changed the visuals of movie commercials. Before Bass's seminal posters for The Man with the Golden Arm (1955), the movie posters were dominated by depiction of scenes or main characters from the film, often both paired with each other. However, Bass posters typically develop a simplified, symbolic design that is visually communicated to the key important elements of the film. For example, the poster for The Man with the Golden Arm, with jagged arms and off-kilter typography, firmly communicates the protagonist's struggle with heroin addiction. The iconic poster Vertigo (1958) Bass, with its rich figures sucked into the spiral vortex core, captures the anxiety and disorientation that are the center of the film. The poster for the Anatomy of a Murder (1959), featuring a silhouette of the corpse being dissected into seven parts, makes both a pun on the movie title and captures the moral ambiguity in which the drama of this courtroom is drowned.
He made several famous posters for the film directed by Otto Preminger, Alfred Hitchcock, Billy Wilder, and Stanley Kubrick. The last film poster was made for Steven Spielberg Schindler's List (1993), but never distributed. His poster work spanned five decades and inspired many posters and other graphic designers. Bass movie poster is characterized by typical typography and minimalist style.
Poster yang dipilih oleh Saul Bass, dan tanggal masing-masing:
1950s
Carmen Jones (1954) The Man with the Golden Arm (1955) Tepi Kota (1956) Pusat Badai (1956) Sore Strap (1957) Saint Joan (1957) Tristesse Bonjour (1958) Negara Besar (1958) (poster gaya b) Vertigo (1958) Anatomi Pembunuhan (1959)1960s
Keluaran (1960) The Magnificent Seven (1960) (desain tidak digunakan) Satu, Dua, Tiga (1961)1970s
Teman Baik seperti itu (1971) Rosebud (1975) Saudara (1977) Catatan tentang Seni Populer (1977) Bass on Titles (1978) The Human Factor (1979)1980s dan 1990s
The Shining (1980) Film Matahari (1980) Kembali dari Sungai Kwai (1989) Daftar Schindler (1993) (poster ditolak)He received an unintentional award in 1995, when the Spike Lee Clockers movie was promoted by posters very similar to Bass's 1959 work for Preminger Anatomy of a Murder. Designer Art Sims claims that it was made in tribute, but Bass considers it a theft. Many movie posters are regarded as a tribute to Saul Bass posters. Some recent examples include theatrical release posters for Burn After Reading (2008) that incorporates Bass typefaces and figurative minimalist styles, and posters for Precious (2009) that include elements from some Bass posters, including the Anatomy of a Murder . The cover art for The White Stripes' singles The Hardest Button to Button is clearly inspired by the Bass poster for The Man with the Golden Arm.
The comic book design of J. H. Williams III for the Batman story "The Black Glove" pay homage to the Bass design as well.
In addition to the movie poster, Bass designed many posters for film festivals, and several covers of magazines, books, and albums. He also designed five posters of the Academy Award Presentation and the Student Academy Award for the Motion Picture and Art Academy. In 1962 he illustrated his only children's book, Henri's Walk to Paris , written by Lenore Klein.
Movie maker
During the 1960s, Bass was asked by directors and producers to produce not only the title sequences for their films, but also to visualize and storyboard the key scenes and sequences in them. Bass has an unusual credit from "visual consultant" or "picture consultant" on five films. For Spartacus (1960), Bass as a "visual consultant" designed the key elements of gladiatorial school and made the storyboard of the final battle between slaves and Rome. John Frankenheimer, director of the Grand Prix (1966), has a Bass storyboard, direct, and editing all but one of the racing sequences for his movie. For West Side Story (1961), Bass filmed the prologue, made a storyboard of the opening dance sequence, and made the title sequence ending.
This is the role that Bass credited as "pictorial consultant" to Alfred Hitchcock at Psycho (1960); However, it has caused some controversy and debate. Bass claims that he participated in directing the main scene of Psycho, a strictly edited bath killing sequence, although some set at the time (including Janet Leigh's star) denied this claim.
