Ruth Cooper (1938–1960; 2 children) Elaine Makatura Bass (1961–1996; his death; 2 children)
Academy Award, Best Documentary, Short Subjects, Why Man Creates (1968); Honorary Doctorate, Otis College of Art and Design (1986).
SAUL BASS (/sɔːl bæs/ ; May 8, 1920 – April 25, 1996) was an
American graphic designer and
During his 40-year career Bass worked for some of Hollywood's most
prominent filmmakers, including
Bass designed some of the most iconic corporate logos in North
America, including the
* Carmen Jones (1954) * The Big Knife (1955) * The Man with the Golden Arm (1955) * The Racers (1955) * The Seven Year Itch (1955) * The Shrike (1955) * Around the World in Eighty Days (1956) * Storm Center (1956) * Attack (1956) * Edge of the City (1957) * Saint Joan (1957) * The Pride and the Passion (1957) * The Young Stranger (1957) * Bonjour Tristesse (1958) * Cowboy (1958) * Vertigo (1958) * The Big Country (1958)
Anatomy of a Murder (1959)
North by Northwest (1959)
* Psycho (1960)
* Grand Prix (1966) * Not with My Wife, You Don\'t! (1966) * Seconds (1966) * Such Good Friends (1971) * That\'s Entertainment, Part II (1976) * Broadcast News (1987) * Big (1988) * The War of the Roses (1989) * Goodfellas (1990) * Cape Fear (1991) * Doc Hollywood (1991) * Mr. Saturday Night (1992) * The Age of Innocence (1993) * Higher Learning (1995) * Casino (1995)
LOGOS AND OTHER DESIGNS
Logos designed by Saul Bass. From top left: Bell System, AT&T, General Foods, United Airlines, Avery International, Continental Airlines, Celanese, United Way, Rockwell International, Minolta, Girl Scouts of the USA, Lawry's Foods, Quaker Oats, Kleenex, Frontier Airlines, Dixie, Warner Communications, and Fuller Paints
Bass was responsible for some of the best-remembered, most iconic logos in North America, including both the Bell Telephone logo (1969) and successor AT">
* Kose Cosmetics (1991)
* Lawry\'s Foods (1959)
* Minami Sports (1991)
NCR Corporation (1996)
Quaker Oats (1969)
Rockwell International (1968)
Security Pacific Bank (1966)
United Airlines (1974)
* United Way (1972)
* US postage stamp , "Science and Industry" (1983)
An analysis of a sample of Bass’s corporate logos in 2011 found them to have an unusual longevity. The most common cause of the end of a Bass corporate logo (in the selection analyzed) was the demise or merge of the company, rather than a corporate logo redesign. The average lifespan of a Bass logo is more than 34 years.
The Man with the Golden Arm poster designed by Bass
He created some of his best known posters for films directed by Otto
Selected posters by Saul Bass, and their respective dates:
Vertigo poster designed by Bass
* Carmen Jones (1954) * The Man with the Golden Arm (1955) * Edge of the City (1956) * Storm Center (1956) * Love in the Afternoon (1957) * Saint Joan (1957) * Bonjour tristesse (1958) * The Big Country (1958) (style b poster) * Vertigo (1958) * Anatomy of a Murder (1959)
Anatomy of a Murder poster designed by Bass
* Such Good Friends (1971) * Rosebud (1975) * Brothers (1977) * Notes on the Popular Arts (1977) * Bass on Titles (1978) * The Human Factor (1979)
1980S AND 1990S
Schindler\'s List poster designed by Bass, his last commissioned film poster (not distributed).
* The Shining (1980) * The Solar Film (1980) * Return from the River Kwai (1989) * Schindler\'s List (1993) (rejected poster)
He received an unintentionally backhanded tribute in 1995, when Spike
Lee 's film Clockers was promoted by a poster that was strikingly
similar to Bass's 1959 work for Preminger's film
Anatomy of a Murder .
