Emotional Element in Digital Art-From Saul Bass to Motion Graphics
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This document discusses Saul Bass and his pioneering role in developing title sequences and motion graphics. It outlines Bass' influences from European modernism and how he simplified styles to create emotionally resonant designs. Bass is credited with elevating title sequences into an art form and creating memorable designs for many films. His work emphasized simplicity, strong visual symbols, and conveying emotion. His title sequences set moods and expressed stories metaphorically. Bass' techniques trained modern motion graphic designers' abilities to abstractly extract key information and reconcile graphics and motion. His work demonstrated how structured motion can create emotion in digital art and informed later developments in effective information design, immersive experiences, and unleashing human emotion through visual manipulation.
![Saul Bass
Pioneer
of
Motion
Graphics
[1]INTRODUCTION](https://image.slidesharecdn.com/presentationduan-160209195838/85/Emotional-Element-in-Digital-Art-From-Saul-Bass-to-Motion-Graphics-3-320.jpg)
![[2]GRAPHIC DESIGNER
GRAPHIC DESIGNER
Bass was initially influenced by European
modernism, combining with domestic
situation and his personality. Bass adjusts it
and forms his own American simplified
designing style, which is full of pragmatic
simplicity and animated sophistication.
Bass mainly adopts simplified structure to
achieve his visual amplification.](https://image.slidesharecdn.com/presentationduan-160209195838/85/Emotional-Element-in-Digital-Art-From-Saul-Bass-to-Motion-Graphics-10-320.jpg)
![[2]GRAPHIC DESIGNER
34 YEARS LONGIVITY
Annyas (an artist) made a calculation of
Basss corporate logos and found that the
average longevity is more than 34 years and
counting.
CIS
Saul Basss logo design also represent the
early successful design for Corporate Identity
System (CIS)
GOOGLE DOODLE
On 2013 May 8th, Google Doodle
celebrated the 93rd birthday for
his legendary contribution in art.](https://image.slidesharecdn.com/presentationduan-160209195838/85/Emotional-Element-in-Digital-Art-From-Saul-Bass-to-Motion-Graphics-11-320.jpg)
![[3]TITLE SEQUENCE
DESIGNER
EARLY TITLE SEQUENCETitle sequences at that time were dreary as well. Only in
very special instances, the vast majority of title sequences
in the studio era were text against nondescript
backgrounds.
TEXT
INTEREST OF AUDIENCE
RESONANCE](https://image.slidesharecdn.com/presentationduan-160209195838/85/Emotional-Element-in-Digital-Art-From-Saul-Bass-to-Motion-Graphics-20-320.jpg)
![[3]The Man with the Golden Arm
Later, they made more in collaboration in The Man
with the Golden Arm(1955), the whole cinematic
world was astonished and admired Bass as the
artist/designer who invented the opening credit
sequence as a free-standing movie-before-a-movie
and elevated it into an art (Jason, Sussberg)
Collaboration with Directors
Alfred Hitchcock: Vertigo, North by Northwest,
Psycho and so on. Stanley Kubrick: Spartacus, A
Space Odyssey, A Clockwork Orange. Billy Wilder:
Love in the Afternoon, One Two Three, The Seven
Year Inch and Martin Scorsese.
Otto Preminger
Otto Preminger hired Bass to design a logo and
posters for his films, The Moon is Blue (1953) and
Carmen Jones (1954), based on Bass extraordinary
visualized techniques in graphic design, Otto asked
one more related title sequence.
TITLE SEQUENCE
DESIGNER](https://image.slidesharecdn.com/presentationduan-160209195838/85/Emotional-Element-in-Digital-Art-From-Saul-Bass-to-Motion-Graphics-21-320.jpg)
![The Man with the Golden Arm[3]TITLE SEQUENCE
DESIGNER](https://image.slidesharecdn.com/presentationduan-160209195838/85/Emotional-Element-in-Digital-Art-From-Saul-Bass-to-Motion-Graphics-22-320.jpg)
![Why Man Creates[3]TITLE SEQUENCE
DESIGNER
This Film won the Academy Award of Documentary Short Subject, it becomes obvious that while Bass flourished
creatively within the parameters of a theme set forth by the filmmakers he created titles for, he had a great deal
more to express beyond his work as a title designer, which similarly indicates that Bass is willing to serve himself to
explore the essence of human emotion.](https://image.slidesharecdn.com/presentationduan-160209195838/85/Emotional-Element-in-Digital-Art-From-Saul-Bass-to-Motion-Graphics-23-320.jpg)
![[4]MOTION GRAPHIC
MOTION GRAPHICS
Motion graphics use video footage or
animation technology to create the
illusion of motion or rotation, and are
usually combined with audio for use in
multimedia projects](https://image.slidesharecdn.com/presentationduan-160209195838/85/Emotional-Element-in-Digital-Art-From-Saul-Bass-to-Motion-Graphics-26-320.jpg)
![[5]CONCLUSION
CONCLUSION
Basss work is remarkably prescient for the later
motion graphic in application to digital art. He
teaches us that Design is thinking made visual
and implies us that thinking makes emotional
vitality of design. Modern days, we explore
emotional attributes and function is because we
are intended to manipulate them more mature and
ultimately, to find an exit to unleash our natural
emotion.
