Though it had little influence on the mainstream, the Psychedelic movement in design represented a surge in innovation and experimentation that was in keeping with a larger post-war artistic renaissance of the 1960s and 1970s. The backdrop for the movement (which... [more]

Though it had little influence on the mainstream, the Psychedelic movement in design represented a surge in innovation and experimentation that was in keeping with a larger post-war artistic renaissance of the 1960s and 1970s. The backdrop for the movement (which was preceded by the Beatniks and followed by the Punks) is popularly imagined as a whirlwind of drugs and hippies, rock 'n' roll and love-ins. While this may seem a romanticized generalization, it is indeed impossible to extract the movement from the startling developments in the youth culture of the time. Its aim was simple: mind-expansion through visual representation. As it spread throughout the U.S. and Europe, Psychedelia pilfered from past art movements such as Art Nouveau, Op Art, and Pop Art. Many designers borrowed from ethnic clothing styles with layered colors, patterns, and textures. The result was a synthesis of vibrant colors and exuberant typefaces, which were distorted and warped until the images almost appeared to be fueled by their own movement. Designers, including Peter Max, Victor Moscos, and Wes Wilson, infused their work with a cool and groovy vibe, combining bright and garish colors straight out of an acid flashback. Images trailed off the page, as if mimicking the curling tendrils of marijuana and incense smoke. At the heart, Psychedelic designs were not meant to be viewed, but experienced. The designs sought to capture a vivid moment in time, a certain flash of the mind's consciousness. Rules were made to be broken -- and they were. [show less]