The research of several film scholars on Hitchcock's production of Psycho validates the claim that Bass in his capacity as a graphic artist does have a significant influence on the visual design and pacing of the famous scene. Hitchcock has asked Bass to design and produce storyboards for the shower killing scene and for some other scenes in the movie. For this, Bass received credit as a Photo Consultant as well as a Title Designer. Janet Leigh tells Donald Spoto that "the bath scene planning was handed over to Saul Bass, and Hitchcock follows the storyboard appropriately because this is a very professional [shooting]" and he told Stephen Rebello that "Mr. Hitchcock showed Saul Bass's storyboard told me quite proudly, telling me in detail how he would take a picture of Saul's plan.
Bill Krohn has noted that the Bass 48 story board panel for the scene introduces all the key aspects of the final bath kill scene - notably, the fact that the attacker appears as a silhouette, close-up of the cutting blade, the shower curtain is torn down, the shower head shooting from below, Marion's outstretched arms outstretched, and a famous portrait of the transition from the bathtub's drain to the dead eye of Marion Crane. Krohn notes that this final transition is very reminiscent of the title of Bass irises for Vertigo . Krohn also concluded that Bass did not really direct the bathing scene, proving Hitchcock's presence on set during the filming of the scene.
Bass introduced the idea of ​​using fast cutting montage and tight framing to make a cruel bloody murder as an impressionistic and almost non-bloodbath victim. Hitchcock was unsure of Bass's conception of a scene that feared that the audience might not accept the sequence so quickly and cut off. In an interview with film historian Pat Kirkham, Bass recalled, "After designing and describing the shower sequence, I showed it to Hitch, he was uncomfortable about it, it was not Hitchcockian, he never used such quick cuts. long ".
To convince Hitchcock that the scene will work as planned, eight days before filming the final bathing scene, Bass uses newsreel cameras and Janet Leigh Marli Renfro booth to make a recording on the set to plan for more detailed shooting. Working with Hitchcock editor George Tomasini, he edited this tape following the storyboard to show Hitchcock how the scene worked. In the end, Hitchcock gave his consent but, according to Kirkham, made two additions: a blood spray on Marion Crane's/Janet Leigh's chest as he slid down the tiles, and a close-up of his stomach was stabbed.
In 1964, Saul and his wife and creative partner Elaine directed the short film The Searching Eye displayed during the 1964 New York World Exhibition, which was produced in conjunction with Sy Wexler. The Basses also directed a short documentary titled "Why Man Creates" which won an Academy Award for Documentary Short Subject in 1968. A shortened version of the film was broadcast on the first episode of the television news magazine 60 Minutes . In 2002, the film was selected to be stored on the National Register of Film of the United States by the Library of Congress as "significant cultural, historical, or aesthetic". Saul, in collaboration with his wife and creative partner Elaine, directs several other short films, two of which are nominated for an Oscar Academy Award; Notes on Popular Art in 1977, and The Solar Film in 1979, the latter being Robert Redford is an executive producer.
In 1974, Saul Bass made his long film as a director, a very famous visual science fiction film despite Phase IV, "Quiet, haunting, beautiful, [...] and largely ignored, a work of science fiction ".
The collection of moving pictures of Saul Bass is held at the Academy Film Archive and consists of 2,700 items. The film material at the Academy Film Archive comes with material in a Saul Bass paper at the Margaret Herrick Library Academy.
Legacy
On May 8, 2013, Bass's 93rd birthday was celebrated by Google Doodle, featuring the song "Unsquare Dance" by Dave Brubeck.
See also
- Elaine Makatura Bass
- Motion graphics
- Paul Rand
- Richard Amsel
- Tom Jung
- Frank McCarthy
- Bob's Peak
- Drew Struzan
- Howard Terpning
References
Further reading
- Kirkham, Pat and Jennifer Bass (2011). Saul Bass: A Life in Film & amp; Design . London: Laurence King. ISBN 978-1-85669-752-1.
- Tomislav Terek (2001). Saul Bass in Title: Movie Title Revealed . Defunkt Century. ISBNÃ, 1-903792-00-2.
External links
- Saul Bass on IMDb
- Saul Bass Poster Archive The Saul Bass Estate
- Title Designed by Saul Bass (still the order & amp; comment)
- Saul Bass's Title Sequence on Title Art
- Order Title from Saul Bass (video & amp; comment)
- the title sequence of Saul Bass: the ten best compiled by The Guardian
- Saul Bass paper, Margaret Herrick Library, Motion Arts and Motion Picture Academy
Source of the article : Wikipedia
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