- Tapa dura: 440 páginas
- Editor: Laurence King; Edición: 01 (7 de noviembre de 2011)
- Idioma: Inglés
- ISBN-10: 1856697525
- ISBN-13: 978-1856697521
- Valoración media de los clientes: 4.7 de un máximo de 5 estrellas Ver todas las opiniones (3 opiniones de clientes)
- Clasificación en los más vendidos de Amazon: nº20.339 en Libros en idiomas extranjeros (Ver el Top 100 en Libros en idiomas extranjeros)
- Ver el Índice completo
Saul Bass: A Life in Film & Design (Inglés) Tapa dura – 7 nov 2011
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Descripción del producto
..".the first major book on his work....the book paints an engaging picture of Bass as a vigorous, highly disciplined man with a gift for friendship and sense of fun."--The New York Times, and this same review by Alice Rawsthorn also appeared in the INTERNATIONAL HEARLD TRIBUNE.
Reseña del editor
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 postwar 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 Oscarwinning 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' 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.Ver Descripción del producto
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Millions of movie-goers are familiar with the stunning credits Bass created (sixty stills are included in a fold-out dateline at 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 movie logos. 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 statements to a movie. 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' (ISBN 9788496309524) 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. The book's coverage is hardly comprehensive when this kind of design commission looks into every visual corner of a company.Leer más ›
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The price tag may seem a little high, but trust me it's worth every penny.It's a beautiful book that will be fun for Bass' already knowledgeable fans, and informative (and fun) for those of us who perhaps did not already appreciate the important link between print and visual design in the 20th century and the important role this brilliant man played in bridging the two. Highly recommended.
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. The book's coverage is hardly comprehensive when this kind of design commission looks into every visual corner of a company. Mostly what is shown are a few samples: Fuller Paints gets five photos and a logo; Rockwell International three and a logo; Minolta two photos, two logos and five still thumbnails. These corporate pages throw up another disappointment I had with the book: presentation. Flick through the pages and it all looks clean and tidy but then start to read a chapter and I was aware of the large amounts of empty page space (working white as designers call it) where, as this is a book about a visual subject, images should be working much harder. These are pretty pages rather than practical pages that reveal the full potential of the images to the reader. A good example are two fold-outs showing sixteen logos to a page, actually they would have fitted easily on two pages but on four pages they should have been much larger without destroying the book's design integrity. A spread on AT&T (pages 330/331) has ten images and text that would easily fit on one page.
What I found absolutely fascinating were the fifteen pages of notes in the back pages. Predictably set in tiny type yet full of detail about Saul Bass, design and the design community he worked in.
The book's printing is excellent, a nice matt art for the 1484 images using an impressively fine screen (three hundred+) an embossed cover with the 'Bonjour tristesse' logo. 'Saul Bass' is certainly an interesting book but I thought the presentation didn't really display this wonderful designer's work to its full potential, especially his stunning movie credits.
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. His title sequences are famous for setting the tone of the film, and are among the best ever made, from the swirling Lissajous patterns of _Vertigo_ to the funny cartoons preceding _It's a Mad, Mad, Mad, Mad World_. Bass (and his wife Elaine, who gets much credit in this book for their joint efforts) had a "fade out" from making movie titles. He had a lot of corporate work to do, and was making his own documentaries and film essays (he also directed one feature film, _Phase IV_). He also found that directors were newly interested in using the title sequence themselves creatively, and perhaps this was a response to his own work. Nonetheless, he came back in the 1990s, working for among others Martin Scorsese (who writes the book's forward), for whom he did the admirable credits for _Goodfellas_, _Cape Fear_, _The Age of Innocence_, and _Casino_. Among the most interesting pages here are the reproductions of preparatory sketches leading to a final product. Bass would do perhaps 300 sketches for a single simple logo. Some of the pictures here show Bass getting ready to make a presentation of his logo work to a particular corporation - there are hundreds of alternative designs on the walls. Bass was a master of the presentation of the final design to corporate clients; he liked being "on stage," had excellent comedic timing and wit, and connected with each client individually. The presentation was the culmination of intensive work, starting with an analysis of what the company had done, its competitors, and its communication materials, and even enlisting market research. It is significant that Bass thought that one of the most interesting parts of his work was the interviews with one executive at a time. "I get to ask powerful and often interesting people about their work and their lives. It is in their heads that the real blueprint for the future exists or is being formed."
Bass was devoted to progressive causes, and did plenty of pro bono work; there are designs here for the ACLU, the Special Olympics, Boys Clubs, YWCA, and more. Bass had a devoted family, and people who worked for his firm remembered a dynamic, funny, intense man who loved his job. When they split off to make their own firms, he gave them his blessing - it was part of the creative process, and he had done the same thing himself. To see the many designs in this book is to appreciate that while his work was too diverse to have any one unifying esthetic, it was characterized by simplicity, distillation, and minimalism, and was always forceful because it was so concentrated. Revealingly, he was anxious with every new assignment; he told young designers that "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." He also said that considering present work is humbling "because no matter how much experience you have, the blank page is still terrifying." Maybe so, but he conquered any such fears countless times, with successes reproduced here on page after page of memorable, effective images.
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