Designer Art Sims claimed that it was made as an homage, but Bass
regarded it as theft. Many film posters have been considered to be
homages to Saul Bass’s posters. Some recent examples include the
theatrical release poster for
Burn After Reading (2008) which
incorporates Bass’s typography and style of figurative minimalism,
and a poster for Precious (2009) which includes elements from several
of Bass’s posters, including
Anatomy of a Murder . The cover art
The White Stripes
The comic book artist J. H. Williams III 's designs for the Batman story "The Black Glove" pay homage to Bass's designs as well.
In addition to movie posters, Bass designed numerous posters for film
festivals, and several magazine, book, and album covers. He also
During the 1960s, Bass was asked by directors and producers to
produce not only title sequences for their films, but also to
visualize and storyboard key scenes and sequences within them. Bass
has the unusual credit of “visual consultant” or “pictorial
consultant” on five films. For
It is Bass’s credited role as “pictorial consultant” for Alfred
Hitchcock on Psycho (1960); however, that has caused some controversy
and debate. Bass claimed that he participated in directing the
highlight scene of Psycho, the tightly edited shower-murder sequence,
though several on set at the time (including star
The research of several film scholars on Hitchcock's production of
Psycho validates the claim that Bass in his capacity as a graphic
artist did indeed have a significant influence on the visual design
and pacing of that famous scene. Hitchcock had asked Bass to design
and produce storyboards for the shower murder scene and for some other
scenes in the film. For this, Bass received a credit as Pictorial
Consultant as well as Title Designer.
Bill Krohn has noted that Bass's 48 story board panels for the scene introduced all the key aspects of the final shower murder scene – most notably, the fact that the attacker appears as a silhouette, close-ups of a slashing knife, the shower curtain torn down, a shot of the shower head from below, Marion's desperate outstretched arm, and the famous shot of the transition from the drain hole of the bathtub to Marion Crane's dead eye. Krohn notes that this final transition is highly reminiscent of Bass's iris titles for Vertigo . Krohn also concludes that Bass did not literally direct the shower scene, proving Hitchcock's presence on the set throughout the shooting of that scene.
Bass introduced the idea of using a montage of fast cuts and tight framing to render a violent, bloody murder as an impressionistic and nearly bloodless one. Hitchcock felt uncertain about Bass’s conception of the scene fearing that audiences might not accept such a stylized and quickly cut sequence. In an interview with film historian Pat Kirkham, Bass recalled, “Having designed and storyboarded the shower sequence, I showed it to Hitch. He was uneasy about it. It was very un-Hitchcockian in character. He never used that kind of quick cutting; he loved the long shot”.
To convince Hitchcock that the scene would work as planned, eight days before shooting of the final shower scene, Bass used a newsreel camera and Janet Leigh’s stand-in Marli Renfro to shoot footage on the set to plan the shots in more detail. Working with Hitchcock's editor George Tomasini , he edited this footage following the storyboards to show Hitchcock how the scene could work. In the end, Hitchcock gave his approval but, according to Kirkham, made two additions: a spray of blood on the chest of Marion Crane/Janet Leigh as she slides down the tiles, and a close-up of her belly getting stabbed.
In 1964, Saul directed a short film titled The Searching Eye shown
during the 1964 New York World\'s Fair , coproduced with
Sy Wexler .
He also directed a short documentary film called
Why Man Creates which
The moving image collection of
QUOTATIONS AND LEGACY
This section IS A CANDIDATE TO BE COPIED TO WIKIQUOTE USING THE TRANSWIKI PROCESS.
"My initial thoughts about what a title can do was to set mood and the prime underlying core of the film's story, to express the story in some metaphorical way. I saw the title as a way of conditioning the audience, so that when the film actually began, viewers would already have an emotional resonance with it." "Design is thinking made visible." "There is nothing glamorous in what I do. I'm a working man. Perhaps I'm luckier than most in that I receive considerable satisfaction from doing useful work which I, and sometimes others, think is good." "Symbolize and summarize."
* Design portal * Biography portal * Film portal
* ^ A B C D Kirkham, Pat (10 February 2011). "Reassessing the Saul
* Kirkham, Pat and Jennifer Bass (2011). Saul Bass: A Life in Film &
Design. London: Laurence King. ISBN 978-1-85669-752-1 .
* Tomislav Terek (2001).
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