3: Text and Image: Woman Lost 6.4 Land of DU30: the Movie 6: JourneyasBeginning In Process

Saul Bass

I want to make beautiful things, even if nobody cares, as opposed to ugly things. That’s my intent.

‘’try to reach for a simple, visual phrase that tells you what the picture is all about and evokes the essence of the story”

“making the ordinary extraordinary”

“The nature of process, to one degree or another, involves failure. You have at it. It doesn’t work. You keep pushing. It gets better. But it’s not good. It gets worse. You got at it again. Then you desperately stab at it, believing “this isn’t going to work.” And it does!” by Saul Bass

Source: Wikipedia article

Book: Saul Bass (to be done)

Saul Bass (1920 – 1996) was an American graphic designer and Academy Award winning filmmaker, best known for his design of motion picture title sequences, film posters, and corporate logos. Much of Saul Bass’s work was made in close collaboration with his wife Elaine.

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. 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). Among his most famous 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 aimed to get 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.

Poster images

Anatomy of a Murder

Film title sequences

Published on 3 Apr 2014

Some of the most remarkable opening titles designed by Saul Bass, sometimes in collaboration with his wife Elaine Bass. From “The Man with the Golden Arm” (1955) to “Casino” (1995), this video represents a substantial part of his creative legacy in chronological order.

Bass also designed some of the most iconic corporate logos in North America, including the Bell System logo in 1969, as well as AT&T’s globe logo in 1983 after the breakup of the Bell System. He also designed Continental Airlines’ 1968 jet stream logo and United Airlines’ 1974 tulip logo, which became some of the most recognized airline industry logos of the era.

Why Man [sic] Creates


explores the process, results, and social and philosophical implications of creativity. But as if women never existed or created anything!


3: Text and Image: Woman Lost 5: Presentation: Zemni 2021 Assignment 3: Teetotal Street In Process

Will Scott


LYNTON, N. 2007. William Scott, London, Thames & Hudson.


William Scott (1913 – 1989) was a British artist from Northern Ireland, known for still-life and abstract painting. His apparently simple paintings of pots, pans and stylised nudes explore relationships between space, form and colour. Much of the emotional impact comes from use of paint textures within the abstract shapes.

William Scott, the painter who made the everyday into a masterpiece, Paul Laity 2013, The Guardian

“behind the facade of pots and pans there is sometimes another image … a private one … sensed rather than seen”.

my love for the primitive and for the elemental

“The frying pan comprises, in essence, a circle and a line, and dozens of critics have discussed the intimate relations between his objects, and the sexual element to his work.”

In Process

Patrick Caulfield

Patrick Caulfield Google images

Patrick Caulfield (1936–2005) was an English painter and printmaker.  He painted mostly everyday interiors and still life objects using geometric lines and/or thick black outlines and flat colour. Some are paintings or screenprints focus on evocative light and shape, experimenting with the effects of different combinations of, often vibrant, colours. Other works mix photorealism and flat images giving a haunting sense of fleeting moments, and a yearning for escape.

Caulfield’s extremely subtle art depends greatly on visual metaphor, on implication and absence, on visual clues that hint at things that are not overtly expressed, and which must be completed in the mind of the spectator…Giving solid visual form to intangible and ephemeral sensory experiences, and to equally slippery emotions’

Livingstone 2005 p9

I was first introduced to his work in 2013 through the simultaneous exhibitions of Patrick Caulfield and Gary Hume at Tate Britain, using his work as inspiration for multiplate linocuts for OCA Printmaking 1. His use of flat colour and line – playing with both colour effects and perspective as well as combinations of media to produce emotional effects are an area I explore in some of my illustrations. Including:

1.3 Colour Palettes: Pots and Pans

3.3 Girl Meets Boy


Selection of paintings to music.

Some paintings are very pared down – reaction against abstract expressionism. Often different modes of expression: realism and linear abstraction. Understands use of light. Turns the everyday into the intriguing. Rethinks structure of interiors within painting.

Discussion of ‘After Lunch’ and the poignancy of the contrast between the fantasy painting and the linear plain waiter and the detail of the chink of light with the chain going down to the kitchen. ‘Endless Loss’.

From the Tate exhibition. Contrasts Gary Hume and Patrick Caulfield. They both use flat colour and unreal perspective. Patrick Caulfield is associated with Pop Art. Sense of ‘fragility of the moment’ and ‘fleeting moment’ and escapism.

