Late Modern (1945-1970)



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Late Modern (1945-1970)
Late Modern (1945-1970)

In Late Modern, classical Modernist techniques were popularly accepted and widely applied, without the dogma associated with them.

Modernists fled Nazi Germany and Stalinist Russia, and many came to the U.S.

After the war, international corporations needed identity systems and strategic communications; a new rationalist design approach emerged in the “International Style”

Then, beginning in the mid-1950s, a revived interest in the design styles of the 1900s and in artifacts of material prosperity emerged.

Late Modern is not about conformity: its diversity comes from the rejection of unworkable or unappealing ideas…

Designers sought with great purpose to make styles that responded to the character of their time, whatever that was (there wasn’t consensus)


With the war over, graphic designers returned to the business of selling products

No one style dominated.

Influences: Christian Dior and miniskirts

American artists developed a unique personal style and several superstars were born.

Paul Rand: “To design is to add value and meaning, to illuminate, to simplify, to clarify, to modify, to dramatize, to persuade and perhaps even amuse. To design is to transform prose into poetry.”

Others: Saul Bass, Lester Beall, Bradbury Thompson, Alexey Brodovitch

INCLUDED IN YOUR BOOK UNDER LATE MODERN: SWISS INTERNATIONAL AND PSYCHEDELIC (WE WILL LOOK AT THESE ERAS SEPARATELY IN CLASS)


THEMES

A new simplicity

Timeless simplicity and elegance

Humor and wit



DESIGNS

Unadorned, economical graphics

Kinetic photographic accents

Bringing back primitive painting, Victoriana, Art Nouveau, and Art Deco graphic motifs

Painterly and drawn images reunited with typography as a total design

Reducing an array of predictable images to a minimum of graphic elements

Stripping visual complexity from messages

Using simple pictographs that exert great graphic power

Clean typography

Integration of text and image



Use of white space



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