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Il participe par la suite à la réalisation d’affiches de films et rencontre Otto Preminger et réalise le générique de L’Homme au bras d’or (The Man with the Golden Arm), qui le fera reconnaître comme le maître du genre. I want to make beautiful things, even if nobody cares. His style of animation still appears in film, like the opening of Catch Me If You Can. Bass designed the poster for Preminger’s film Carmen Jones. Many designers have taken the words of Saul Bass to heart, as his work is commonly used as inspiration in countless fan posters. His style was modern, “flat” design (as opposed to older illustrative styles and more modern 3D looking designs). The type and graphic design were a metaphor for the film, very simple things that set the appropriate tone. Home › The RocketStock Blog › Design Tips From the Legendary Saul Bass. In 1955, Bass met Elaine Makatura, a fellow designer with an incredible eye to detail. They designed logos for companies like the Girl Scouts, Continental Airlines, and United Airlines. The style of Saul and Elaine Bass has gone on to inspire many artists, especially those in the same industry. Looks have changed.” Around the 7-minute mark, the video begins a breakdown of other company rebrands. Elaine had worked in the fashion industry which ended up leading her to a job with Capitol Records in Los Angeles. Je voyais le générique comme une façon de conditionner le public de façon à ce que, lorsque le film commence, il ait déjà un écho émotionnel chez les spectateurs. L’atmosphère est marquée par les évolutions brutales ou au contraire plus progressive des couleurs, des signes, des plans.³ ». The poster was so impressive, Preminger asked Saul Bass to create the opening title sequence as well, thus beginning the designer’s career in motion graphics. In 1968, Saul and Elaine made the short film Why Man Creates, which won the Academy Award for Best Documentary — Short Subject. Registering for a RocketStock account provides: Premium clip based light leaks for video editors & motion designers. He began his career in Hollywood in the 1940s, where he designed print advertisements for films like Champion, Death of a Salesman, and Otto Preminger’s The Moon Is Blue. Les cultures et les influences s’entrechoquent, à l’image de ses horizontales et verticales qui se retrouveront souvent dans ses génériques par la suite, refusant le superflu pour se concentrer sur la thématique du film. → Aperçu de tout ses génériques sur artofthetitle.com I think people kinda woke up and said  – Hey! → Une rapide analyse de ceux-ci sur gestaltung.hs 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. Il montre très tôt des prédispositions pour le dessin et à 15 ans prend des cours de peinture avant d’atteindre l’âge requis pour poursuivre ses études au ‹ Brooklyn College ›. People looked at that and realized they don’t need to do things they way they’ve been historically done. Ainsi Saul Bass invente le générique moderne en travaillant avec Otto Preminger sur L’Homme au bras d’or en 1955. Avec Saul Bass, le générique est passé de basique titrage sans aucun autre interet que de créditer les artistes et techniciens, à espace de création artistique faisant parti intégrante du film. Il entame alors deux autres collaborations notables, l’une avec Alfred Hitchcock, l’autre avec Stanley Kubrick. Né avec la naissance du cinéma, dans un premier temps le générique de film se contente de présenter les personnes qui ont participé à lœuvre cinématographique. Cooper describes a title sequence’s ability to set up the expectation of the film you are going to see. — Saul Bass. It was the classic play on the lifestyle changes of the late 1960s and early 70s. If you don’t think Saul Bass knows his stuff, here are just a few of his corporate logos. — Kyle Cooper. The pitch begins with footage from Why Man Creates, but leads into the need to feel free. Il a également conçu l’affiche pour les Jeux Olympiques de Los Angeles de 1984.⁶ », « Avant de le rencontrer, avant que nous travaillions ensemble, il était une légende à mes yeux. Il réalise de nombreux autres génériques dont ceux d’Autopsie d’un meurtre ou West Side Story. She then recalled: After about a year I was looking for something more challenging when someone told me that Saul Bass was looking for an assistant. The poster was so impressive, Preminger asked Saul Bass to create the opening title sequence as well, thus beginning the designer’s career in motion graphics. Saul Bass is a storyteller. I happened to be working on the symbols for Otto Preminger’s Carmen Jones and The Man With The Golden Arm and at some point, Otto and I just looked at each other and said, “Why not make it move?”. Saul Bass se situe de plain-pied dans un mouvement écologiste mettant en garde contre un progrès aveugle au maintient de l'équilibre biologique terrestre, un discours que l'on retrouve bien sûr dans les mouvements appelant alors à la dénucléarisation militaire et civile. They used parts of that documentary in their pitch to create a new corporate brand identity for the Bell System. → Saul Bass, movement, film, communication. They are the only ones who truly care about the design. La force d’évocation du visuel conçu par Saul Bass (un bras stylisé représentant les talents de musicien et de joueur de poker du personnage principal, ainsi que son addiction à l’héroïne) est telle que lors de la première du film à New York, seul le logo est affiché, le titre est superflu. Many of these symbols are so iconic they can be identified without the logotype. One of the most important tips Saul Bass offers, “Learn to draw.” You can get by without knowing how to draw, but when you realize you don’t know how — you’ll never be able to learn. Les documents iconographiques et les textes présents sur ce site sont à usage strictement pédagogique. In 1960, the two co-directed the opening credits of Spartacus and were married. Lucent Warm features 140 spherical lens flares shot using high-end Cooke S4 Prime lenses. Saul Bass worked from the 60s onward. C’est à cette époque que sous l’impulsion de son professeur György Kepes, il découvre le Bauhaus et le constructivisme russe et s’initie à l’esthétique moderniste. Both excellent examples of his now trademark ability to combine striking images with literate and tight storytelling (please see below for links to his films). That video, provided by AT&T, shows the entire 26-minute pitch. Take a look at a sample of their work in this great roundup from Art of the Title. L’échec de son seul long métrage, Phase IV, l’amène à se concentrer sur la conception graphique. Ils confient cette tâche à des directeurs artistiques. Ils ont distillés la poésie du moderne, du monde industrialisé.⁷ », [iframe id= »http://techchannel.att.com/embed/index.cfm?mediaID=10868&w=696&h=392″ mode= »normal » autoplay= »no » maxwidth= »840″], → saulbassposterarchive.com Outside of Hollywood, Saul and Elaine Bass also designed corporate logos. Il produira dans ce cadre de nombreux logos parmi lesquels ceux de United Airlines, AT & T, Minolta, Bell Telephone System et Warner Communications. Bass also offers a tidbit that many tend to forget, aesthetics is the problem of the designer. Je voyais le générique comme une façon de conditionner le public de façon à ce que, lorsque le film commence, il ait déjà un écho émotionnel chez les spectateurs. 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. A partir de cet instant, le générique passe du statut d’obligation légale à un des premiers champs d’expérimentation de l’image en mouvement.¹ », « Mon idée de départ était qu’un générique pouvait mettre dans l’ambiance et souligner la trame narrative du film pour évoquer l’histoire de manière métaphorique. Ainsi Saul Bass invente le générique moderne en travaillant avec … The mini-documentary covers the changing landscape of consumerism through the decades, eventually leading to the popularity of the telephone and new technology. → Poetry in motion, Steven Heller RCA moved from an electric company to an electronic company. Progressivement, certains réalisateurs en font plus quune simple succession de noms et lutilisent pour mieux immerger le spectateur dans lœuvre. The site has a great look at many of his legendary title sequences. 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