In conclusion, his technique of simplified
sophistication is ought to be viewed as an
instrumental guide for our human locating our
mental niche. We should learn to interpret
everything from an emotional angel and utilize the
power we learnt from Bass and to cope with other
problems in our life.](https://image.slidesharecdn.com/presentationduan-160209195838/85/Emotional-Element-in-Digital-Art-From-Saul-Bass-to-Motion-Graphics-36-320.jpg)
Emotional Element in Digital Art-From Saul Bass to Motion Graphics
- 1. EMOTION IN MOTION EMOTIONAL ELEMENT IN DIGITAL ART FROM SAUL BASS TO MOTION GRAPHICS
- 2. Saul Bass Emotional Element EMOTIONAL FNTION IN DIGITAL ABSTRACT Motion Graphics Function & Extension Emotional Element Emotional Element
- 4. Born in NewYork on 1920 May 8th. He was trained as an animator at the Art Student League in New York under HowardTrafton and Gyorgy Kepes at Broolyn College. He worked as a freelance designer until in 1946 he moved to Los Angeles and established his own firm Saul Bass and Associates. SAUL BASS
- 6. European Modernism The European modernists imbued their work with an inherent morality and social consciousness and were often associated with left-wing politics. Intrigued by the emerging technologies of the day, they eschewed ornament, rejecting what they saw as the frivolous strokes of Victorian and art nouveau styles.
- 7. 1.Emphasis on orderliness and functionality of visual arts 2. Their work was both spare (thinks of Mies famous dictum Less is more ) and lyrical. European Modernism To Jacques Nayral Albert Gleizes (French, 1881-1953)
- 8. Surrealism Surrealism is a movement where artist painted unnerving, illogical scenes with photographic precision, created strange creatures from everyday objects and developed painting techniques that allowed the unconscious to express it self and/or an idea/concept. (The 20th Century Art,2001)
- 9. ART DECO Art Deco is a movement inspired by the advancement of industrial machines, which is typically expressed by the usage of streamlined, colored, overlapping and repeating geometric elements.
- 10. [2]GRAPHIC DESIGNER GRAPHIC DESIGNER Bass was initially influenced by European modernism, combining with domestic situation and his personality. Bass adjusts it and forms his own American simplified designing style, which is full of pragmatic simplicity and animated sophistication. Bass mainly adopts simplified structure to achieve his visual amplification.
- 11. [2]GRAPHIC DESIGNER 34 YEARS LONGIVITY Annyas (an artist) made a calculation of Basss corporate logos and found that the average longevity is more than 34 years and counting. CIS Saul Basss logo design also represent the early successful design for Corporate Identity System (CIS) GOOGLE DOODLE On 2013 May 8th, Google Doodle celebrated the 93rd birthday for his legendary contribution in art.
