SAUL BASS
Saul and His Work An arrangment representing his lfe’s work. 1980
Life & Work
Bass/Yager & Associates The office on Sunset Blvd in Los Angeles , CA 1961
Saul Bass is widely respected for his work that spans the traditional fields of graphic design and film. He is well known for the title sequences and film posters he created for notable directors such as Martin Scorsese and Alfred Hitchcock. He also designed many iconic corporate logos such as the Bell Systems logo. Born in the Bronx in 1920 Saul Bass studied at the Art Students League in Manhattan and went on to study at Brooklyn College. Bass began his career by working freelance as a graphic designer. By 1954 Bass has moved to Los Angeles and started his own design firm: Saul Bass and Associates. In 1955 Saul Bass began his career in the film industry. At that time Bass was hired to design the print advertising for the film The Man with the golden arm. The image of the crooked arm Bass created to represent the
struggle of the main character in the movie instantly became iconic. The acclaim of the posters led Bass to design a title sequence for the film. The director of the film, Otto Preminger, was very supportive of the innovative work Bass was producing. The two worked together for many more movies to follow. Bass and Preminger were said to have gotten in many creative fights through out their partnership. One of their fights revolved around the animation used in the title sequence of The Man with the Golden Arm. Saul Bass was determined to make the imagery of the arm animated but Preminger felt otherwise. Their collaboration led to one of the first combinations of graphic design and animation used in a title sequence. “His innovative work was responsible for launching a trend for filmmakers to
employ animation and graphic design in their credit sequences.” (Rawsthorn, Alice) Saul Bass’ entrance into the film industry sparked a big change in the way filmmakers thought about title sequences. Prior to Bass, title sequences did not add anything to the work. Bass recognized a moment that was not being used to its full potential. The title sequence before Bass was used as a warning that the movie was about to start and that the audience should finish settling in for the actual production. “The titles of the era were so dull that projectionists often screened them on closed curtains, which were only drawn when the action began. Preminger attached a note to the film cans insisting that the projectors could not start until after the curtains were opened.” (Rawsthorn, Alice) Saul Bass saw the title sequence as a chance to prepare the audience and get them into the right emotional state for the film. In an interview for Film Quarterly Saul Bass said, “My initial thoughts about what a title could do was to set mood and to prime the underlying core of the film’s story; to express the story in some metaphorical way. 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.” (Haskin, Pamela) Saul Bass’ title sequences presented the viewer with a distilled perspective of the themes that were ahead. Saul Bass had the unique talent of getting into the minds of those he worked
(Image Left) Tylon Cold Wave Saul Bass won an award for this advertisment from the New York Art Directors Club. This was the first design award Bass recieved. The original design was said to include color.
(Images Above) Billboards Series of billboard advertisments Saul Bass designed during the late 1950s and early 1960s. In some cases, the graphics that Bass produced became branding identities for whole advertising campains.
with. He was able to understand the director’s intent with the film on a very deep level. Bass went on to produce scenes in films and short films until the end of his career. Bass also created some of the most iconic logos of his time. In the 1980s Bass produced logos across all industries. “When United hired design firm Pentagram to give the identity a facelift in 1996, the creative team was smart enough to recognize you cannot improve upon perfection. ‘We were given an
open brief when we began working with United,’ the Pentagram team recalls in an online retrospective, ‘but we made one decision shortly after we began: we elected to retain the remarkable logo created for them in 1973 by Saul Bass.’” (Unger, David) The lifetime of Bass’ logos is nearly unprecedented. Many of the corporate identities he developed have been in use for 50 years. Saul Bass’ work has proved timeless, still having as much resonance with its audiences as it did the day it was first created.
