{PRETITLE} Saul Bass: A Life in Film and Design {POSTTITLE}

Rating: (29 reviews)
Author: Pat Kirkham
ISBN : 1856697525
New from $47.29
Format: PDF

Download medical books file now PRETITLE Saul Bass: A Life in Film and Design POSTTITLE from 4shared, mediafire, hotfile, and mirror link

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. With more than 1,400 illustrations, many of them never published before and written by the leading design historian Pat Kirkham, this is the definitive study that design and film enthusiasts have been eagerly anticipating. Saul Bass (1920-1996) created some of the most compelling images of American post-war visual culture. Having extended the remit of graphic design to include film titles, he went on to transform the genre. His best known works include a series of unforgettable posters and title sequences for films such as Alfred Hitchcock's Vertigo and Otto Preminger's The Man With The Golden Arm and Anatomy of a Murder. He also created some of the most famous logos and corporate identity campaigns of the century, including those for major companies such as AT&T, Quaker Oats, United Airlines and Minolta. His wife and collaborator, Elaine, joined the Bass office in the late 1950s. Together they created an impressive series of award-winning short films, including the Oscar-winning Why Man Creates, as well as an equally impressive series of film titles, ranging from Stanley Kubrick's Spartacus in the early 1960s to Martin Scorsese's Cape Fear and Casino in the 1990s. Designed by Jennifer Bass, Saul Bass's daughter and written by distinguished design historian Pat Kirkham who knew Saul Bass personally, this book is full of images from the Bass archive, providing an in depth account of one of the leading graphic artists of the 20th century.

Direct download links available for PRETITLE Saul Bass: A Life in Film and Design [Hardcover] POSTTITLE

• Product Details
• Table of Contents
• Reviews

• Hardcover: 428 pages
• Publisher: Laurence King Publishers; Unknown edition (November 9, 2011)
• Language: English
• ISBN-10: 1856697525
• ISBN-13: 978-1856697521
• Product Dimensions: 1.7 x 10.4 x 11.5 inches
• Shipping Weight: 6.9 pounds (View shipping rates and policies)

{PRETITLE} Saul Bass: A Life in Film and Design {POSTTITLE}

A timely release about one of the great and influential designers of the last century and clearly Pat Kirkham has made this a scholarly work considering the amount of research involved. The title will most likely become the standard biography of Bass. Having said that I was disappointed to find the book had some editorial flaws in its presentation.

Millions of movie-goers are familiar with the stunning credits Bass created (sixty stills are included in a fold-out dateline in the back pages) from Carmen Jones in 1954 to Casino in 1995 and the book rightly devotes a large number of pages to credits and the marketing of these movies. My first disappointment is that a DVD was not included with the book. OK, I'll accept that this would involve a lot of extra work (and probably copyright fees to make the book even costlier) and it wasn't in the author's remit so the fall back position would be to show the credits in as much detail as possible: frame by frame to give the reader a feel of how Bass created these powerful opening movie statements. Unfortunately many of these credit stills throughout the book are treated more as individual images, in various sizes, rather than shown as a sequence of large thumbnails. Solana and Boneu's Uncredited: Graphic Design & Opening Titles in Movies [With DVD] book has a whole chapter on Bass credits and the pages work well. 'Anatomy of a murder' has thirty-two thumbnails, 'North by northwest' has twenty-four. 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.

Find the common element among these things: _Psycho_; United Airlines; Quaker Oats; Dixie Cups; _Goodfellas_; the Girls Scouts of America. I picked a grab bag, and I could have included a lot more, to show how diverse the work of Saul Bass was; he did graphics, and more, for all of them. There is no bigger name in graphic design than Saul Bass, and now there is a gorgeous book, huge and colorful as befits his career, _Saul Bass: A Life in Film and Design_ (Lawrence King Publishing) by his daughter Jennifer Bass, herself a graphic designer, and Pat Kirkham, who teaches decorative arts and design history. Flip through the 400 big pages here, and you are bound to find logos, posters, and movie title sequences you have seen many times; Bass's range and influence were astonishing. There is a bit of biography here, along with a relatively chronological summary of his work from his poster for his high school's open house through the poster for _Schindler's List_. The text is worth reading, and the authors have quoted generously from Bass's own thoughts on his life, work, methods, and output. As befits Bass's legacy, however, this is a picture book, and it is a treat for the eyes.

Bass grew tired of following formulas and "cramming as much illustration, type and hype as you possibly could into ads" in the early days, and eventually specified that he would not work on movie ads. In 1946, however, he realized he had to get out to Hollywood. Title sequences of the movies were conventional letters over conventional backgrounds, and sometimes theaters ran the initial credits over the curtain as it went up. Bass thought a film began at the first frame and deserved a mood-setting overture.