Google Videos

URL	video.google.com
Type of site	video search
Registration	no (previously required to upload)
Available language(s)	multilingual
Owner	Google Inc.
Created by	Google

Google Videos (originally Google Video) is a video search engine, and formerly a free video sharing website, from Google Inc. Before removing user-uploaded content, the service allowed selected videos to be remotely embedded on other websites and provided the necessary HTML code alongside the media, similar to YouTube. This allowed for websites to host large amounts of video remotely without running into bandwidth or storage capacity issues.

The service was launched on January 25, 2005.^[1] On October 9, 2006, Google bought former competitor YouTube. Google announced on June 13, 2007 that the Google Videos search results would begin to include videos discovered by their search crawlers on other hosting services, in YouTube and user uploads.^[2] Search result links now open a frameset with a Google Videos header at the top, and the original player page below it, similar to the way the Google Images search results are presented. In 2009, Google discontinued the ability to upload videos to Google's web servers.^[3]

On April 15, 2011, Google announced via email that after April 29 they would no longer allow playback of content hosted on their service, but reversed the decision one week later in lieu of greater support for migration to YouTube.^[4][5]

Video content[link]

Google Videos is geared towards providing a large archive of freely searchable videos. Besides amateur media, Internet videos, viral ads, and movie trailers, the service also aims to distribute commercial professional media, such as televised content and movies.

A number of educational discourses by Google employees have been recorded and made available for viewing via Google Videos. The lectures have been done mainly at the employees' former universities. The topics cover Google technologies and software engineering but also include other pioneering efforts by major players in the software engineering field.

On January 6, 2009 the Google Video Store was launched, which allowed paid downloads through Google Videos. The service launched with independent films Aardvark'd: 12 Weeks with Geeks, and Waterborne, as well as content from media partners CBS, the NBA, The Charlie Rose Show, and Sony BMG.^[6]Initially, the content of a number of broadcasting companies (such as ABC, NBC, CNN) was available as free streaming content or stills with closed captioning. In addition, the U.S. National Archive used Google Videos to make historic films available online, but this project was later discontinued.^[7]

Google Videos also searches other non-affiliated video sites from web crawls. Sites searched by Google Videos in addition to their own videos and YouTube include GoFish, ExposureRoom, Vimeo, Myspace, Biku, and Yahoo! Video. It appears that Google Videos is moving away from an online video archive and toward a search engine for videos, similar to their web and image searches.

As of August 2007, the DTO/DTR (download-to-own/rent) program ended. Users who previously purchased a video from Google Videos were no longer able to view them. Credits for users were made available as values for Google Checkout and were valid for 60 days.^[8][9]

Termination of video upload service[link]

In 2009, Google ended the ability for users to upload videos to Google Videos. Videos that were already uploaded continued to be hosted.^[3] Later, other navigation features were retired, such as ability to cross-reference videos back to now-inactive user accounts, as well as selection of top videos.^{[citation needed]}

Uploading videos[link]

Until 2009, users were able to upload videos either through the Google Videos website (limited to 100MB per file); or alternatively through the Google Video Uploader, available for Windows, Mac OS X and Linux. Major producers with a thousand or more hours of video can apply for Google's Premium Program, which continues to allow for the uploading of videos.^[3][10]

While the Video Uploader application was available as three separate downloads, the Linux version was written in Java, a cross-platform programming language, and would therefore also work on other operating systems without modifications, providing that the Java Runtime Environment (JRE) is installed. This Java executable (.jar) file was a standalone application that did not require installation. Consequently, it could be run from removable media such as USB flash drives, CD-ROMs, or network storage. This allowed users to upload video even if the computer terminal on which they were working would not allow them to install programs, such as a public library computer.

Uploaded videos were saved as a .gvi files under the "Google Videos" folder in "My Videos" and reports of the video(s) details were logged and stored in the user account. The report sorted and listed the number of times that each of the user's videos had been viewed and downloaded within a specific time frame. These ranged from the previous day, week, month or the entire time the videos have been there. Totals were calculated and displayed and the information could be downloaded into a spreadsheet format or printed out.