Overview of life and art

Livingstone, M. (2005). Patrick Caulfield, London, Lund Humphries.


Patrick Caulfield was born in west London.

1950s: he began his studies in 1956 at Chelsea School of Art, London

1960s: he continued at the Royal College of Art (1960–63), one year below the students identified as originators of Pop art and fellow students included David Hockney. Through his participation in the defining The New Generation exhibition at the Whitechapel Art Gallery in 1964, he became associated with Pop Art. However he resisted this label throughout his career, instead preferring to see himself as a ‘formal artist’ and an inheritor of painting traditions from Modern Masters such as Georges Braque, Juan Gris and Fernand Léger who influenced his composition and choice of subject matter.

In the early 1960s Caulfield’s painting was characterised by flat images of objects paired with angular black outlines or isolated against unmodulated areas of colour. He deliberately chose subjects that seemed hackneyed or ambiguous in time. See for example: Portrait of Juan Gris 1963 (Pallant House Gallery, Chichester);  Still Life with Dagger 1963 (Tate); Pottery 1969 (Tate); Bend in the Road 1967 (Collection of the Museé national d’historie et d’art, Luxembourg)

1970s : he began to create highly complex paintings that play with definitions of reality and artifice, combining different artistic styles including trompe l’oeil. His subject matter shifted to topics that directly engaged with the contemporary social landscape and the representation of modern life. See for example: After Lunch 1975 (Tate) features a photorealist image of the Château de Chillon hanging in a restaurant interior that is depicted in simple black outlines against a flat, two-toned background. Tandoori Restaurant 1971 (WAVE Wolverhampton Art Gallery)

1980s:  Caulfield began to insert Photorealistic elements into his characteristic pared down paintings, creating  a vivid sense of place within abstract elements. See for example: Interior with a Picture 1985–6 (Tate), Bishops 2004 (Private collection, London), Braque Curtain 2005 (Tate)

Major exhibitions during his lifetime included retrospectives at Walker Art Gallery Liverpool and Tate (both 1981), Serpentine (1992–3) and Hayward Gallery (1999). In 1993 he was elected a Royal Academician. In 2013 there were simultaneous exhibitions of Caulfield and Gary Hume at Tate Britain. (where I was first introduced to his work)


5: Presentation: Zemni 2021 In Process

Alessandro Gottardo


Shout website

AWWW awards

Alessandro Gottardo aka Shout is an Italian artist, illustrator and designer. His very simple and surreal ‘meaning of life’ images are very carefully controlled, generally amusing, but also very poignant. He uses a very limited palette, flat colours and thin lines, playing with visual contrasts in size and different perspectives.

Video of selection of his work:

Flat perspective and pattern

Minimalist surrealist humour

Surrealist angst


He studied at a specialist art high school in Venice and in the Illustration department of the Istituto Europeo di Design in Milano. He creates visual art projects for advertising campaigns, design products and publishers in four continents. SHOUT images  have been featured in these following prestigious annuals: Communications Arts, American Illustrators, Society of Illustrators and 3×3 Magazine.

3.1 Visual dynamics: Lost on the Way to Zennor 3: Text and Image: Woman Lost 6.2 Tales from the Edge In Process

Geoff Grandfield


Website . (see particularly Narrative)

Caustic Cover Critic Interview

Geoff Grandfield is a British illustrator now living in London. He has worked with major newspapers and publishers since 1987.

Influenced by the cinematography of film noir and the reductivism of modernist graphic art, his work is characterised by carefully composed minimalist silhouettes and limited palette, exaggerated perspective and scale contrasts. The bold shapes and perspective have a very strong immediate impact. Other meanings and shapes are often hidden and it is only by following the lines that the meaning of images become revealed.

Grandfield draws with chalk pastel, usually the German make Schminke, and sometimes Talens. “When I work for black and white reproduction I use tones of grey. The tones have some ‘colour’ in them, but mostly I’m going by the weight and contrast between areas. Colour is another thing and I try to prioritise a particular set of colours for a result.” Since 2001 he has been using Photoshop to scan and prepare for reproduction, which in turn has changed the visual look of my work. He scans his originals at A4.

Flattened perspective

Towards the Houses
Home project
He was Already Dead
The man within


The Captain and the Enemy
The Honorary Consul
Our man in Havana


Fashion invite 2013
Fashion invite 2014
Fashion invite 2011
Fashion invite 2008