Erin Ross-Elmer BA (Hons) Graphic Design S0716676 How did Saul Bass’ experience as a graphic designer change his approach to de- sign for the film industry? 45 Credits 7821 Words 1 Erin Ross-Elmer BA (Hons) Graphic Design S0716676 Index 1. Introduction. 2. Literature review. Bass’s education and understanding of design. Modernism and Bass’s Bauhaus education. Bass’s education in Psychology. 3. Chapter 1: Psychology and Film. Visual psychology and Semiotics. Psychology in film. 4. Chapter 2: Audience perception and understanding. Bass’s design skills in film. The Alfred Hitchcock/Saul Bass relationship. 5. Chapter 3: Comparing Bass to artists in film. Film advertising artists. The Stanley Kubrick/Saul Bass relationship. 6. Chapter 4: Summary. A summary of the information gathered throughout the dissertation. 7. Conclusion. 8. Bibliographies. Written references. Image references. 2 Erin Ross-Elmer BA (Hons) Graphic Design S0716676 Introduction This dissertation focuses on the life of Saul Bass, but particularly the ways in which his art and design education and his interest in psychology influenced his deci- sions as a designer and how those factors supported him as a designer and visual con- sultant throughout his career. This paper follows his journey from a young artist and de- signer, interested and inspired by the modernist style of the Bauhaus in Chicago to somebody who worked to develop his understanding of the graphic design and film in- dustries, and more specifically, how his journey as a graphic designer meant that his approach to the film industry was different to that of a more conventional ‘film-maker’. Alongside his role as a graphic designer, Saul Bass had a keen interest and thor- ough knowledge of psychology; he was somebody who applied his skills as a whole to his work. There was a different kind of awareness and confidence which radiated from his work and this was noticeable throughout his career. This dissertation doesn’t only explore his relationship with graphic design and the film industry but also the way in which his knowledge of psychology and application of such supported him throughout his work on psychological films - thrillers and horrors in particular. Literature Review Bass was a world renowned American graphic designer who studied under Gy- orgy Kepes, at the New Bauhaus in Chicago. Bass was an admirer of Kepes’ work after discovering his Language of vision (1944) in a book store. Kepes worked with former Bauhaus teacher Laszlo Moholy-Nagy and had headed the Light and Colour depart- ment in the new Bauhaus in Chicago. "Kepes changed the way Saul thought about de- sign" (Bass, 2011:9). 3 Erin Ross-Elmer BA (Hons) Graphic Design S0716676 This was a pivotal time in Bass’ design education, he was heavily influenced and in- spired during his studies at the New Bauhaus and by Kepes who had a keen interest in filmic sequence in design. Kepes combined his love of light and colour and amalga- mated this with the Bauhaus ideas he knew so well (Aynsley, 2004:104). The combination of the various aspects mentioned proved to be effective in Kepes’ work, the contrasting techniques created impactful outcomes. Kepes’ work of- ten reflected his interest in psychology, figure one even resembles an ink blot, The Rorschach test was developed by Hermann Rorschach. “The Rorschach is what psy- chologists call a projective test. The basic idea of this is that when a person is shown FIGURE 1: RORSCHACH CYCLOPS, 1977 - GYORGY KEPES 4 Erin Ross-Elmer BA (Hons) Graphic Design S0716676 FIGURE 2: ANATOMY OF A MURDER, 1959 - SAUL BASS an ambiguous, meaningless image (i.e. an inkblot) the mind will work hard at imposing meaning on the image” (Drayton, 2012). Bass took his inspired understanding of different disciplines and developing ap- preciation for psychology and used his strong, impactful and refreshing ideas to take advantage of a more commercially driven audience. Kepes’ curiosity and investigative nature in relation to film and moving image combined with the distinctive Bauhaus style is recognisable within Bass's work as exemplified in figure 2 – this is something which was consistent throughout both Bass and Kepes’ careers as artists and designers. Be- tween both Bass and Kepes’ work there are similarities which stem from their Bauhaus roots - bold focal points, subtle sub-focuses and an air of audience interpretation. Modernism was “intended to be functional, with the use of straight, pure lines, tubular steel structures, new materials and innovative industrial techniques” (Cuiry, 2017). Bass’ work captures his modernist education well. His work includes a great deal of 5 FIGURE 2: ANATOMY OF A MURDER, 1959 - SAUL BASS. Erin Ross-Elmer BA (Hons) Graphic Design S0716676 straight lines and rigid looking shapes and figures. Bass had a creative and individual approach to designing modernist inspired