Termination of video hosting[link]

On April 15, 2011, Google announced that they would stop hosting user-uploaded videos. The plan would make videos unavailable for public viewing in 14 days and removed from users' accounts in 28 days.^[4] On April 22, a week after the announcement, Google announced that due to feedback they would not be removing videos at this time. Instead they will start automatically migrating videos to YouTube, as well as providing easier tools for account holders to do so themselves.^[5]

Video distribution methods[link]

Google Videos offers both free services and commercial videos, the latter controlled with digital rights management.

Website[link]

The basic way to watch the videos is through the Google Videos website, video.google.com. Each video has a unique web address in the format of http://video.google.com/videoplay?docid=<video id>, and that page contains an embedded Flash Video file which can be viewed in any Flash-enabled browser.

Permalinks to a certain point in a video are also possible, in the format of http://video.google.com/videoplay?docid=<video id>#XXhYYmZZs^[11] (that is, with a fragment identifier containing a timestamp).

Flash Video[link]

The browser automatically caches the Flash file while it plays, and it can be retrieved from the browser cache once it has fully played. There are also several tools and browser extensions to download the file. It can be then viewed in video players that can handle flash, for example VLC media player, Media Player Classic (with ffdshow installed), MPlayer or Wimpy.

Google Video Player[link]

Google Video Player was another way to view Google videos; it ran on Windows and Mac OS X. The Google Video Player plays back files in Google's own Google Video File (.gvi) media format and supported playlists in "Google Video Pointer" (.gvp) format. When users downloaded to their computers, the resulting file used to be a small .gvp (pointer) file rather than a .gvi file. When run, the .gvp file would download a .gvi (movie) file to the user's default directory.

As of August 17, 2007, Google Video Player has been discontinued and is no longer available for download from the Google Videos website. The option to download videos in GVI format has also been removed, the only format available being iPod/PSP (MP4 format).

While early versions of Google's in-browser video player code were based on the open source VLC Media Player, the last version of Google Video Player was not based on VLC, according to its readme file. However, it did include the OpenSSL cryptographic toolkit and some libraries from the Qt widget toolkit.^[12]

GVI format and conversion[link]

Google Video Files (.gvi), and latterly its .avi files, are modified Audio Video Interleave (.avi) files that have an extra list containing the FourCC "goog" immediately following the header. The list can be removed with a hex editor to avoid playback issues with various video players.^[13][14] The video is encoded in MPEG-4 ASP alongside an MP3 audio stream. MPEG-4 video players can render .gvi Google Video Files without format conversion (after changing the extension from .gvi to .avi, although this method of just renaming the file extension does not work with videos purchased with DRM to inhibit unauthorized copying. Among other software VirtualDub is able to read .gvi files and allows the user to convert them into different formats of choice. There are also privately developed software solutions, such as GVideo Fix, that can convert them to .avi format without recompression. MEncoder with "-oac copy -ovc copy" as parameters also suffices.

AVI and MP4[link]

Besides GVI and Flash Video, Google provided its content through downloadable Audio Video Interleave (.avi) and MPEG-4 (.mp4) video files. Not all formats are available through the website's interface, however, depending on the user's operating system.

Where available, Google's "save as" function for Windows/Mac produced an .avi file, while the "save as" function for iPod and PSP produced an .mp4 file.

This .avi file was not in standard AVI format. To play the file in a popular media player such as Winamp or Windows Media Player, the file had to first be modified, using a hex editor to delete the first LIST block in the file header, which started at byte 12 (000C hex, first byte in file is byte 0) and ended at byte 63 (003F hex).^[13][14] Optionally, the file length (in bytes 4 to 7, little endian) should also be amended, by subtracting 52 (3F hex – 0C hex = 33 hex).

Winamp and Windows Media Player cannot play the unmodified .avi file because the non-standard file header corrupts the file. However, Media Player Classic, MPlayer, the VLC Media Player and GOM Player will play the unmodified .avi file, and the Google .mp4 file. Media Player Classic can do so only if an MPEG-4 DirectShow Filter, such as ffdshow, is installed. Most Linux media players (including xine, Totem, the Linux version of VLC Media Player, and Kaffeine) have no problem playing Google's .avi format.

