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Saul BassDaniel Kelly
Saul Bass    Saul Bass was a graphic designer and one of the     master of title sequence designers. In addition, Bass   ...
PSYCHO TITLE SEQUENCE   Psycho was a one of Saul Bass most famous title sequence.    Firstly , the music is from a orches...
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Saul bass

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Transcript of "Saul bass"

  1. 1. Saul BassDaniel Kelly
  2. 2. Saul Bass  Saul Bass was a graphic designer and one of the master of title sequence designers. In addition, Bass crated a new type of kinetic typography.  Kinetic typography is animation technique mixing motion and text to hint ideas using videos animation. This a techniques Saul Bass used for all his title sequence which a reason in why he is know for the ‘God father’ of title sequence.  Not only was Saul Bass known for his title sequence he also created logos and film posters for company such as Frontier airliner.  For his film posters he changed the view of film posters by instead of visuals of the film , he used his technique to simplified, symbolic designs that visually communicated key essential elements of the film such as the ‘Golden Arm’
  3. 3. PSYCHO TITLE SEQUENCE Psycho was a one of Saul Bass most famous title sequence. Firstly , the music is from a orchestra band and starts off with a fast pace violins and gradually other instruments get involved and build up the tension through as the pace of the music increase as the sequence goes on. The fast pace of the music links in to the horror genre of the film. Horror creates suspense and tension throughout as a build up before something happens in the film. The music in the film title sequence creates the same feeling so links in perfectly with the genre. The title ‘Pyscho’ means crazy and insane. Through the title sequence, Bass has tried to include this meaning through out by lines start rapidly cut across the screen in all angles like crazy. Shapes such as the lines , is something Bass uses through a lot of his work , it’s a simple shape but however creates a lot of meaning through the way he uses them.
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