(Image Left) Bell Systems Bass and his staff working on the complete rebranding of Bell Systems. The re-design was widespread including everything from packaging and advertisments to lappel pins and cookies. (Image Above) Rockwell International Saul Bass doing research with his team for the branding of Rockwell International
Advise and Consent 1962
Vertigo 1958
The Cardinal 1963
Directed by Otto Preminger Bass designed the poster, title sequence, press kit, and the premiere program and invitation. Saul Bass said, “The symbol says, in essence: inside Washington, what goes on underneath the surface? The ‘top’ is lifted off to reveal in letters the name of the picture.” (Bass, Jennifer 142) The symbol that is used for the poster is shown both the open and close of the title sequence, further elevating the importance of the image to the films story line.
Directed by Alfred Hitchcock Bass designed the poster, title sequence, and advertisments. The branding for the film revolves around the spirographs used as a symbol for the sensation of vertigo. Bass discovered the concept of spirographs at a book shop in New York City and utilized their hypnotic quality for the film. The imagery combines science and design which is significant to the subject matter.
Directed by Otto Preminger Bass designed the poster and the title sequence for this film. The title sequence follows one figure through the lifeless streets of Rome. The dark figure emphasises the textures and patterns of the environment while utilizing shadow and reflection to create complex yet simple imagery. For the imagery of the poster bass settled on a typographic arrangement. That expressed the bold nature of the plot rather than the religous theme.
Anatomy of a Murder 1959
Grand Prix 1966
Exodus 1960
Directed by Otto Preminger Bass designed the movie poster, billboards, premier program and invitation, trade ads, newspaper ads, soundtrack cover, and the title sequence. The simplicity of the logo of the film allowed it to be applied to all kinds of media. It was graphic and memorable to the viewer. It clearly reflected the subject matter of the film. The music of the title sequence gave Bass something to set the animation to rythmically.
Directed by John Frankenheimer Bass designed the poster, the title sequence, and directed the racing scenes. Saul worked on the race scenes to find a way to differenciate between them to maintain interest. For the title sequence Bass struggled to find the right way to show the race environment. He settled on having all the shots tiled together. “This approach created a rich tapestry of differences within similarities, and imparted a dynamic rythmic pattern to the whole sequence.’ (Bass, Jennifer 222)
Directed by Otto Preminger Bass designed the trade ads, the newspapaer ads, the poster, the premiere invitation and the title sequence. The title sequence reflects the film’s themes. “The film is about Israel. In its earlier restricted form, the flame has the symbolic connotation of the Temple and the ‘eternal light.’ At the end of the title it providesa symbolic forerunner of the struggle for independence which is the main content of the film.” (Bass, Jennifer 140)
Bunny Lake is Missing 1965
Nine Hours to Rama 1963
Bonjour Tristesse 1958
Directed by Otto Preminger The title sequence depicts hands tearing paper to reveal the credits of the film. “The peeling away of layers of paper is a metaphor for the peeling away of layers of mystery in this film about a child who disappears. The symbol, a child torn out of paper, relates to the child’s absence and to there seeming to be no proof of her existence.” (Jennifer, Bass 153) The title sequence and poster give an overal eerie effect and establishes the mood of the film.
Directed by Mark Robson Bass designed the poster and title sequence for the film. The title sequence shows a clock from various angles and distances. The intense focus on the clock and it’s features emphasizes the passage of time. The subject matter transitions at the end of the sequence from the face of a clock to wheels of a train. The fast pace of the Indian music contrasts the slow movement of the hands of the clock. This contrast is somewhat anxiety producing.
Directed by Otto Preminger Bass designed the poster and the title sequence for the film. The transition in the title sequence from colorful shapes to tears reflects the transition to adulthood and the sadness that comes with that. “The title expresses, in generalized terms, the moods of haiety and sadness in the film itself. It opens with random forms popping in against a black background.” (Bass, Jennifer 129) The shapes slowly form petals and then begin to drop and form tears and then a stylized face.