An .mp4 video file will play in Winamp 5 if an MPEG-4/H.264 DirectShow Filter such as ffdshow and an MP4 Splitter such as Haali are installed, and the extension ;MP4 is added to the Extension List in the Winamp DirectShow decoder configuration.

In the Spring of 2008, the option to download files in .AVI format was removed. Files were henceforth only available as Flash video or .MP4 video. The same videos, when accessed through the companion YouTube.com site, were available only in Flash video format.

Third-party download services[link]

Google offers users the means to save only some of the videos on the site, mostly for copyright reasons. Their documentation goes so far as to claim that only these videos can be downloaded. However, since viewing a video requires downloading it to the computer, their software merely makes saving videos difficult, not impossible: a number of solutions, including external software and bookmarklets, have been developed.

RSS feed[link]

Google Videos search results can be viewed in an RSS feed by clicking the RSS link to the right of the results count^[15] or by adding &output=rss to the end of the URL in your web browser's address area.

Changing the &num=20 part of the URL to &num=100 shows 100 results in the RSS feed instead of 20.

Market adoption[link]

Despite availability of downloading in multiple formats, being less restrictive on video uploads, and Google being tremendously well-known, Google Videos had only a minor share from the online video market, amassing around 2,500,000 videos uploaded.

Availability of service[link]

While initially only available in the United States, over time Google Videos has become available to users in more countries and can now be accessed from many other countries, including the United Kingdom, France, Germany, Italy, China and Japan.

Regardless of general availability, content providers are given the opportunity to limit access to video files to only users from certain countries of residence. However, methods of circumventing geographical filtering exist.

International[link]

Countries for which Google Videos is localized

Google Videos has been localized for several countries:

Country/Region	URL	Languages
Argentina	http://video.google.com.ar	Spanish
Australia	http://video.google.com.au/	Australian English
Brazil	http://video.google.com.br/	Brazilian Portuguese
Canada	http://video.google.ca/	Canadian English Canadian French
People's Republic of China	http://video.google.cn/	Chinese
France	http://video.google.fr/	French
Germany	http://video.google.de/	German
Israel	http://video.google.co.il	Hebrew
Italy	http://video.google.it/	Italian
Netherlands	http://video.google.nl/	Dutch
Poland	http://video.google.pl/	Polish
Russia	http://video.google.ru	Russian
Spain	http://video.google.es/	Spanish
United Kingdom	http://video.google.co.uk/	British English
United States	http://video.google.com	American English

Criticisms[link]

Google Videos has little organization of content and no noticeable pricing scheme.^[16][17] However, pay content (available currently in the United States only) is arranged in a few categories. A video ranking in the form of a Top 100 has been introduced and the official Google Video Blog features "Google Picks" (videos considered noteworthy by Google) on a regular basis. "Google Picks" are currently also available via the Google Videos homepage.

The strategy for Google Videos has shifted dramatically from an initial focus on digitizing offline content, akin to Google BookSearch, to then later focusing on fee-based downloads akin to iTunes, to then later focusing on social networking features akin to YouTube.^{[citation needed]} Despite constant product development and business development churn, Google Videos had never attained market leadership in the online video space at the time when Google acquired YouTube.^{[citation needed]}

Google Videos currently doesn't display the username under which videos on the service were uploaded.

See also[link]

Internet portal

• Comparison of video services
• List of video hosting websites

References[link]

External links[link]

• Google Video

Saul Bass (May 8, 1920 – April 25, 1996) was a graphic designer and filmmaker, perhaps best known for his design of film posters and motion picture title sequences.

During his 40-year career Bass worked for some of Hollywood's greatest filmmakers, including Alfred Hitchcock, Otto Preminger, Billy Wilder, Stanley Kubrick and Martin Scorsese. Amongst 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 the United Nations building 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 AT&T "bell" 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 "jetstream" logo and United Airlines' 1974 "tulip" logo which became some of the most recognized airline industry logos of the era.

