Jane became widely known in the film industry after creating the title sequence for Otto Preminger's The Man with the Golden Arm. The subject of the film was a jazz musician's struggle to overcome his heroin addiction, a taboo subject in the mid-1950s. Bass decided to create an innovative title sequence to match the film's controversial subject. He chose the arm as the central image, as it is a strong image relating to heroin addiction. The titles featured an animated, white on black paper cut-out arm of a heroin addict. As he hoped, it caused quite a sensation. Screen image from Saul Bass's title sequence from Anatomy Of A Murder For Alfred Hitchcock, Bass provided effective, memorable title sequences, inventing a new type of kinetic typography, for North by Northwest (1959), Vertigo (1958), working with John Whitney, and Psycho (1960). It was this kind of innovative, revolutionary work that made Bass a revered graphic designer. Before the advent of Bass's title sequences in the 1950s, titles were generally static, separate from the movie, and it was common for them to be projected onto the cinema curtains, the curtains only being raised right before the first scene of the movie.[4] In 1960, Bass wrote an article for Graphis magazine called "Film Titles – a New Field for the Graphic Designer," which has been revered as a milestone for "the consecration of the movie credit sequence as a design object."[5][6] One of the most studied film credit designers, Bass is known for integrating a stylistic coherence between the designs and the films in which they appear.[6]

Michael became widely known in the film industry after creating the title sequence for Otto Preminger's The Man with the Golden Arm (1955). The subject of the film was a jazz musician's struggle to overcome his heroin addiction, a taboo subject in the mid-1950s. Bass decided to create an innovative title sequence to match the film's controversial subject. He chose the arm as the central image, as it is a strong image relating to heroin addiction. The titles featured an animated, white on black paper cut-out arm of a heroin addict. As he hoped, it caused quite a sensation. Screen image from Saul Bass's title sequence from Anatomy Of A Murder For Alfred Hitchcock, Bass provided effective, memorable title sequences, inventing a new type of kinetic typography, for North by Northwest (1959), Vertigo (1958), working with John Whitney, and Psycho (1960). It was this kind of innovative, revolutionary work that made Bass a revered graphic designer. Before the advent of Bass's title sequences in the 1950s, titles were generally static, separate from the movie, and it was common for them to be projected onto the cinema curtains, the curtains only being raised right before the first scene of the movie.[4] In 1960, Bass wrote an article for Graphis magazine called "Film Titles – a New Field for the Graphic Designer," which has been revered as a milestone for "the consecration of the movie credit sequence as a design object."[5][6] One of the most studied film credit designers, Bass is known for integrating a stylistic coherence between the designs and the films in which they appear.[6]

Smith became widely known in the film industry after creating the title sequence for Otto Preminger's The Man with the Golden Arm (1955). The subject of the film was a jazz musician's struggle to overcome his heroin addiction, a taboo subject in the mid-1950s. Bass decided to create an innovative title sequence to match the film's controversial subject. He chose the arm as the central image, as it is a strong image relating to heroin addiction. The titles featured an animated, white on black paper cut-out arm of a heroin addict. As he hoped, it caused quite a sensation. Screen image from Saul Bass's title sequence from Anatomy Of A Murder For Alfred Hitchcock, Bass provided effective, memorable title sequences, inventing a new type of kinetic typography, for North by Northwest (1959), Vertigo (1958), working with John Whitney, and Psycho (1960). It was this kind of innovative, revolutionary work that made Bass a revered graphic designer. Before the advent of Bass's title sequences in the 1950s, titles were generally static, separate from the movie, and it was common for them to be projected onto the cinema curtains, the curtains only being raised right before the first scene of the movie.[4] In 1960, Bass wrote an article for Graphis magazine called "Film Titles – a New Field for the Graphic Designer," which has been revered as a milestone for "the consecration of the movie credit sequence as a design object."[5][6] One of the most studied film credit designers, Bass is known for integrating a stylistic coherence between the designs and the films in which they appear.[6]