Attack 1956
It’s a Mad, Mad, Mad, Mad World 1963
Spartacus 1960
Directed by Robert Aldrich Bass designed the trade ads and title sequence. Saul also designed a ten page spread announcing the film in the Hollywood Reporter. In the title sequence Bass uses the music to set a beat to the movement of the soldiers in the village they are living in. The calm environment the soldiers move through contrasts the opening scene which comes before the title seqeunce where 16 soldiers are killed. The loudspeaker is shown routinely throughout the title sequence.
Directed by Stanley Kramer Bass designed magazine ads and the title sequence for the film. Using a symbol for the world and cartoon people Bass sets a fun and comical tone for the movie to come. “The symbol becomes, in turn, a ball, a balloon, a can opener, a spinning top, a yo-yo, and an egg. It is bounced, kicked, infalted, tossed, hatched... and zipped open, cracked, sawed, flapped, unhinged. In the course of all this, and much else, the credits are revealed.” (Bass, Jennifer 214)
Directed by Kubrick & Mann Bass designed the trade advertisments, title sequence and directed the battle scenes. Bass also did location scouting for the film. The producer of the film, Kirk Douglas, said, “What Saul brought to us was this image of a slave with a sword and a broken chain: when you saw that you knew the issue was freedom.” (Bass, Jennifer 193) The title sequene was meant to reflect the multiplicity of the Roman Empire. Bass and his wife Elaine collaborated on this project.
Bass and Otto Preminger Work Session
Saul Bass’ title sequence for The Man with the Golden Arm is one of the more iconic pieces of design. It is hard to pull one piece from Bass’ portfolio and declare it superior to the rest because of the huge breadth of memorable work he has done throughout his career. Bass changed the way people thought about advertising for film. As Saul Bass explained himself, “The notion that a single visual element, good, bad, or indifferent, could become a statement for a film is not a notion that existed before The Man with the Golden Arm.” (Haskin, Pamela 13) Saul created a graphic image that had the visual power to represent the film as a whole. The image of the arm had the power to transcend its simple form and give the public a clear idea of what the film experience would be like. Bass went on
to explain how he was trying to go against the advertising method of “See, See, See”. Bass explained this as the way producers would exhibit a wide array of imagery on their posters to try to capture the attention of all different kinds of people. This form of advertising is still present in movie trailers today where they may show a clip suggesting romance, comedy, drama, action all in one jam packed video. It is because of Saul Bass’ work that we have some kind of alternative to that. Saul Bass proved that one simple visual could capture as much attention as the louder posters could. He was the first designer to visually brand a movie. The graphic became recognizable enough that movie posters were made without any text and only the arm to represent the film. As Martin Scorsese wrote, “I look at the
posters he did for Hitchcock’s Vertigo (1958) or Otto Preminger’s The Man with the Golden Arm (1955), and I see much more than an evocation of the film- they are dynamic responses to the heart of the picture, the essence.” (Scorsese, Martin) As Scorsese explained, Bass is able to reach the work on a highly spiritual level. The animated title sequence Bass created for The Man with the Golden Arm was very simple. It consisted of a series of white lines on a dark background movie across the screen. Text was also incorporated into the compositions. As the animation went on the white strips formed the crooked arm that Bass had previously created for the print ads. Bass’ animation was very bold in its simplicity. Many title sequences of the time only used text or images of the casts. For many, title sequences were an afterthought. Bass diverged from this trend by creating a cohesive visual
language that had significance to the film itself. Saul Bass once said, “To achieve a simplicity, which also has a certain ambiguity and a certain metaphysical implication that makes that simplicity vital. If it’s simple simple, it’s boring. We try for the idea that is so simple that it will make you think and rethink.” (Rawsthorn, Alice) Bass formed an image that had a clear connection to the film without spoon-feeding it to the viewer. This gives the viewer room to draw their own conclusions about the film and to take time to consider the meaning of the images. The vague imagery is able to say more with less. The placement of text is also very important to the animation. Bass spent a lot of time perfecting the placement of the text in relation to the graphic linear forms. Bass uses the placement of text as a way to expand upon the visual language of the film rather than
simply placing it because credit needs to be given. He treats each line of text as its own special entity. The text, which Bass used on the print posters for The Man with the Golden Arm was hand cut, which gives a unique effect. This kind of a font was not commonly used and helped to add to the jagged effect he had applied to the arm. There are no details, which Saul Bass is willing to ignore. All aspects of his work are kept on the same level of importance. As he said himself, “We like the notion of the bottom of the table being finished even though nobody sees it.” (Haskin, Pamela 17) His attention to detail is certainly evident in his work. The treatment of the text is highly considered in his work making all the elements flow together. The graphic quality of his work is very iconic. His unique perspective is what makes his work so iconic to this day.
