Saul Bass was a graphic designer and filmmaker known for his innovative title sequences and film posters. He studied design in New York City and worked as a freelance graphic designer. Some of his most famous works included the title sequences for films like The Man with the Golden Arm, Vertigo, North by Northwest, and Psycho. His sequences often used simple geometric shapes and movement to set the tone and provide symbolic meaning relating to the film's story. He is credited with revolutionizing title sequences and making them more stylish and meaningful for viewers.

1. M I C H A E L K N I G H T
M E D I A S T U D I E S

2. WHO HE IS
• Saul Bass was born in New York on May 8 1920.
• He studied design at the art students league in
Manhattan.
• After apprenticeships , he worked as a free lance graphic
designer.
• He was a graphic designer and academy award winning
filmmaker.
• He was best known for his design of motion picture title
sequences, film posters, and corporate logos.
• He has worked with famous filmmakers such as Alfred
Hitchcock, Martin Scorsese, Billy Wilder and Stanley
Kubrick

3. WHY HIS WORK WAS SPECIAL
• He is known for working with simple, geometric shapes
and their symbolism.
• His posters captured the mood of the film with the shapes
and images.
• He usually drew the shapes himself to create a casual
appearance.
• He revolutionised title sequences in film by making them
more stylish and give and metaphorical meaning that
would intrigue the viewer.

4. CATALOGUE OF HIS WORK
• His first film which gave him much credit was “The man
with the golden arm” in 1955.
• He also created the title sequence for “Vertigo” (1958),
“North by northwest” (1959) and “Psycho” (1960).
• He famously created the title sequence for “West side
story” (1961).
• He created many other title sequences, logo’s and movie
posters.

5. ANALYSIS OF TITLE SEQUENCE 1 – MAN WITH
THE GOLD ARM
• The title sequence was very unique by using lines
interchanging with each other to create patterns which
the audience could work out as being images.
• They are supposedly meant to look like veins or syringes
relating to the film’s storyline.
• There is a sense of jabbing with awkward angles which
creates a sense of unsettled atmosphere.

6. ANALYSIS OF TITLE SEQUENCE 2 – WEST SIDE
STORY
• Specifically placed vertical bars cover the screen with abstract
form.
• The static image is in unison with the varied overture; as the
“mood” of the score changes the colour follows suit.
• It pulls backward to reveal the film title below.
• The image goes to an aerial shot of Manhattan, and the source
of the vertical pattern is confirmed.
• The abstract bars, even, resemble a perforated music roll.