Prior to the 1875 trademark registration, the Bass triangle was red on Pale Ale bottles and barrels. There were red or blue triangles on other products occasionally. It depended on the brewery they came from.
The letters play an almost secondary role in this logo, although they are iconic in and of themselves. They seem to surpass common ideas about era and style when it comes to lettering. They are universally appealing and recognizable everywhere in the world.
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Beer labels have come a long way in fashion since the time Bass was alive. But they are still influenced by this icon. Today, many beer labels feature delicate illustrations and a sense of rhythm, even coming across as slightly musical in appearance.
Bass is known throughout the world, and stands out on shelves everywhere. This lettering seems to fit the beer style, and it is understated without being bland. The real star of the logo is the red triangle.
Bass is owned by Anheuser-Busch today. It has faced several inquiries about antitrusts in recent decades. It had merged and bought out several other breweries in the mid-20th century and was already very large when it became part of the Anheuser-Busch family.
Bass Connections project teams are welcome to use our logo on team products, but please take care not to represent the views and recommendations of your team as that of Bass Connections or Duke University as a whole.
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During his 40-year career, Bass worked for some of Hollywood's most prominent filmmakers, including Alfred Hitchcock, Otto Preminger, Billy Wilder, Stanley Kubrick, and Martin Scorsese. Among his best known title sequences are the animated paper cut-out of a heroin addict's arm for Preminger's The Man with the Golden Arm, the credits racing up and down what eventually becomes a high-angle shot of a skyscraper in Hitchcock's North by Northwest, and the disjointed text that races together and apart in Psycho.
Bass designed some of the most iconic corporate logos in North America, including the Geffen Records logo in 1980, the Hanna-Barbera "swirling star" logo in 1979, the sixth and final version of the Bell System logo in 1969, as well as AT&T Corporation's first globe logo in 1983 after the breakup of the Bell System. He also designed Continental Airlines' 1968 jet stream logo, United Airlines' 1974 tulip logo (which became some of the most recognized airline industry logos of the era) and the 1972 Warner Bros. "Big W" logo (which is WB's second most recognizable logo after the classic WB shield; currently also used as the Warner Music Group logo). He died from non-Hodgkin's lymphoma in Los Angeles on April 25, 1996, at the age of 75.[1]
Saul Bass was born on May 8, 1920, in the Bronx, New York, United States, to Eastern European Jewish immigrant parents. He graduated from James Monroe High School in the Bronx and studied part-time at the Art Students League in Manhattan until attending night classes with Gyrgy Kepes at Brooklyn College. In 1938, Saul married Ruth Cooper and they had two children, Robert in 1942 and Andrea in 1946.[2]
He began his time in Hollywood in the 1940s, designing print advertisements for films including Champion (1949), Death of a Salesman (1951) and The Moon Is Blue (1953), directed by Otto Preminger. His next collaboration with Preminger was to design a film poster for his 1954 film Carmen Jones. Preminger was so impressed with Bass's work that he asked him to produce the title sequence as well. This was when Bass first saw the opportunity to create a title sequence which would ultimately enhance the experience of the audience and contribute to the mood and the theme of the movie within the opening moments. Bass was one of the first to realize the creative potential of the opening and closing credits of a movie.
Bass once described his main goal for his title sequences as being to "try to reach for a simple, visual phrase that tells you what the picture is all about and evokes the essence of the story".[6] Another philosophy that Bass described as influencing his title sequences was the goal of getting the audience to see familiar parts of their world in an unfamiliar way. Examples of this or what he described as "making the ordinary extraordinary" can be seen in Walk on the Wild Side (1962) where an ordinary cat becomes a mysterious prowling predator, and in Nine Hours to Rama (1963) where the interior workings of a clock become an expansive new landscape.[7] In the 1950s, Saul Bass used a variety of techniques, from cut-out animation for Anatomy of a Murder (1958), to fully animated mini-movies such as the epilogue for the Best Picture Oscar winner Around the World in 80 Days (1956), and live-action sequences.
On occasion, Bass' title sequences were said to outshine the films they introduced.[2] When Billy Wilder's The Seven Year Itch (1955) was released, a film critic wrote, "If the film had lived up to the titles, it would have been a good picture."[8] In reviewing A Walk on the Wild Side (1962), more than half of New York Critics claimed that Bass' titles were better than the film itself.[9] In 1962, Variety even suggested that Bass might no longer find work in the title field since there has been too frequent the use of the line: "The best thing about the film is the Saul Bass credits."[10]
In 1955, Elaine Makatura came to work with Bass in his Los Angeles office. With the opening to Spartacus (1960), she was directing and producing title sequences, and in 1961 the couple married, beginning more than 30 years of close collaboration. After the birth of their children, Jennifer in 1964 and Jeffrey in 1967, they concentrated on their family, film directing, and title sequences. Saul and Elaine designed title sequences for more than 30 years, continuously experimenting with a variety of innovative techniques and effects, from Bunraku-style maneuvers in Spartacus (1960), live-action sequences in Walk on the Wild Side (1962), to time-lapse photography in The Age of Innocence (1993), and even chopped liver in Mr. Saturday Night (1992). Their live-action opening title sequences often served as prologues to their films and transitioned seamlessly into their opening scenes. These "time before" title sequences either compress or expand time with startling results. The title sequence to Grand Prix (1966) portrays the moments before the opening race in Monte Carlo, the title sequence to The Big Country (1958) depicts the days it takes a stage coach to travel to a remote Western town, and the opening montage title sequence to The Victors (1963) chronicles the twenty-seven years between World War I and the middle of World War II, where the film begins.
Elaine and I feel we are there to serve the film and to approach the task with a sense of responsibility. We saw a lot of pyrotechnics and fun and games and I suppose we lost interest. At the same time, an increasing number of directors now sought to open their own films in ambitious ways rather than hire someone else to do it. Whatever the reasons, the result was "Fade Out." We did not worry about it: we had too many other interesting projects to get on with. Equally, because we still loved the process of making titles, we were happy to take it up again when asked. "Fade In"...[12]
In the 1980s, Saul and Elaine were rediscovered by James L. Brooks and Martin Scorsese, who had grown up admiring their film work.[13] For Scorsese, Saul and Elaine Bass[14] created title sequences for Goodfellas (1990), Cape Fear (1991), The Age of Innocence (1993), and Casino (1995), their last title sequence. This later work with Martin Scorsese saw the Basses move away from the optical techniques that Saul had pioneered and move into the use of computerized effects. The Basses' title sequences featured new and innovative methods of production and startling graphic design.
Screenwriter Nicholas Pileggi said of Saul and Elaine Bass, "You write a book of 300 to 400 pages and then you boil it down to a script of maybe 100 to 150 pages. Eventually you have the pleasure of seeing that the Basses have knocked you right out of the ballpark. They have boiled it down to four minutes flat."[15]
In a sense, all modern opening title sequences that introduce the mood or theme of a film can be seen as a legacy of the Basses' innovative work. In particular, title sequences for some recent movies and television series, especially those whose setting is during the 1960s, have purposely emulated the graphic style of Saul Bass's animated sequences from the 1950s. Some examples of title sequences that pay homage to Bass's graphics and animated title sequences are Catch Me If You Can (2002),[16] X-Men: First Class (2011),[17] and the openings to the AMC series Mad Men[18] and TBS's Conan.[19] 152ee80cbc
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