(Images Left) Record Covers Bass designed the record covers for the soundtrack to the film which came in three parts. (Image Right) Movie Poster Simplified iteration of the final movie poster.
Title Sequence Stills from the title sequence.
Cultural Context
Saul in Kyoto Japan 1960
The work that was being produced during the height of Saul Bass’ career was very color focused. The work of Mark Rothko was very popular at the time. Andy Warhol was also coming into the public consciousness during the latter half of the 1950s. Andy Warhol’s work emphasized mass culture and the advertising industry. Saul Bass’ work responded to the mass produced culture in a different way. Instead of utilizing the qualities of mass culture, Bass worked with more hand made processes. Saul Bass lived in Los Angeles during the late 1940s and early 1950. The tradition of creative culture in the city was still thriving. During the time Charles and Ray Eames and Man Ray were present forces. One big influence Saul Bass had at the time was the Los Angeles based magazine, Arts & Architecture.
International Design Conference Saul as Program Chair Aspen, Colorado 1957
The magazine highlighted artists and designers of the time, which ultimately included Bass’ own work. As he said, “It spoke of things I wanted to hear and was receptive to,” (Bass, Jennifer 15) The magazine captured the essence of design at the time. Bass designed the cover of an issue in 1948. In 1951 Saul Bass attended the first annual Design Conference in Aspen, Colorado. The event was started by the CEO of The Container Corporation of America. The conference was incredibly important to the recognition and development of the design industry. As Saul Bass said, “We believed that once all business embraced the notion of design and function of management, all of us would be employed to produce beautiful products and communications for a hungry public who, in turn, would be transformed
by this experience and create a ‘new civilization.’ There was an inspiring, passionate evangelism in the air each year which energized me and impelled me to make each project I worked on a solution and a statement at the same time.” (Bass, Jennifer 31) The conference was very important to Saul Bass and he took more responsibility in the organizing of the event and formed the official IDAC organization. Saul Bass was also involved in the World Design Conference which was held in Japan. As time went on Bass moved away from animation and into the field of film. In the title sequence for Vertigo Bass incorporated both mediums. Bass was inspired by the spiro-graphic images he saw in a book when browsing at a book shop. The spirographs were done with the help of an animator and were done using early levels of computers. His acclimation to the changing landscape of his field is how he was able to keep his work current.
(Image Top) World Design Conference Bass at the conference in Japan (Image Bottom) International Design Conference Aspen, Colorado.
Arts & Architecture 1948 The description of the cover in the issue is as follows, “COVER - Man’s conflicts are expressed by the confusion and indirection of the background against which is projected the highly integrated nature-machine, the egg; a symbol not only of order but also of purposeful growth. As one part of his directional growth, he has reached into space with many wonderful air-machines, and, in the same manner, in other aspects of his existence, man’s struggle enables him to pass on to new stages of developments.-SAUL BASS” The cover reflects Saul’s interest in science and art.
