Beneath theory and rhetoric, and well beyond technique and
jargon, the reason for design is to speak to people in a language
this is familiar, but also new, to entice people to understand an
old thing in a new way, or grasp a new thing in an old way. There
has never been a designer who can do this better than Saul Bass,
who adds the 1981 AIGA Medal to his long and quite extraordinary
list of honors and achievements. Saul Bass honors this award.
Saul Bass's work touches people. Not just designers, or
students, or observers of design, or those who know and can explain
what a designer is and does, but simply people—many, many
The movie Grand Prix introduced Bass to me, though it
took twenty years for me to discover that. As an average high
school kid with predictable interests, growing up in an average
suburban town, I went to the movie Grand Prix with the
guys to see the cars race. Saul Bass must have understood this,
because he got most of the exposition of the rather thin (as I
recall) plot out of the way beneath the introductory titling and
credits. Then, when the movie really started, the cars
raced. And they raced in perfectly new and immensely
satisfying ways: in multiple images, in speed-distorted images, in
blurs and shimmering telephoto compression in pictures of whole
cars and in extreme close-up—exhaust manifolds and the
scream-pitched barks of revving Formula 1 engines.
Saul Bass also touched this perfectly normal high schooler with
his compression of the emotion of Exodus into a single
image of a half-dozen reaching hands and a rifle. Why were there
more hands than rifles? Were they celebrating victory? Were they
defiant in the face of overwhelming odds? Were some hands trying to
take the rifle from another?
Later, Saul Bass's opening sequences and closing credits for
West Side Story convinced the same suburban high schooler
that New York City was no place for him. It wasn't the violence of
the gangs (we had guys who belonged to gangs). It was the size and
density and energy and potential for both great things and utter
destruction and despair—all conveyed by the spinning, aerial
introduction and the closing credits, graffiti-ed on the decaying
surfaces of that alien city.
Years later, working and living happily in New York, I was
touched by Saul Bass (still unknown to me) two more times through
North American Rockwell's new corporate emblem, in which I had a
genuine if uninformed interest, and through a film for Kaiser,
Why Man Creates. Without my knowing it, Saul Bass had
turned me toward an interest in a lasting association with design
It's a cliché, but Saul Bass 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, Advise
& Consent, 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.
Strike an Ohio Blue Tip match.
He left his native New York for Hollywood in the mid-1940s to
find a way to combine his restless, intuitive imagination and a few
years of New York experience working in graphic design, into a
career. Before anyone in the film industry, Bass recognized the
importance of a movie's first moments: they should do more than
warn the audience that a few minutes remain to make a trip to the
popcorn stand. He invented the idea of titling movies—either at the
beginning or end—with sequences that added something in a
highly symbolic and evocative way and created print-graphic
identification for films that not only title the film, but also
serve to unify and drive entire marketing and advertising
If part of what design is about is communicating through
symbols, Saul Bass and his firm have subsequently created a fair
measure of what we now perceive as the modern business and
commercial world. Either they have actually created these symbols
or contributed mightily to the notion itself.
Bass is the first to disavow the widely held idea that graphic
design and film design are closely related disciplines. In medium,
time, concept, technique and technical aspects, they are not.
Graphic design is a solitary or small group exercise in creating.
Film directing and producing are management efforts of large groups
of people, equipment, variables and idea. Yet Saul Bass has not
only mastered both, he is comfortable in both. And the Bass
competence extends along another axis of accomplishment. At one end
are designed communications that stem from, and depend on, the
crackle of instant insight—both his and yours. These images are too
urgent to refine, too strong and emotional in their effect to fuss
with. At the distant other end of the axis is the attention to
numbing detail and mastery of formidable scale best exemplified by
the Bell System program, the largest and one of the most successful
corporate identification design programs ever conceived and
Like many top designers, Saul Bass is an ardent collector. More
important than the classifications of what he collects
(pre-Colombian figures, Colina rolled-clay figures, Ashanti dolls,
Indian fetishes, et cetera) is the intelligence that informs his
impulse to collect and what his collections give back to their
collector. “These tiny remains of ancient human civilizations, in
addition to their intrinsic beauty, bring with them a special kind
of mystery—a quality of the distant past, the unknown and unreality
of it all. Like the best kind of design or film work, they
communicate on two levels: the visceral or emotional level and the
more complex intellectual level. The goal, and the ultimate
achievement, is to make people feel as well as think.”
