The image segues to an aerial shot of Manhattan, and the source of the vertical pattern is confirmed. The kaleidoscope culminates in a blue frame, and pulls backward to reveal the film title below. The static image is in service to a ripely varied overture as the “mood” of the score changes the colour follows suit. Specifically placed vertical bars strew the composition-an abstract form, yet strangely representative. Vibrant orange fills the entire screen.Finally, privileging Preminger’s credit, the titular “golden arm” (which actually refers to Frankie’s prowess as a card dealer and not the location of his track-marks) appears as a bent and tortured appendage, reaching out for either redemption or a fix. And the title of the film is seemingly penned in by four of these lines, suggesting the many forces hemming in Sinatra’s Frankie from all sides. The lines proliferate and jab at awkward, unsettling angles with respect to the titles. Bass’ titles for the film feature spiny, cut-out projectiles, vaguely redolent of veins and syringes, that manages to be disconcerting despite the accompaniment of Elmer Bernstein’s rather brassy jazz score.Saul Bass and analyse at least one OTHER of Write a post summarising today’s lesson on Titles and about what they consider to be the importance Comment from designer about at least one of their own.(typography, how and when they appear, order) Close analysis of two title sequences with particularĪttention paid to the use of the titles themselves. To work in title design, other areas worked in the Brief biography of the designer - how and why they came.Influenced generations Steven Spielberg’sįollow and transform the Catch Me If You Can With resounding significance-the abstract bars, even, Visual and aural elements import the title of the film Likewise, Leonard Bernstein’s score is complemented Perhaps more so than any other example in Bass’Ĭatalogue, this is a wholly dependent exercise. This simplistic sequence is an exemplary use of colour,Īnd is complementary to the accompanying overture.Of Manhattan, and the source of the vertical pattern is The kaleidoscopeĬulminates in a blue frame, and pulls backward to reveal In unison with the varied overture as the “mood” of the Placed vertical bars strew the composition-an abstractįorm, yet strangely representative. “golden arm” (which actually refers to Frankie’s prowessĪs a card dealer and not the location of his track-marks)Īppears as a bent and tortured appendage, reaching out for Many forces hemming in Sinatra’s Frankie from all sides.įinally, privileging Preminger’s credit, the titular Seemingly penned in by four of these lines, suggesting the Proliferate and jab at awkward, unsettling angles with Manages to be disconcerting despite the accompaniment ofĮlmer Bernstein’s rather brassy jazz score. Projectiles, vaguely redolent of veins and syringes, that
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