Historical Context
Vietnam War Soldiers in the Vietnam War
Saul Bass’s career extended from the 1950s into the 1990s. Born in the 1920s, Bass lived through The Great Depression. This time of economic hardship forced Bass into commercial advertising because that was the bulk of available jobs for designers at the time. This circumstance led Saul to the prolific career we know him for today. During the Saul Bass’ life President Kennedy was elected. He went into office in 1961. He was an extremely well liked president who supported racial integration, equal
pay for women, and getting the first man on the moon among other things. Lee Harvey Oswald assassinated him on Friday November 22, 1963. Richard Nixon became president in 1969 and was impeached in 1974. The Watergate Scandal exposed illegal activity and seceracy in the Nixon campaign. Nixon hired men to break in and spy on the Democratic National Committee. This scandal caused Americans to loose faith in the President and he was forced to resign. Racial equality was a big problem facing the United States
throughout the 1960s. In 1963 Martin Luther King Junior participated in the March on Washington for Jobs and Freedom. This event was where Martin Luther King Junior gave the speech “I Have a Dream” on the Lincoln Memorial. The speech has become iconic of the civil rights movement. “Saul offered his design services to the various causes with which he was involved. His contributions ranged form invitations for the Southern California Peace Crusade and Plaintiffs Against the Blacklist, to stationary for
the Great issues Foundation and Transport-a-Child, and posters for Human Rights Week.” (Bass, Jennifer 54) Bass’ involvement in charity work showed his political ideology and interests. In 1964 the Civil Rights Act was passed. During the 1950s the Space Race was occurring. The Space Race was a very important part of culture at the time. The competition between the USSR and the USA inspired a new interest in design and science as a way to reclaim dominance. “After October 1957, when the USSR’s unmanned satellite Sputnik indicated that American know-how was no longer sufficient to guarantee world supremacy, interest in creativity exploded.” (Bass, Jennifer 32) Saul Bass felt that the success of America in the past was holding back our future exploits. He was concerned that people had become
hesitant to take big risks because of the high level of expectation. Bass would often encourage young designers to not be afraid to submit work alongside more experienced designers. “The only difference experience made, he believed, was the knowledge that since one had managed to come up with good ideas in the past, there was good reason to believe it would happen again.” (Bass, Jennifer 32) Interest in science is also reflected in Bass’ title sequence for Alfred Hitchcock’s film Vertigo. “Saul’s interest in spiraling Lissajous forms and other ways of notating light and vibrations was part of a wide Modernist interest in bringing together science and art. It relates to his classes with Kepes in the early 1940s, as well as to 1950s preoccupations with outer space.” (Bass, Jennifer 179) The scientific unknown fascinated
(Image Left) The Kennedy Assassination People on a train from New York City reading about the tradgedy the afternoon after the president died in 1963. CBS Newscaster Dan Rainer waiting between the resignation of Nixon and the election of Ford. Photographed by Annie Leibovitz in 1974.
people. The film Vertigo focused on the conditions of vertigo, which was not widely understood at the time. Bass helped create a visual language that helped to explain the condition visually. As television became more popular Bass started to acclimate to that different form of visual culture. In 1987 Saul Bass was hired to do the title sequences for Broadcast News. In the 1980s Bass did a lot of work with corporate logos and identity. Bass was truly the best person to hire for the job of visually rejuvenating a company. He was highly committed to his work. “’The fact of the matter is, I want everything we do - that I do personally, that our office does - to be beautiful,’ Bass told an interviewer in 1986. ‘I don’t give a damn whether the client understands that that’s worth anything, or that the client thinks that it’s
worth anything, or whether it is worth anything. It’s worth it to me. It’s the way I want to live my life. I want to make beautiful things, even if nobody cares.’” (Shaer, Matthew 7) Some of the work that Saul Bass did for identity design is still in use today. In that way, his work is still present. The work that Saul Bass produced during his time stands as a unique reflection of an era.
(Image Top Left) Women’s Strike for Equality On the fiftieth anniversary of the Ninteenth Amendment in 1970 women went on strike to advocate equal employment, eduction, abortion on demand, and access to child care. (Image Top Right) March on Washington Martin Luther King Jr. at The March on Washington in 1963. This is the event where he gave the speech “I have a dream”. Saturn V Rocket Drawing of the Saturn V Rocket that launched in 1964. This image appeared as a pullout cover of Life Magazine.