While Saul Bass listens to and respects the mute, visual
language of the ancients, he is very much focused on the here and
now, and on the future. Although his record is wide, thoughtful and
deep, it is a prologue: to what's surely to come, and to the man
Copyright 1982 by AIGA.
New York Times obituary, April 27, 1996.
Alvarez, S.B. “Cinema and Graphic Design: Title Sequences by Saul Bass and Juan Gatti.” International Journal of Visual Design. 6.4 (2013): 1-15. Print.Bass, Saul. “Film Advertising.” Graphis Ed. Walter Herdeg, (1953): 276-289. Print.Bierut, Michael. “The Final Days of AT&T.” Design Observer. Observer Omnimedia LLC, 29 May 2005. Web. 1 Dec. 2015. Brower, Steven. “What You (Still) Don’t Know About Psycho.” Eye on Design. AIGA, 18 Dec. 2014. Web. 1 Dec. 2015.Coupland, Ken. “Historical View - Saul Bass: the Man Behind the Titles.” Graphis. (1998): 102. Print.Gett, Trevor. “Saul Bass Honrdi.” RSA Journal. 144.5470 (1996): 10. Print.Haig, Bill. “The Saul Bass-Approved Method of Credibility-Based Logo Design.” Eye on Design. AIGA, 15 Dec. 2014. Web. 1 Dec. 2015.Haskin, Pamela, and Saul Bass. “Saul, Can You Make Me a Title?”: Interview with Saul Bass." Film Quarterly. 50.1 (1996): 10-17. Print.Heyman, Therese T. “Saul Bass.” Posters American Style. (1998): 160. Print.Hochscherf, T. “Saul Bass: a Life in Film & Design." Journal of Design History. 27.2 (2014): 186-188. Print.Kirkham, Pat. “Bright Lights Big City - What Is the Power of Elaine and Saul Bass' Titles for Casino?” Sight and Sound. 6.1 (1996): 12. Print.Kirkham, P. “The Jeweller's Eye: Saul Bass' Extraordinary Credits Sequence for Vertigo.” Sight and Sound. 7.4 (1997): 18-19. Print.Kirkham, Pat. “Reassessing the Saul Bass and Alfred Hitchcock Collaboration.” Design Observer. Observer Omnimedia LLC, 11 Jan. 12. Web. 1 Dec. 2015.Lambirth, Andrew. “Arts - Exhibitions: Saul Bass.” The Spectator. (2004): 39. Print.Meggs, Philip B. “Saul Bass on Corporate Identity.” AIGA Journal of Graphic Design 8.1 (1990): 4. Print.Miller, Keith. “Arts - Saul Bass (design Museum).” Tls, the Times Literary Supplement. (2004): 16. Print.Oeri, Georgine. “Saul Bass.” Graphis. Ed. Walter Herdeg (1955): 258-265. Print.Scorsese, M. “Saul Bass's Cinematic Art: Director Martin Scorsese Remembers the Designer's One-of-a-Kind Movie Posters.” Architectural Digest. 67.3 (2010): 44-48. Print.Staff Writers. “1981 AIGA Medalist - Saul Bass.” AIGA Journal of Graphic Design 1.1 (1982): 3. Print.Staff Writers. “Saul Bass 1920-1996.” AIGA Journal of Graphic Design 14.2 (1996): 54. Print.Supanick, Jim. “Saul Bass.” Film Comment. 33.2 (1997): 72. Print.Sutton, D. “Saul Bass: a Life in Film and Design.” Screen. 54.2 (2013): 294-297. Print.Thomas, Robert McG., Jr. “Saul Bass, 75, Designer, Dies; Made Art Out of Movie Titles.” The New York Times. The New York Times Company, 27 Apr. 1996. Web. 1 Apr. 2016. Wolf, Henry. “Saul Bass.” Graphis. Ed. Walter Herdeg (1985): 28-35. Print.Yager, Herb. “Saul Bass.” Graphis. Ed. Walter Herdeg (1978): 392-407. Print.
American Institute of Graphic Arts. AIGA Graphic Design USA: 3: The Annual of the American Institute of Graphic Arts. New York: Watson-Guptill, 1982. Print.
