To me, Saul is the closest thing to perfection. His essence is symbolised in his finest creation, the United Airlines logo. It’s something I could stare, endlessly, probably for the rest of my life and be quite content. It’s masterworks of his that drove me into the arms of design from a very early young age. Even then matchbox cars that I used to play with, some of my earliest memories, owe some of their design principles to Saul. The cool type, the italics and the general “coolness” of it all. He reached a nirvana of sorts, designs that couldn’t possibly be bettered. His designs, in some ways, now belong to a bygone era, where simplicity and bold ideas ruled the day. Read on, for a brief intro into the genius of Mr. Saul Bass.
Early Life
Born in the Bronx, New York in May 1920, Bass was the son of Jewish immigrants from Eastern Europe. He attended James Monroe High School, the Bronx.
After graduating from high school, Bass studied on a part-time basis at Manhattan’s Art Students League, where thanks to his prodigal talents, he earned a fellowship. He then went on to take night classes at Brooklyn College, improving his design skills and where he met the Hungarian-born, Bauhaus guru Gyorgy Kepes.
Early in his career, Saul worked in advertising, including for the world-famous Warner Bros. Eventually he moved from New York to Los Angeles, California in the 1940s, to be closer to the action in Movieland. He became more closely involved in Hollywood projects, working as a print advertisement designer.
The famous filmmaker Otto Preminger was instrumental in helping Bass make his first mark in designing film title sequences. He invited the designer to help put together the title credits for the film Carmen Jones (released in 1954). Preminger made this decision after being awed by the poster Saul had produced for the same project.
Title sequences weren’t really regarded as an integral part of the film’s story before Bass designed the credits for Preminger’s film. But that work proved to be a game-changer and marked the beginning of title sequences integrating into the overall cinematic experience.
Bass’ fame reached another level in Hollywood in 1955 when he produced the title sequence for another of Preminger’s projects – The Man with the Golden Arm. Originally the poster appeared only with the golden arm and some of the abstract shapes surrounding it. Quite sublime. But of course, what’s professional graphic design without a client attempting to dilute your beautiful vision? They insisted on adding images of Sinatra and Novak to the poster. Saul argued to the contrary, but alas it was all in vain. Such is the life of the artist and his paymaster.
Later, Alfred Hitchcock, inspired by the Preminger work, began working with Saul to produce title credits for his films masterworks. This was indeed a golden age for movie sequencing. A golden dawn where typography became intrinsically embedded in modern culture, amplified by the adrenalin-fulled rush of cinematic drama. Bass produced mind-bindingly unique title sequences for films such as North by Northwest, Vertigo, and Psycho using his signature kinetic typography. Although they may seem dated now, you can still appreciate how stunningly beautiful they remain, and how exciting and ultra modern they would have been in 1960. Running credits up the side of a building must have seemed near on impossible in – 1959 no less.
The credits for Anatomy of a Murder (1959), Spartacus (1960), Walk on the Wild Side (1962), and The Shining (1980) are among the numerous popular title sequences produced by Bass. Among his last works were his work for Scorcese for Goodfellas (1990) and Casino (1995).
Bass’ reputation for designing title sequences began with his work on a film poster. He designed effective posters that added a whole new touch to film advertising. His designs typically put out some key elements of a film or movie, making this approach a legacy of his. These featured major scenes from a project in most cases.
The Anatomy of a Murder was a good example of Bass’ use of simple, symbolic designs to convey visually what a film was about. In the poster, he included the outline of a corpse with dismembered parts. Still a favourite amongst poster collectors and interior designers, it’s Rothko-esque colouring and bold design remains a striking and engaging masterwork, even today. The brutal simplicity of his designs capture a kind of timelessness, simple shapes conveying subtle meaning, each viewer interpreting his message in different ways, in fact much like Rothko, and other timeless works. Can Bass’ work be held in such high esteem as modern art? In my mind, yes – of course. It IS art, of the highest calibre, an intellectual accomplishment no less great than any other “masterpiece” of its age.
A good number of his most popular posters were made for Preminger and Hitchcock. He also created memorable pieces for filmmakers Billy Wilder and Stanley Kubrick. (Although it wasn’t always plain sailing.)
Bass designed film and movie posters for 4-5 decades. His work provided inspiration to many graphics and poster designers that came after him.
Saul Vs Kubric. Not always plain sailing. In fairness to Kubs though, this poster is way off the mark. Space alien meets the Stay Puft marshmallow man? Even the greats F*ck it up some times.
Logos
Although many people know him for his work in Hollywood, Bass wasn’t only a master of movies. He was also a master logosmith and branding genius – a visionary who led the field. He designed numerous logos that were elegant and potent, some of which are still around today.
Full disclosure – I will be ripping this off for all Zenn automated vehicles.
The Bell logo was certainly a masterpiece. The AT&T logo, though not quite as insanely great, I think is still pretty damn impressive.
I’m not actually sure which is better – this or his United Logo. Both fill me with a sense of wonder. Bass designed the logo for Bell Telephone in 1969 and the “globe” logo for its successor, AT&T, in 1983. His designs were embedded so deeply in the American psyche that they appeared omnipresent and part of everyday life. Among his other popular designs were logos for Continental Airlines, Dixie, and United Airlines. It remains something of a mystery why the genius of graphic design is rarely celebrated by those outside of the industry. Surely someone who has created logos masterful as the United Airlines logo, Warner Bros or AT&T brands should be known to (at least) every person in western culture? Alas it is not to be. We remain fixated on celebrities and actors, who spend their lives pretending to be someone else. It’s a strange old world.
