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Psychedelic art (also known as psychedelia) ... Innovative typography and hand-lettering, including warping and transposition of positive and negative spaces;
Best known for designing posters for Bill Graham of The Fillmore in San Francisco, he invented a style that is now synonymous with the peace movement, the psychedelic era and the 1960s. In particular, he was known for inventing and popularizing a "psychedelic" font around 1966 that made the letters look like they were moving or melting. [2]
The earliest, and perhaps most famous of all psychedelic vehicles was the famous "Further" bus, driven by Ken Kesey and The Merry Pranksters, which was painted inside and out in 1964 with bold psychedelic designs (although these were executed in primary colours, since the DayGlo colours that soon became de rigueur were then not widely available ...
Warren Lloyd Dayton is an American illustrator, artist and graphic designer best known for his posters from psychedelic art era, a pioneer of the use of T-shirts as an art medium, creator of corporate branding & logos such as Thomas Kinkade’s Lightpost Publishing, and internationally award-winning book, editorial, commercial illustration and typography.
Alan Aldridge (8 July 1938 [1] – 17 February 2017) [2] was a British artist, graphic designer and illustrator. He is best known for his psychedelic artwork made for books and record covers by The Beatles and The Who. [3]
Psychedelia is the subculture, originating in the 1960s, of people who often use psychedelic drugs such as LSD, mescaline (found in peyote) and psilocybin (found in some mushrooms). The term is also used to describe a style of psychedelic artwork and psychedelic music. Psychedelic art and music typically try to recreate or reflect the ...
Along with George Dunning's animated film set to a Beatles' soundtrack, Yellow Submarine, the insert to The Magical Mystery Tour may be considered a classic artifact of psychedelic art, given its allegorical drug references, its bizarre illustrative style, the use of colourful 'bell-bottomed fonts', the "disconnected", narrative etc.
Van Halem combines the more open rules of patterns with the tighter ruleset of typography and explores the boundaries of type design. She uses the viewer’s distance to the work to move at the edge of legibility and non-legibility. In her understanding background and type should become one layer.