Saul Bass – Graphic Designer (May 8, 1920, New York – April 25, 1996, Los Angeles)
At Naran-ho Design we want to highlight the work of Saul Bass, who is one of our sources of inspiration.
Bass is undoubtedly best known for his extensive and striking work in the world of cinema. For some the precursor of the credits or sequence of titles of the cinema.
In his training as a designer, one can recognize the influence of his teacher Gyorgy Kepes, a Hungarian graphic designer who had worked with László Moholy-Nagy in Berlin, who introduced him to the Bauhaus style and to Russian Constructivism.
After working in several design agencies in New York, Bass worked independently as a graphic designer. He decided to move to Los Angeles in 1946, because in New York he found many impediments to develop creatively. He opened his own studio in 1950, dedicated mainly to advertising, until Otto Preminger invited him to design the poster for his film Carmen Jones (1954).
He was so impressed by Bass’s work that he asked him to also design the sequence of movie titles. Then he followed the design of titles of the films The Big Knife by Robert Aldrich and The Seven Year Itch (The Temptation Live Up) by Billy Wilder. But it was in the following project of Preminger, The Man with the Golden Arm (The Man of the Golden Arm), where Bass was revealed as a master of the design of movie credits, which would lead him to work with directors such as; Alfred Hitchcock and Martin Scorsese.
His career flows between work as a commercial graphic designer, with great successes such as the design of corporate images; AT&T, Bell, United Airlines, Warner Communications, etc. And passion for the cinema, working on it until his last days. Saul Bass died in 1996.
“I came to grips with what I think is the most challenging aspect of any creative endeavor. And that is deal with ordinary things, things that we know so well that we’ve ceased to see them; deal with them in a way that allows us to understand them anew — in a sense making the ordinary extraordinary”
“I started in graphics. Then I began to move that graphic image on film. Somewhere down the line, I felt the need to come to grips with the realistic — or live action — image which seemed to me central to the notion of film. And then a whole new world opened to me. In spite of my fascination with this, I still felt content was the key issue”