Colophon & Bibliography Type: Futura (Light, Book, Bold) Chaparell Pro (Regular, Semibold, Light) Paper: BC Digital by Central Paper (White Smooth 97) Cover by Rolland Hitech (True White Smooth Recycled) Software: Adobe InDesign Adobe Photoshop Adobe Illustrator
Process: In the making of this book I wanted to reflect the breadth of the work Saul Bass produced during his lifetime. I created special pull out pages for his title-sequences. I placed this in the center of the book to emphasize that it accounts for the most prolific part of his career. Sources: Bass, Jennifer, Pat Kirkham, and Martin Scorsese. Saul Bass A Life in Film and Design. London: Laurence King, 2011. Print.
Notes:
Haskin, Pamela, and Saul Bass. “”Saul, Can You Make Me a Title?”: Interview with Saul Bass.” Film Quarterly 50.1 (1996): 10-17. Web. 13 Nov. 2014.
The language of the captions can be credited to the book cited Saul Bass A Life in Film and Design. The stills were taken from the archive of Saul Bass title sequence on artofthetitle.com
Rawsthorn, Alice. “The Man Who Made the Title Sequence Into a Film Star.” The International Herald Tribune 7 Nov. 2011: n. pag. The New York Times. 6 Nov. 2011.
Web. 13 Nov. 2014. <http://www.nytimes. com/2011/11/07/arts/design/ saul-bass-made-the-title-sequence-into-a-film-star. html?pagewanted=all&_r=2&>. Scorsese, Martin. “Saul Bass’s Cinematic Art.” Architectural Digest 67.3 (2010): 44-48. Academic Search Premier. Web. 20 Oct. 2014. Shaer, Matthew. “Saul Bass: Designer, artist, and auteur of the opening credits.” Christian Science Monitor 08 May 2013: N.PAG. Academic Search Premier. Web. 20 Oct. 2014. Unger, David J. “How Saul Bass changed design.” Christian Science Monitor 08 May 2013: N.PAG. Academic Search Premier. Web. 20 Oct. 2014.
Images: Solomon, Bobby. Saul Bassâ&#x20AC;&#x2122; Bass Signature. Digital image. The Fox Is Black. N.p., 11 Dec. 2012. Web. 11 Nov. 2014. <http:// www.thefoxisblack.com/2012/12/11/ saul-bass-poster-sketches-for-stanley-kubricksthe-shining/>. Bass, Jennifer, and Pat Kirkham. Saul with His Work. 1980. Saul Bass A Life in Film and Design. London: Laurence King, 2011. 283. Print. Matchbook Sets. 1963-1965. Saul Bass A Life in Film and Design. By Jennifer Bass and Pat Kirkham. London: Laurence King, 2011. 302-03. Print. Bass/Yager & Associates. 1978. Los Angeles. Saul Bass A Life in Film and Design. By Jennifer Bass and Pat Kirkham. London: Laurence King, 2011. 25. Print.
Pabco Paint. 1956. Saul Bass A Life in Film and Design. By Jennifer Bass and Pat Kirkham. London: Laurence King, 2011. 43. Print. Shell Oil. 1957. Saul Bass A Life in Film and Design. By Jennifer Bass and Pat Kirkham. London: Laurence King, 2011. 45. Print.
Will Burtin, Saul and Herb Pinzke. Mid 1950. Saul Bass A Life in Film and Design. By Jennifer Bass and Pat Kirkham. London: Laurence King, 2011. 31. Print.
Saul with Staff Members. 1968. Saul Bass A Life in Film and Design. By Jennifer Bass and Pat Kirkham. London: Laurence King, 2011. 315. Print.