imagery but incorporating subjects which would normally be produced with a ‘softer’ approach such as people and animals. Figure 3 shows the way in which Bass used the angular, straight lines of the modernist style and carried it into the natural subject matter at the end of the opening credits for The Man with the Golden Arm (1955). During the 1950’s Bass’ work was of a more symbolic nature, sometimes appearing quite simple but thought provoking with room for analysis depending on the subject matter – In this case, a fractured man with a heroin addiction trying to fight his illness. The way in which Bass used the contrast be- tween black and white reflects the struggles and prevalent moments the main charac- ter, Nelson Algren, faces during the film. The straight lines and jagged edges of the hand also illustrate his pain and struggle effectively. Softer lines would have created a gentle, more comforting impression, which would not have been suitable considering the plot. FIGURE 3: THE MAN WITH THE GOLDEN ARM, 1955 - SAUL BASS. 6 Erin Ross-Elmer BA (Hons) Graphic Design S0716676 Postwar America had a fascination with psychology, something which resonated with Bass who had read the complete works of Sigmund Freud in his youth and had been fascinated by psychology ever since (Kirkham, 2011:P70). This interest in Freud gave Bass the opportunity to nurture his already existing interest in symbols and the human psyche through his work and problem-solving approach to design (Kirkham, 2011:54). With his understanding of modernism and modernist design coupled with his growing interest in film, Bass’ work was bold and strong but had substance behind it. As Freud observed, “a daytime thought may very well play the part of the en- trepreneur for a dream” (Sayers 2007:15). In acknowledging Bass’ interest in Freud’s work, one can appreciate the psychoanalytical depth to Bass’ designs. Bass combined his psychological understanding and therefore, consciousness of feeling and emotion with the very departed, traditionally and classically opposed Bauhaus modernism he was so thoroughly educated in. This contrast was quite unusual in that it was born us- ing bold colours, shapes and seemingly simple design which although visually stimulat- ing also provoked sub-conscious interest and recognition and therefore left a lasting impression. Much of this substance would have come from Bass’ understanding of the psychology - another aspect of his distinctive style which was partially influenced by Kepes, a man practicing during postwar America. "Saul's fascination with psychology ensured that he soaked up Kepes' views on the importance of the psychological re- sponses to design" (Bass, 2011:9). Because Bass understood the psychological aspect of design and was aware of the way in which symbols made a difference to perception he understood that "The physical objects made by graphic designers are guided by mental models of how communication works" (Davis, 2012:15). In this case, his thorough and clear awareness of communication and how to use his work to communicate gave him the upper hand 7 Erin Ross-Elmer BA (Hons) Graphic Design S0716676 in the design industry at the time. A designer's understanding of communication and also the understanding of audience perception is key when producing pieces which will reach an audience. Understanding the way in which the mind works helped Bass im- mensely when designing for branding and advertising as well as film but in particular, psychological films due to the deeper, more complex nature of the stories. Figure 4 is a fine example of the way in which Bass used simple aspects such a contrasting colours, fading text and negative space to create a feelings of tension and intrigue. There are seeds planted with the missing shape of what would be assumed to be a small child, a little girl in particular. This aspect alone evokes worry in regard to the missing child’s vulnerability. FIGURE 4: BUNNY LAKE IS MISSING, 1965 - SAUL BASS He not only appreciated people’s reactions to his work and the ways in which it made them feel, but he understood and analysed these kinds of raw feelings, very nat- ural, visceral perceptions and impressions of the visuals he was creating. Bass enjoyed 8 Erin Ross-Elmer BA (Hons) Graphic Design S0716676 probing "the emotional heart of the problem” - He would try to give form to feeling (Bass, 2011:34). The particularly appealing point to note here, from a designer’s per- spective, is the fact that Bass would focus on “giving form to feeling” rather than giving feeling to form. He was aware of the emotional outcome he was aiming for, as well as the way in which he wanted his audience to react. Because of his understanding of the human psyche and semiotics, he then needed to design with those ideas in mind and ensure that his work captured or evoked the feelings he expected.