![]() ![]() In this album cover the word Vibrations is sliced up in such a way that it appears to actually be moving, vibrating. The rough type in negative works well with the brutish cut out shapes in this Anatomy of Murder poster. The Title Design of Saul and Elaine Bass. Saul Bass used hand-cut type in his mid-century design for film. ![]() It is both a tightly constructed courtroom drama and an engaging ensemble character study, and like James Stewart’s rumpled Michigan lawyer, it remains at once clever and down-to-earth. Bass trademark for this film, which centers on a murder trial, is a stylized image of a human body made up of separate parts, each looking as if it was cut. Discover more Saul Bass SAUL BASS: A LIFE IN FILM AND DESIGN. ![]() With more than 1,400 illustrations, many of them never published before. This is the first book to be published on one of the greatest American designers of the 20th Century, who was as famous for his work in film as for his corporate identity and graphic work. Saul Bass, (born May 8, 1920, Bronx, New York, U.S.died April 25, 1996, Los Angeles, California), American graphic designer and filmmaker who introduced a new art form with his imaginative film title sequences that conveyed the essence of a movie and prepared audiences for what they were about to see. But unlike some of his other notably controversial works, Anatomy of a Murder feels neither forced nor dated in its use of provocative subject matter. Jennifer Bass, Pat Kirkham, Martin Scorsese (Foreword) 4.59. True to Preminger’s appetite for provocation, Anatomy of a Murder is renowned for its use of some hitherto taboo words (ahem, panties) and its adoption of outré subjects such as rape and the insanity defense. The central image of the segmented corpse is so effective and simple that Spike Lee’s production company lifted it wholesale for the film, Clockers, until Bass threatened them with a lawsuit. Echoing the deliberate manner in which the film dissects the circumstances of a murder case, the credits also provide some witty juxtapositions of titles and images: James Stewart naturally gets the head Lee Remmick a leg Duke an arm and Preminger’s credit comes once a disembodied hand seems to cover the lens. Literalizing the film’s title, the credit sequence presents different cut-out (-off?) human limbs, which are in turn diced up into abstract decorative shapes. His title sequences for films such as Otto Premingers The Man with the Golden Arm (1955) and Anatomy of a Murder (1959), Alfred Hitchcocks Vertigo (1958). The books coverage is hardly comprehensive when this kind of design commission looks into every visual corner of a company. In this book they get six and five.Chapter six looks at the corporate work of Saul Bass and he worked for a lot of companies. The titles for the film are among Bass’ most recognizable and, along with Duke Ellington’s score, lend the film its particular blend of sophistication and loose, improvisatory charm. Anatomy of a murder has thirty-two thumbnails, North by northwest has twenty-four. Bass’ designs for Anatomy of a Murder were devised long before cameras began to roll, making clear the value that Preminger placed on Bass’ work and its role in positioning and branding his films. He was known for saying, "I just want to make beautiful things, even if nobody cares." Well, we certaintly do: here, we spotlight some of his seminal works from the 1950s capturing the visually stunning intersection of cinema and design.By 1959, Saul Bass had become an integral part of Preminger’s production team and his title designs an important element of the pitching and marketing of the director’s films. Anatomy of a Murder (1959) The opening sequence for Otto Preminger’s crime drama, Anatomy of a Murder, suggests tension by means of paper cutout shapes of body parts. What earned Bass his acclaim, though, was his spirited way of distilling an entire story into one, singular image. The design legends iconic film title sequence recently re-released by Criterion. Album cover for Duke Ellington's music from the motion picture Anatomy of a Murder. From a New York, Bauhaus-influenced education to working alongside the ranks of Alfred Hitchcock, Stanley Kubrick, and Martin Scorsese, Bass boasts a 40-year oeuvre that contains films spanning from Saint Joan to The Shining. The man who launched a million minimalist movie posters (try not to hold that against him), graphic designer Saul Bass may. Saul Bass, Duke Ellington, Columbia Records. He was a filmmaker, motion picture title sequence designer, and iconic logo creator-of Girl Scouts and Kleenex logo fame-yet his midcentury film poster designs would define his legacy. ![]() Striking graphics, striking color contrast, and minimalism challenged everything we knew about movie marketing, making the Vertigo poster a pivotal moment in graphic design. It might be the most memorable film poster of all time. ![]()
0 Comments
Leave a Reply. |
AuthorWrite something about yourself. No need to be fancy, just an overview. ArchivesCategories |