Travers, David. Cover 1948. Digital image. Arts & Architecture. N.p., n.d. Web. 13 Nov. 2014. <http://www.artsandarchitecture. com/issues/pdf01/1948_11.pdf>.
Saul with Project Team. 1968. Saul Bass A Life in Film and Design. By Jennifer Bass and Pat Kirkham. London: Laurence King, 2011. 284. Print.
Vietnam War. N.d. RISD Picture Collection, Providence, RI. Communication Arts. N.p.: n.p., 1988. 37. Print. Photography Annual.
Tylon Cold Wave. 1945. Saul Bass A Life in Film and Design. By Jennifer Bass and Pat Kirkham. London: Laurence King, 2011. 10. Print.
Saul and Otto Preminger. Saul Bass A Life in Film and Design. By Jennifer Bass and Pat Kirkham. London: Laurence King, 2011. 122. Print. Soundtrack Album Covers. 1955. Saul Bass A Life in Film and Design. By Jennifer Bass and Pat Kirkham. London: Laurence King, 2011. 120. Print.
Blitz Beer. 1957. Saul Bass A Life in Film and Design. By Jennifer Bass and Pat Kirkham. London: Laurence King, 2011. 40. Print.
Poster. 1955. Saul Bass A Life in Film and Design. By Jennifer Bass and Pat Kirkham. London: Laurence King, 2011. 116. Print.
Pabco Paint. 1956. Saul Bass A Life in Film and Design. By Jennifer Bass and Pat Kirkham. London: Laurence King, 2011. 40. Print.
Albinson, Ian, Alexander Ulloa, Lola Landekic, and Will Perkins. The Man With the Golden Arm. Digital image. Art of the Title. N.p., n.d. Web. 13 Nov. 2014. <http://www. artofthetitle.com/title/the-man-with-the-golden-arm/>.
The Detroit News. 1961. Saul Bass A Life in Film and Design. By Jennifer Bass and Pat Kirkham. London: Laurence King, 2011. 41. Print. Speedway/Marathon. 1959. Saul Bass A Life in Film and Design. By Jennifer Bass and Pat Kirkham. London: Laurence King, 2011. 41. Print. Tylon Cold Wave. 1945. Saul Bass A Life in Film and Design. By Jennifer Bass and Pat Kirkham. London: Laurence King, 2011. 10.
and Pat Kirkham. London: Laurence King, 2011. 33. Print.
Saul In Kyoto, Japan. 1960. Saul Bass A Life in Film and Design. By Jennifer Bass and Pat Kirkham. London: Laurence King, 2011. 32. Print. Saul as Program Chairman. 1957. Saul Bass A Life in Film and Design. By Jennifer Bass and Pat Kirkham. London: Laurence King, 2011. 30. Print. World Design Conference. 1960. Saul Bass A Life in Film and Design. By Jennifer Bass
Kennedy Assassination. 1963. RISD Picture Collection, Provience, RI. N.p.: Smithsonian, 2003. 84-85. Print. Leibowitz, Annie. CBS Reporter. 1974. RISD Picture Collection, Providence, RI. Rolling Stone. N.p.: n.p., 1974. 41. Print. March on Washington. 1963. RISD Picture Collection, Providence, RI. Smithsonian. N.p.: n.p., 2013. 43. Print. Sauro, William E. Women Strike. 1970. RISD Picture Collection, Providence, RI. American Heritage. N.p.: n.p., 1999. 76-77. Print. Saturn V Rocket. 1964. RISD Picture Collection, Providence, RI. LIFE. N.p.: n.p., 1964. N. pag. Print. Manufacturers National Bank. 1963. Saul Bass A Life in Film and Design. By Jennifer Bass and Pat Kirkham. London: Laurence King, 2011. 47. Print. Movie Posters. N.d. Saul Bass Poster Archive. Web. 22 Nov. 2014. <http://www. saulbassposterarchive.com>.
Phoebe Morrison RISD 2014 Jamar Bromley