Artist of the day: Artist of the Day, November 30, 2021: Saul Bass, an American graphic designer (#1431)

Saul Bass (1920-1996) really has done it all. Films. Packaging. Products. Architecture. Corporate identification. Graphics. His work surrounds us. Pick up the telephone and you're hard-pressed not to recall Bass's ubiquitous Bell System symbol and look. Take a plane—United, Continental, Frontier: Saul Bass. Go to a film—Psycho, Anatomy of a Murder, Exodus, Spartacus, The Man With the Golden Arm, Such Good Friends: Saul Bass. In the supermarket or in the kitchen—Wesson, Quaker, Alcoa, Lawry's, Dixie: Saul Bass. Relax with a magazine, read a book, watch TV, take some pictures—Saturday Evening Post, Warner, Minolta: Saul Bass. Give to charity—The United Way, Girl Scouts: Saul Bass.

Saul Bass was born in the Bronx, New York, to Eastern European Jewish immigrant parents. He graduated from James Monroe High School in the Bronx and studied part-time at the Art Students League in Manhattan until attending night classes with György Kepes at Brooklyn College.

He began his time in Hollywood in the 1940s, designing print advertisements for films including Champion (1949), Death of a Salesman (1951) and The Moon Is Blue (1953), directed by Otto Preminger. His next collaboration with Preminger was to design a film poster for his 1954 film Carmen Jones. Preminger was so impressed with Bass's work that he asked him to produce the title sequence as well. This was when Bass first saw the opportunity to create a title sequence which would ultimately enhance the experience of the audience and contribute to the mood and the theme of the movie within the opening moments. Bass was one of the first to realize the creative potential of the opening and closing credits of a movie.

Saul Bass designed emblematic movie posters that transformed the visuals of film advertising. Before Bass’s seminal poster for The Man with the Golden Arm (1955), movie posters were dominated by depictions of key scenes or characters from the film, often both juxtaposed with each other. Bass’s posters, however, typically developed simplified, symbolic designs that visually communicated key essential elements of the film. For example, his poster for The Man with the Golden Arm, with a jagged arm and off-kilter typography, starkly communicates the protagonist's struggle with heroin addiction. Bass's iconic Vertigo (1958) poster, with its stylized figures sucked down into the nucleus of a spiral vortex, captures the anxiety and disorientation central to the film. His poster for Anatomy of a Murder (1959), featuring the silhouette of a corpse jarringly dissected into seven pieces, makes both a pun on the film’s title and captures the moral ambiguities within which this court room drama is immersed.

He created some of his best known posters for films directed by Otto Preminger, Alfred Hitchcock, Billy Wilder, and Stanley Kubrick among others. His last commissioned film poster was created for Steven Spielberg's Schindler's List (1993), but it was never distributed. His poster work spanned five decades and inspired numerous other poster and graphic designers. Bass's film posters are characterized by a distinctive typography and minimalistic style.

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&T globe (1983). Other well-known designs were Continental Airlines (1968), Dixie (1969) and United Airlines (1974). Later, he would produce logos for a number of Japanese companies as well.

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