A “Visual Consultant”
As with many geniuses, Saul couldn’t be labelled with just one title. Bass was a filmmaker as well. He has been credited in some films as a visual or pictorial consultant, and designed aspects of the gladiator school in the film Spartacus. He reportedly storyboarded the final showdown between the Romans and the slaves – a monumental moment in movie history! The notable graphic designer also had storyboarding, directing, and/or editing roles in some other projects, such as Grand Prix, West Side Story, and Psycho.
From the 1960s, Bass and his wife Elaine started to focus more on film-making. They produced short promotional films for the 1964 World’s Fair in New York. The documentary film, “Why Man Creates,” that they produced got them an Oscar. They also had Oscar nomination for two of their other short films, Notes on the Popular Arts (1977) and The Solar Film (1979).
In a rather fascinating article on Bass, legendary writer Annyas outlines some of the great logo designs Bass treated us to over the years. On average, the lifespan of a Bass logo is 34 years! How wonderful that little factoid is. In the article our dearest Annyas compares the original logos, and their “updated” versions that appeared later from other design agencies. What is interesting about this post is, how the majority of logos updates from so-called “Established” agencies, are in fact much weaker that the original Bass masterpieces. Of course they are. Don’t bloody touch them, you fools.
Mini-rant #23,845: Companies make the mistake of wanting to “Update” their logos, and the majority of time, it’s because the “Board” wants to leave its mark (ego?) on the brand before they shuffle off to old age and the golf course. Most of the time, it’s the treatment of the collateral around the logo that needs updating, not in fact the logo. Take for example, the Continental Airlines logo. The original Continental airlines logo. Bass’ masterwork here, should remain untouched for eternity. It cannot be improved upon, and it cannot be changed. It is, indeed, the ultimate in brand perfection. The hail mary that wins the game in the last minute. The final point at Wimbledon. It’s Queen on Live Aid at Wembley Stadium. These moments cannot be improved upon – only carefully curated for future generations. We needn’t linger around the grotesque Microsoft clipart of the update from Lippincot Mercer. The point is, there was no need for an update. Saul’s masterpiece defies time, fashion and any other measure of the human species you care to mention. Its aerodynamic lines, smooth as silk and as American as apple pie, cannot be bettered. Don’t change the logo. Update the environment in which it lives. Changing the logo is more offensive than setting fire to the Mona Lisa. Any design agency that put its hand up to change it should have been given a slap in the bloody face.
Oh just please stop.
The tragedy that befell the masterful logo Bass produced for Continental Airlines, and its modern day update. Gone is the gloriously aerodynamic jet stream of ultra fast sound, to be replaced with a Victorian torture contraption, designed, one can only imagine, to torture certain manly body parts and put an end to the diaspora of ones genes. What were they thinking?? Well, it was the nineties after all. Anything was fair game then. Let's remember together then, the glory of those wonderful years. Before the internet ruined everything. ;)
In the 1970s, United Airlines commissioned Saul to redesign their logo. Bass was already famous for creating timeless logos for companies like AT&T, Minolta, and Kleenex. His minimalist and modernist approach to design was the perfect fit for United Airlines' vision of the future. Bass took inspiration from the airline's previous logos and focused on creating a symbol that was elegant, timeless, and representative of United's values. The result was a bold and iconic "U" with sharp lines that formed a stylized, abstract representation of a modern jet plane. The design was simple yet evocative, capturing the essence of flight and innovation.
Symbolism and Impact
Saul's new logo, introduced in 1974, became an instant classic. The simplicity of the "U" symbol allowed for versatile applications across various marketing materials, from aircraft livery to ticket stubs and advertisements. The logo's clever use of negative space made it visually striking and easy to recognize, even from a distance. The new logo aligned perfectly with the airline's identity. As the leading carrier in the industry, United wanted to project an image of modernity, reliability, and progress. Bass' design achieved all of this, becoming a powerful emblem that symbolized the airline's position as a pioneer in the aviation world. Jetstream as a logo.
Evolution and Adaptation
Since its debut, Saul Bass' United Airlines logo has undergone subtle tweaks to adapt to changing design trends and media requirements. Color variations and minor adjustments have been made to ensure the logo remains relevant while preserving its core identity. The history of the United Airlines logo is a story of transformation and evolution. From the early days of the Winged Globe to the revolutionary design by Saul Bass, each iteration represents a significant milestone in the airline's journey. Bass' iconic "U" symbol has become a timeless representation of the brand, embodying the spirit of flight, innovation, and progress. Through its logo, United Airlines continues to soar to new heights, connecting the world and inspiring travellers around the globe.
Saul continues to influence the design team here at Zenn greatly and in all of our work, there’s a little bit of Saul. In fact it’s fair to say that most of our logos are indebted to Mr. Bass. Check them out now! All we can do now is celebrate and remember his genius and hope that someday he’ll have a second coming.
Long live Bass! As long as there is design, Bass’ genius will remain in our hearts and minds. Wherever you are Mr. Bass – we salute you!