- 12. 34 Years Logevity GOOGLE DOODLE Corporate Identity System
- 13. GOOGLE DOODLE
- 14. SIMPLIFICA TION Simplified structures, highly recognizable graphics and uncomplicated colors
- 16. EMOTIONVisual Effects & Resonance Design is thinking made visual. Interesting thins happen when the creative impulse is cultivated with curiosity, freedom and intensity ----Saul Bass
- 19. GRAPHIC DESIGNER Compared to European techniques, this modified style builds a more emotional connection with viewers. TITLE SEQUENCE DESIGNER
- 20. [3]TITLE SEQUENCE DESIGNER EARLY TITLE SEQUENCETitle sequences at that time were dreary as well. Only in very special instances, the vast majority of title sequences in the studio era were text against nondescript backgrounds. TEXT INTEREST OF AUDIENCE RESONANCE
- 21. [3]The Man with the Golden Arm Later, they made more in collaboration in The Man with the Golden Arm(1955), the whole cinematic world was astonished and admired Bass as the artist/designer who invented the opening credit sequence as a free-standing movie-before-a-movie and elevated it into an art (Jason, Sussberg) Collaboration with Directors Alfred Hitchcock: Vertigo, North by Northwest, Psycho and so on. Stanley Kubrick: Spartacus, A Space Odyssey, A Clockwork Orange. Billy Wilder: Love in the Afternoon, One Two Three, The Seven Year Inch and Martin Scorsese. Otto Preminger Otto Preminger hired Bass to design a logo and posters for his films, The Moon is Blue (1953) and Carmen Jones (1954), based on Bass extraordinary visualized techniques in graphic design, Otto asked one more related title sequence. TITLE SEQUENCE DESIGNER
- 22. The Man with the Golden Arm[3]TITLE SEQUENCE DESIGNER
- 23. Why Man Creates[3]TITLE SEQUENCE DESIGNER This Film won the Academy Award of Documentary Short Subject, it becomes obvious that while Bass flourished creatively within the parameters of a theme set forth by the filmmakers he created titles for, he had a great deal more to express beyond his work as a title designer, which similarly indicates that Bass is willing to serve himself to explore the essence of human emotion.
- 24. HOLLYWOODOutside Hollywood had become self-important and incestuous after the Second World War. Hollywood strikes led to the formation of Scenic and Title Artist 816,a union for graphic artists and designers in the film industry comprised of sign painters and advertising artists.
- 25. TECHNIQUEInside Graphic design background. Entry level for modern after effects workers.
- 26. [4]MOTION GRAPHIC MOTION GRAPHICS Motion graphics use video footage or animation technology to create the illusion of motion or rotation, and are usually combined with audio for use in multimedia projects
- 27. COMPARISM WITH ANIMATION MOTION GRAPHICS Motion graphics pursues form and reform in time-structural design. Emotional elements tie with motion and every frame prepares them as a perfect layout for viewers (Robert, K, Greenleaf, 2003). Refined basic graphics normally applies in motion graphics for amplifying visualization. As Bass classic simplified style to explore the significance of visualization, motion graphics focuses visual impacts and accentuates form more than context.
- 28. COMPARISM WITH GRAPHIC DESIGN MOTION GRAPHICS The most characteristic feature in motion graphics is motion. Motion graphics concentrates on an interpretation of digital harmony. Analysis of Bass graphic and title sequence works, he develops both of them in a mutual process. For one thing, those amplified visual effects in graphic design trains him to become sensitive for abstraction. For another, discrimination of key frames polishes his eye for extraction. He makes reconciliation between graphic design and title sequence design, which is also the standing point for motion graphics.
- 29. EMOTION
- 30. 1 2 3 4 EMOTION: is a term that refers to Parkinson (e.g., 1994). Its experience depends on four features: appraisal of external stimulus or situation, reaction of the body, facial expression, and action tendencies. STRUCTURED MOTION BEGETS EMOTION ---John Whitney Digital Harmony MOTION GRAPHIC: Motion Graphics apply a mechanism reconciling multiple variables in a harmonic cycle, which indicates that motion graphics is structured and emotional elements are actually inserted in it. DIGITAL ART Motion Graphics could rapidly adjust to multiple various digital media environments such as: television advisement, portable game machine, outdoors LED screen, live performance and interactive installation.
- 31. Emotional Element Is given more features of our digital age
- 33. Ideas are easier to be understood in motion, and effectiveness builds on the foundation of comprehension. Title sequences Data visualization Info Graphics EFFECTIVE INFORMATION
- 34. With the appearance of touch screens and remote sensors. Six-sense installation Apps on iPhone and iPad Web Frontier Developer User Friendly
- 35. Game Design Digital Projection Live Control IMMERSION
- 36. [5]CONCLUSION CONCLUSION Basss work is remarkably prescient for the later motion graphic in application to digital art. He teaches us that Design is thinking made visual and implies us that thinking makes emotional vitality of design. Modern days, we explore emotional attributes and function is because we are intended to manipulate them more mature and ultimately, to find an exit to unleash our natural emotion. In conclusion, his technique of simplified sophistication is ought to be viewed as an instrumental guide for our human locating our mental niche. We should learn to interpret everything from an emotional angel and utilize the power we learnt from Bass and to cope with other problems in our life.
- 37. SAUL BASSE SAID: My initial thoughts about what a title can do was to set mood and the prime underlying core of the films story, to express the story in some metaphorical way. I saw the titles as a way of conditioning the audience, so that when the film actually began, viewers would already have an emotion resonance with it.
Editor's Notes
- #7: 篌