Early life[link]

Saul Bass was born on May 8, 1920, in the Bronx, New York, 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 György Kepes at Brooklyn College.^[1] He began his time in Hollywood during the 1940s doing print work for film ads, until he collaborated with filmmaker Otto Preminger to design the 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 something more than a title sequence, but to create something 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.

Film title sequences[link]

Bass 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-'50s. Bass decided to create a controversial title sequence to match the film's controversial subject. He chose the arm as the central image, as the arm is a strong image relating to drug addiction. The titles featured an animated, white on black paper cut-out arm of a heroin addict. As he expected, it caused quite a sensation.

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.^[2]

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”.^[3] 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.^[4]

He designed title sequences for more than 40 years, and employed diverse film making techniques, from cut-out animation for Anatomy of a Murder (1958), to fully animated mini-movies such as the epilogue for Around the World in 80 Days (1956), and live action sequences. His 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 WWI and the middle of WWII, where the film begins.

Toward the end of his career, he was rediscovered by James L. Brooks and Martin Scorsese who had grown up admiring his film work.^[5] For Scorsese, Saul Bass (in collaboration with his wife Elaine Bass) created title sequences for Goodfellas (1990), Cape Fear (1991), The Age of Innocence (1993), and Casino (1995), his last title sequence. His later work with Martin Scorsese saw him move away from the optical techniques that he had pioneered and move into the use of computerized effects. Bass’s title sequences featured new and innovative methods of production and startling graphic design.

In some sense, all modern opening title sequences that introduce the mood or theme of a film can be seen as a legacy of Saul Bass's innovative work. In particular, though, title sequences for some recent movies and television series, especially those whose setting is during the 1960s, have purposely emulated the graphic style of his animated sequences from that era. Some examples of title sequences that pay homage to Bass’s graphics and animated title sequences are Catch Me If You Can (2002)^[6], X-Men: First Class (2011)^[7], and the opening to the AMC series Mad Men.^[8]

Selected film title sequences and respective dates[link]

Logos and other designs[link]

Bass was responsible for some of the best-remembered, most iconic logos in North America, including both the Bell Telephone logo (1969) and successor AT&T globe (1983). Other well-known designs were Continental Airlines (1968), Dixie (1969) and United Airlines (1974). Later, he would produce logos for a number of Japanese companies as well.

Selected logos by Saul Bass and their respective dates (note that the links shown point to articles on the entities themselves, and not necessarily to the logos):

An analysis of a sample of Bass’s corporate logos in 2011 found them to have an unusual longevity. The most common cause of the demise of a Bass corporate logo (in the selection analyzed) was the demise of the company, rather than a corporate logo redesign. The average lifespan of a Bass logo is more than 34 years, and counting.^[11]

Movie posters[link]

Saul Bass designed emblematic movie posters that transformed the visuals of film advertising. Before Bass’s seminal poster for The Man with the Golden Arm (1955), movie posters were dominated by depictions of key scenes or characters from the film, often both juxtaposed with each other. Bass’s posters, however, typically developed simplified, symbolic designs that visually communicated key essential elements of the film. For example, his poster for a Man with a Golden Arm, with a jagged arm and off-kilter typography, starkly communicates the protagonist's struggle with heroin addition. Bass's iconic Vertigo (1958) poster, with its stylized figures sucked down into the nucleus of a spiral vortex, captures the anxiety and disorientation central to the film. His poster for Anatomy of a Murder (1959), featuring the silhouette of a corpse jarringly dissected into seven pieces, makes both a pun on the film’s title and captures the moral ambiguities within which this court room drama is immersed.

He created some of his best known posters for films directed by Otto Preminger, Alfred Hitchcock, Billy Wilder, and Stanley Kubrick among others. His last commissioned film poster was created for Steven Spielberg's Schindler's List (1993), but it was never distributed^[12]. His poster work spanned five decades and inspired numerous other poster and graphic designers. Bass's film posters are characterized by a distinctive typography and minimalistic style.

Selected posters by Saul Bass, and their respective dates.

1950s[link]

Love in the Afternoon poster designed by Bass.