Jane became widely known in the film industry after creating the title sequence for Otto Preminger's The Man with the Golden Arm. The subject of the film was a jazz musician's struggle to overcome his heroin addiction, a taboo subject in the mid-1950s. Bass decided to create an innovative title sequence to match the film's controversial subject. He chose the arm as the central image, as it is a strong image relating to heroin addiction. The titles featured an animated, white on black paper cut-out arm of a heroin addict. As he hoped, it caused quite a sensation. Screen image from Saul Bass's title sequence from Anatomy Of A Murder For Alfred Hitchcock, Bass provided effective, memorable title sequences, inventing a new type of kinetic typography, for North by Northwest (1959), Vertigo (1958), working with John Whitney, and Psycho (1960). It was this kind of innovative, revolutionary work that made Bass a revered graphic designer. Before the advent of Bass's title sequences in the 1950s, titles were generally static, separate from the movie, and it was common for them to be projected onto the cinema curtains, the curtains only being raised right before the first scene of the movie.[4] In 1960, Bass wrote an article for Graphis magazine called "Film Titles – a New Field for the Graphic Designer," which has been revered as a milestone for "the consecration of the movie credit sequence as a design object."[5][6] One of the most studied film credit designers, Bass is known for integrating a stylistic coherence between the designs and the films in which they appear.[6]

Michael became widely known in the film industry after creating the title sequence for Otto Preminger's The Man with the Golden Arm (1955). The subject of the film was a jazz musician's struggle to overcome his heroin addiction, a taboo subject in the mid-1950s. Bass decided to create an innovative title sequence to match the film's controversial subject. He chose the arm as the central image, as it is a strong image relating to heroin addiction. The titles featured an animated, white on black paper cut-out arm of a heroin addict. As he hoped, it caused quite a sensation. Screen image from Saul Bass's title sequence from Anatomy Of A Murder For Alfred Hitchcock, Bass provided effective, memorable title sequences, inventing a new type of kinetic typography, for North by Northwest (1959), Vertigo (1958), working with John Whitney, and Psycho (1960). It was this kind of innovative, revolutionary work that made Bass a revered graphic designer. Before the advent of Bass's title sequences in the 1950s, titles were generally static, separate from the movie, and it was common for them to be projected onto the cinema curtains, the curtains only being raised right before the first scene of the movie.[4] In 1960, Bass wrote an article for Graphis magazine called "Film Titles – a New Field for the Graphic Designer," which has been revered as a milestone for "the consecration of the movie credit sequence as a design object."[5][6] One of the most studied film credit designers, Bass is known for integrating a stylistic coherence between the designs and the films in which they appear.[6]

Smith became widely known in the film industry after creating the title sequence for Otto Preminger's The Man with the Golden Arm (1955). The subject of the film was a jazz musician's struggle to overcome his heroin addiction, a taboo subject in the mid-1950s. Bass decided to create an innovative title sequence to match the film's controversial subject. He chose the arm as the central image, as it is a strong image relating to heroin addiction. The titles featured an animated, white on black paper cut-out arm of a heroin addict. As he hoped, it caused quite a sensation. Screen image from Saul Bass's title sequence from Anatomy Of A Murder For Alfred Hitchcock, Bass provided effective, memorable title sequences, inventing a new type of kinetic typography, for North by Northwest (1959), Vertigo (1958), working with John Whitney, and Psycho (1960). It was this kind of innovative, revolutionary work that made Bass a revered graphic designer. Before the advent of Bass's title sequences in the 1950s, titles were generally static, separate from the movie, and it was common for them to be projected onto the cinema curtains, the curtains only being raised right before the first scene of the movie.[4] In 1960, Bass wrote an article for Graphis magazine called "Film Titles – a New Field for the Graphic Designer," which has been revered as a milestone for "the consecration of the movie credit sequence as a design object."[5][6] One of the most studied film credit designers, Bass is known for integrating a stylistic coherence between the designs and the films in which they appear.[6]