Aynsley, Jeremy, and Harriet Atkinson. The Banham Lectures: Essays on Designing the Future. Oxford: Berg, 2009. Print.Daines, Mike, and Hans Richter. Baseline 22. Bradbourne Publishing, 1996. Print.Bass, Jennifer, Pat Kirkham, and Saul Bass. Saul Bass: A Life in Film & Design. London: Laurence King, 2011. Print.Bass, Saul. An Essay: The Popular Arts Today. Santa Monica, Calif: Pyramid Film & Video, 1980. Print.Bass, Saul. Notes on the Popular Arts. Santa Monica, Calif: Pyramid Films, 1978. Print.Daywalt, Drew, David Schneider, Fran Krause, Shawn Schepps, Alex Turner, Daniel Peacock, Charles Eames, Ray Eames, Saul Bass, Kirsten Winter, Jonathon Stearns, Gordon Bijelonic, Andrew Takeuchi, Rob Schmidt, Slavko Vorkapich, John Hoffman, Chris Backhouse, Preston Maigetter, and Jimmy McGriff. Short: 11 - Ecstasy. Los Angeles, CA: QuickBand Networks, 2001. Print.Clifford, John. Graphic Icons: Visionaries Who Shaped Modern Graphic Design. Peachpit Press, 2014. Print.Crock, Geoffrey. The Changing Image: Television Graphics from Caption Card to Computer. London: Built by Robots, 1986. Print.Ferriter, Roger. Typerformance. Palo Alto, Calif: Communication Arts Books, 1983. Print.Film and Television Title Designers: Saul Bass, Bill Gold, Robert Brownjohn, Wayne Fitzgerald, Daniel Kleinman, Maurice Binder, Pablo Ferro, Format Films, Kyle Cooper. Memphis, Tenn: Books LLC, 2010. Print.Fischer, Dennis. Science Fiction Film Directors, 1895-1998. Jefferson, N.C: McFarland, 2000. Print.Halligan, Fionnuala. Movie Story Boards: The Art of Visualizing Screenplays. , 2013. Print.Jan-Christopher, Horak. Saul Bass: Anatomy of Film Design. University Press of Kentucky, 2014. Print.Kamekura, Yusaku. Creation 18. , 1993. Print.Kepes, Gyorgy. Sign, Image, Symbol. New York: G. Braziller, 1966. Print.Kurlansky, Mervyn. Masters of the 20th Century: the Icograda Design Hall of Fame. Graphis, 2001. Print.Meggs, Philip B. 6 Chapters in Design: Saul Bass, Ivan Chermayeff, Milton Glaser, Paul Rand, Ikko Tanaka, Henryk Tomaszewski. San Francisco: Chronicle Books, 1997. Print.Morgenstern, Joe. Saul Bass: A Life in Film and Design. Los Angeles: General Pub. Group, 1997. Print.Netburn, Stephen, Frederick Greene, Michael J. Shapiro, Robert Osborne, Chuck Workman, Rob Friedman, Mike Greenfield, Vinzenz Hediger, Tony Silver, Leonard Maltin, Lisa Kernan, Joe Dante, Saul Bass, Pablo Ferro, Benedict Coulter, Gregory McClatchy, Joel Schumacher, Joe Farrell, and Stephen Herek. Coming Attractions: The History of the Movie Trailer. Laguna Beach, Calif: Andrew J. Kuehn Jr. Foundation, 2005. Print.Pipes, Alan. Production for Graphic Designers. Woodstock, N.Y: Overlook Press, 2001. Print.Production Designers, Including: Saul Bass, Kyle Cooper, Pablo Ferro, Format Films, Sandy Dvore, Maurice Binder, Bill Gold, Daniel Kleinman, Robert Brownjohn, Yolanda Santosa, Wayne Fitzgerald, Cyro Del Nero, Ken Adam, Peter Lamont, John Box, Syd Cain. United States?: Hephaestus Books, 2011. Print.Robins, V. A, Thomas J. Wiener, Burgess Meredith, Vincent Price, Louis Nizer, Gerald Pratley, Saul Bass, Peter Bogdanovich, Josef Meinrad, and Otto Preminger. Preminger: Anatomy of a Filmmaker. Burbank, Calif: Warner Home Video, 2003. Print.Rosentswieg, Gerry, and Julie Prendiville. Graphic Design: Los Angeles. New York, N.Y: Madison Square Press, 1988. Print.Saul Bass. Yale Univ Pr, 2007. Print.Saul Bass: Bass on Titles. S.l: Mediapollen, 2004. Print.Solana, Gemma, and Antonio Boneu. Uncredited: Graphic Design & Opening Titles in Movies. Index Book S.L, 2007. Print.Steiner, Henry, and Ken Haas. Cross-Cultural Design: Communicating in the Global Marketplace. Thames & Hudson, 1995. Print.Terek, Tomislav. Saul Bass on Titles: Film Titles Revealed. Defunkt Century, 2001. Print.The Masters Series: Saul Bass. New York: Visual Arts Press, 1996. Print.Thompson, Philip, and Peter Davenport. The Dictionary of Visual Language. London: Bergstrom and Boyle, 1980. Print.Timmer, Andreas. Making the Ordinary Extra-Ordinary: The Film-Related Work of Saul Bass. , 1999. Print.Williams, Dan. North by Northwest: Director, Alfred Hitchcock. Harlow: Longman, 2001. Print.Wolf, Henry, Herb Lubalin, Saul Bass, Ivan Chermayeff, Lou Dorfsman, Gene Federico, Milton Glaser, and George Lois. Love Letters To: Gilbert: From: Saul Bass, Ivan Chermayeff, Lou Dorfsman, Gene Federico, Milton Glaser, George Lois, Herb Lubalin, Henry Wolf. Menasha, Wisc: Gilbert Paper Co, 1977. Print.
Krag, Thomas, and Tim Voldsted. Title Sequence Seminar: Saul & Elaine Bass. The Film National School of Denmark, 1995. Print.Smith, Paul. Creativity, an Examination of the Creative Process: A Report on the Third Communications Conference of the Art Directors Club of New York. New York: Hastings House, 1959. Print.
AIGA Design Archives. AIGA, n.d. Web. 1 Dec. 2015. “Saul Bass.” Art of the Title. Art of the Title, LLC, 2007–2015. Web. 1 Dec. 2015. Bass, Saul. Saul Bass Papers, 1953–1996. Beverly Hills, Calif.: Margaret Herrick Library, 1953. Archival material.Crawford, James A. M. Film Credit. Los Angeles, Calif.: University of Southern California, 2013. Internet resource.Friedman, Mildred S, Joseph Giovannini, and Steven Heller. Graphic Design in America: A Visual Language History. Minneapolis: Walker Art Center, 1989. Internet resource.“Saul Bass.” Design is History. Design is History, n.d. Web. 1 Dec. 2015.
Albinson, Ian. “The Title Design of Saul and Elaine Bass.” Vimeo. 12 Nov. 2011. Online video. 1 Dec. 2015. Bass, Saul. Bass on Titles. Santa Monica, Calif: Pyramid Media, 2000. DVD.Boston, Archie.20 Outstanding Los Angeles Designers: Saul Bass. Los Angeles, Calif: Archie Boston Graphic Design, 2008. YouTube. 21 Aug. 2007. Online video. 1 Dec. 2015.Bayer, Herbert, Lester Beall, Jules Feiffer, Allen Hurlburt, George Lois, Herb Lubalin, Peter Palazzo, Gordon Parks, John Peter, and Roman Vishniac. Design 1964: Art Directors Club Visual Communications Conference. n.p., 1964. Sound recording.Leicht, Jonny. “Saul Bass.” YouTube. 23 Mar. 2011. Online video. 1 Dec. 2015. FlaneurSolitaire. “Saul Bass: Famous title sequences from Preminger to Scorsese.” YouTube. 3 Apr. 2014. Online video. 1 Dec. 2015. For further reading visit AIGAdesign at Worldcat. Have another resource to share? Contact AIGA’s archivist, Heather Strelecki.
Meet the 2016 AIGA Medalists! The distinguished AIGA Medal is awarded to individuals in recognition of their exceptional achievements in the field of design.
Section: Inspiration -
AIGA Medal, design educators, students
Method received a 2010 Corporate Leadership Award in April 2011 at “Bright Lights: The AIGA Awards” in New York City.
Section: Inspiration -
AIGA Medal, interview, awards, INitiative
Should wit and humor be part of the designer's toolset? And how does Rocky Graziano fit in? Caplan reflects on Henry Wolf's ability to analyze humor without taking the fun out of it.
Section: Inspiration -
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