• Carmen Jones (1954)
• The Man with the Golden Arm (1955)
• Edge of the City (1956)
• Storm Center (1956)
• Love in the Afternoon (1957)
• Saint Joan (1957)
• Bonjour Tristesse (1958)
• The Big Country (1958) (style b poster)
• Vertigo (1958)
• Anatomy of a Murder (1959)

1960s[link]

• Exodus (1960)
• The Magnificent Seven (1960) (design not used)
• One, Two, Three (1961)
• Advise & Consent (1962)
• The Cardinal (1963)
• In Harm's Way (1964)
• Bunny Lake is Missing (1965)
• The Firemen's Ball (1967)
• The Two of Us (1967)
• Why Man Creates (1968)
• Very Happy Alexander (1969)

1970s[link]

• Such Good Friends (1971)
• Rosebud (1975)
• Bass on Titles (1978)
• Brothers (1977)
• Notes on the Popular Arts (1977)
• The Human Factor (1979)

1980s and 1990s[link]

• The Shining (1980)
• The Solar Film (1980)
• Return from the River Kwai (1989)
• Schindler's List (1993) (undistributed poster)

He received an unintentionally backhanded tribute in 1995, when Spike Lee's film Clockers was promoted by a poster that was strikingly similar to Bass's 1959 work for Preminger's film Anatomy of a Murder. Designer Art Sims claimed that it was made as an homage, but Bass regarded it as theft.^[13] Many film posters have been considered to be homages to Saul Bass’s posters. Some recent examples include, the theatrical release poster for Burn After Reading (2008) which incorporates Bass’s typography and style of figurative minimalism^[14], and a poster for Precious (2009) which includes elements from several of Bass’s posters, including Anatomy of a Murder.^[15] The cover art for the White Stripes' single The Hardest Button to Button is clearly inspired by the Bass poster for The Man with the Golden Arm.

In addition to movie posters, Bass designed numerous posters for film festivals, and several magazine, book, and album covers. He also designed five Academy Award Presentation posters and the Student Academy Award for the Academy of Motion Picture Arts and Sciences.^[16] In 1962 he illustrated his only children’s book, Henri’s Walk to Paris, written by Lenore Klein.^[17]

Filmmaker[link]

During the 1960s, Bass was asked by directors and producers not only to produce title sequences for their films, but also to visualize and storyboard key scenes and sequences within them. Bass has the unusual credit of “visual consultant” or “pictorial consultant” on five films. For Spartacus (1960), Bass as “visual consultant” designed key elements of the gladiator school and storyboarded the final battle between slaves and Romans. John Frankenheimer, the director of Grand Prix (1966), had Bass storyboard, direct, and edit all but one of the racing sequences for his film. For West Side Story (1961) Bass filmed the prologue, storyboarded the opening dance sequence, and created the ending title sequence.^[18]

It is Bass’s credited role as “pictorial consultant” for Alfred Hitchcock on Psycho (1960), however, that has caused some controversy. Bass claimed that he participated in directing the highlight scene of Psycho, the tightly edited shower-murder sequence, though several on set at the time (including star Janet Leigh) disputed his contention of "direction". However, it can be argued that said dispute was simply semantic in nature with Bass's use of the term "directing" reflecting his own perspective on the "directorial" value of his influential graphic contribution to the scene, while the position of Leigh and the others on set was based on the scene being literally directed by Hitchcock as the film director ultimately in charge of all artistic decisions.

The research of several film scholars on Hitchcock's production of Psycho validates the claim that Bass in his capacity as a graphic artist did indeed have a significant influence on the visual design and pacing of that famous scene. Hitchcock had asked Bass to produce storyboards for the shower-murder scene and for some other scenes in the film. For this, Bass received a credit as Pictorial Consultant as well as Title Designer. Janet Leigh told Donald Spoto that “the planning of the shower scene was left up to Saul Bass, and Hitchcock followed his storyboard precisely. Because of this . . . [the shooting] went very professionally,”^[19] and she told Stephen Rebello that “Mr. Hitchcock showed Saul Bass’s storyboards to me quite proudly, telling me in exact detail how he was going to shoot the scene from Saul’s plans”.^[20]

