|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)
Swiss designers saw the grid
New York designers preferred a provocative interplay of historical styles and forms
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)