Saul Bass By Jake Eiserman
vel the a r t o t t e g y n a Not m se who o h t t u b , n io t a v path of inno aul Bass S ; y r o t is h in n do go dow led e H . le p o e p e s o was one of th in the h it w n io t lu o v e a graphic r movd e g n a h c t a h t film industry uction d o t in ie v o m d n ie posters a t on n e w o ls a e H . e sequences alik me of o s r fo s o g lo ic n to design ico anies in p m o c d e n w o n e the most r the US.
Photo of Saul Bass
New York City, 19
50
d artistic e w o h s e h , 0 y both at , NYC in 192 d x u n t o s r o B t e n h o t o Born in He would g . fe li ague. e ly L r a s t e n is e h d u t in S promise hin the Art it w d n a e orks of g e w ll e o h C t n e ly ir k m o d o Br e grew to a h , s ie d of Russian u t y s it r is h la u g p in o r p Du e growing h t d n a s e p e us design. a h u a B d Gyorgy K n a typography t is iv t c u r t s Con
Photo of Otto Preminger
reer doing a c r a e y 0 4 become a ld u o 938, he w 1 t a n I h . w a e n r a a g e y b Bass ew York Cit N e h d trade t e c in u k d r o o r p w t e a c h n freela design firm t ll a rtists and m A s d a e t it a n k U r s o a w began panies such m o c b at 20th r jo fo a s d t e n d e n m la e e is advert arriage, h m r e t f ting two A it . s u r q e p h t u o d r e B d Warner an, but en m t u o 46, he y 9 1 la n a I s . a m x o o d e -F e Century creative fr d e it m li o t er about 10 e t u f d A r . e ia t n la r s fo r li a ye got his Angeles, Ca e s h o , t L is o t t r n a l w o moved d commercia a s a g ger, he in in k m r e o r w P f o o t t s r O more yea y Director b t u o armen t C “ h g f o u o e S c n .” e ig u q G first “Big the title se n ig s e d o t d ione was commis Jones.”
“Carmen Jones� original movie poster, designed by Saul Bass 1954
Bass succeeded at turning title sequences into entertaining displays of personality that would set a mood for the rest of the show. its no suprise that he was offered many other title designing jobs. After a couple other contracts, he was employed by Preminger once more for a sequence that would echo throughout his career: “The Man with the Golden Arm.” The title sequences of the 1955 film stunned both fans and critics. With his previous works stacked on top of this one, you can clearly see a defined “hand-cut” style. Which would continue throughout his entire career.
“The man with the Golden Arm� original movie poster, 1955