Bill Krohn has noted that Bass's 48 story board panels for the scene introduced all the key aspects of the final shower-murder scene, namely the fact that the attacker would be seen as a silhouette, the shower curtain torn down, a close-up of the shower head from below, a high angle shot of the murder scene with the curtain rod used as a barrier and the famous shot of the transition from the drainage hole of the bathtub to Marion Crane's dead eye which as Krohn notes is reminiscent of Bass's iris titles for Vertigo.^[21] Krohn also concludes that Bass did not literally direct the shower-murder scene, proving Hitchcock's presence on the set throughout the shooting of that scene conclusively.^[21]

Bass introduced the idea of using a montage of fast cuts and tight framing to render a violent, bloody murder as an impressionistic and nearly bloodless one. Hitchcock felt uncertain about Bass’s conception of the scene fearing that audiences might not accept such a stylized and quickly cut sequence. In an interview with film historian Pat Kirkham, Bass recalled, “Having designed and storyboarded the shower sequence, I showed it to Hitch. He was uneasy about it. It was very un-Hitchcockian in character. He never used that kind of quick cutting; he loved the long shot”^[22].

To convince Hitchcock that the scene would work as planned, eight days before shooting of the final shower scene, Bass used a newsreel camera and Janet Leigh’s stand-in Marli Renfro to shoot footage on the set to plan the shots in more detail. Working with Hitchcock's editor George Tomasini, he edited this footage following the storyboards to show Hitchcock how the scene could work. In the end, Hitchcock gave his approval but, according to Kirkham, made two additions: a spray of blood on the chest of Marion Crane/Janet Leigh as she slides down the tiles, and a close-up of her belly getting stabbed.^[23]

In 1964, Bass directed a short film titled The Searching Eye shown during the 1964 New York World's Fair, coproduced with Sy Wexler. He also directed a short documentary film called Why Man Creates which won an Academy Award Oscar in 1968. An abbreviated version of that film was broadcast on the first episode of the television newsmagazine 60 Minutes, on September 24 of that year. In 2002, this film was selected for preservation in the United States National Film Registry by the Library of Congress as being "culturally, historically, or aesthetically significant".^[24] Saul Bass co-directed with his wife Elaine Bass several other short films, two of which were nominated for Academy Award Oscars; Notes on the Popular Arts in 1977, and The Solar Film in 1979, the latter for which Robert Redford was the executive producer.

In 1974, he made his only feature length film as a director, the visually splendid though little-known science fiction film Phase IV, a "Quiet, haunting, beautiful, [...] and largely overlooked, science-fiction masterwork".^[25]

Quotes[link]

This section is a candidate to be copied to Wikiquote using the Transwiki process.

"My initial thoughts about what a title can do was to set mood and the prime underlying core of the film's story, to express the story in some metaphorical way. I saw the title as a way of conditioning the audience, so that when the film actually began, viewers would already have an emotional resonance with it."^[26]

"Design is thinking made visual."

"There is nothing glamorous in what I do. I'm a working man. Perhaps I'm luckier than most in that I receive considerable satisfaction from doing useful work which I, and sometimes others, think is good."^[27]

"Symbolize and summarize."^[28]

See also[link]

	Design portal
	Biography portal
	United States portal
	Film portal

• Motion graphic
• Kinetic typography
• Paul Rand
• Richard Amsel
• Jack Davis
• Frank Frazetta
• The Brothers Hildebrandt
• Tom Jung
• Frank McCarthy
• Bob Peak
• Drew Struzan
• Howard Terpning

References[link]

Further reading[link]

• Kirkham, Pat and Jennifer Bass (2011). Saul Bass: A Life in Film & Design. London: Laurence King. ISBN 978-1-85669-752-1.
• Tomislav Terek (2001). Saul Bass on Titles: Film Titles Revealed. Defunkt Century. ISBN 1-903792-00-2.

External links[link]

• Saul Bass at the Internet Movie Database
• Saul Bass at Find a Grave
• Saul Bass on the Web
• Saul Bass in the Looniverse
• Bio-film & resources on Saul Bass
• Title sequences from Saul Bass (videos & commentary)
• Titles designed by Saul Bass (still sequences & commentary)
• Pitch video for 1969 Bell System logo, uniform, and vehicle redesign