- In the last module, we learned that postmodern designers sought to abandon the rigidity and objectivity of Swiss Design. They also were interested in exploring pluralistic theories and strategies. In other words, they liked to mix styles.
- This was readily apparent in Psychedelic and Rock design of the 1960s, 70s and 80s.
- Psychedelic designers were influenced by major cultural shifts in the 60’s. What were some of these shifts?
- Untrained designers organically arrived at a psychedelic design strategy in San Francisco, around 1965.
- Expressionist and counterculture.
- Huge emphasis on rock music.
- Posters and designs attempted to serve as a facsimile of an acid trip.
- Postmodern designers borrow freely from historic styles without “adopting the ideology or full aesthetic principles”. The borrowed heavily from Art Nouveau, Surrealism and Expressionism from 50 to 75 years earlier.
Wes Wilson
- Sacrificed “legibility” in favor of expression. Coopted Art Nouveau and Expressionist styles (historicist).
- Designed for concert promoter Bill Graham and the music venue The Fillmore.
- Invented new "psychedelic" typography, building upon styles developed by Art Nouveau designers.
VICTOR MOSCOSO
- Studied at Cooper Union and Yale (under Josef Albers of Bauhaus fame).
- One of the few underground artists of the 60s with formal training.
- Also did underground comix.
RICK GRIFFIN
- Designed posters for bands, like the Grateful Dead, and underground comix.
- Also associated with surfer culture.
- Was a member of a group of Bay Area artists and musicians called Jook Savages.
Check out what these posters are worth today...
Rock music in general became a setting for innovative design. Demand for album covers, posters, flyers and other industry-related deliverables gave designers opportunities to match the freewheeling and counter-culture spirit of the music with visuals.
Here are some key images and artists.
HAPSHASH AND THE COLOURED COAT
- Design group formed in England by Nigel Waymouth and Michael English.
- Developed silkscreening methods that resulted in
OZ MAGAZINE
- Originally published in Australia in the late 60s, then London.
- Edited by Richard Neville.
- A political, counter-culture magazine that covered volatile topics of the time: censorship, police brutality, anti-war, sexuality.
PETER BLAKE
- Known as a Pop Artist.
- Created famous album covers for The Beatles (St. Peppers) and The Who, as well as art for Band Aid and Live Aid.
- Used a collage approach, mixing images and styles from all eras.
RICHARD HAMILTON
- Also considered Pop Artist who used a collage strategy, combined with painting.
- Was a member of an artist collective called The Independent Group.
- Believed that "all art is equal," that is, there is no difference between fine art and Pop Art.
- From GRAPHIC DESIGN: A NEW HISTORY: “The battle to collapse the hierarchy between the fine and applied arts has been fought…since the late 19th century.”
BLUE NOTE
- On the jazz side of things, some really excellent design was coming out of the Blue Note label.
- The lead designer was Reid Miles.
- The approach was essentially Swiss, with high-contrast black-and-white images (often tinted). But the typography was much more expressive--colorful, playful, jazzy.
Push Pin Studios was founded in 1954 by Seymour Chwast, Milton Glaser, and Edward Sorel.
- Created a bi-monthly publication called The Push Pin Almanack which showcased their work.
- Preferred smaller clients over corporate or enterprise clients, resulting in more intimate and expressive work.
- Did work for Forbes Magazine, which was the closest Push Pin ever came to mainstream advertisers.
- As designers for small businesses and progressive orgs, they became influential as edgy, non-traditional designers.
During the 1960's they challenged the the orthodoxy of the dominant International Typographic Style, offering a witty, eclectic alternative with immediate consumer appeal. The studio drew endless inspiration from diverse historical sources, such as Italian Renaissance painting, Victorian letterforms, comic books and primitive woodcut illustrations. The Push Pin Studio style was characterized by brightly colored narrative illustration, with forms exaggerated, flattened and unexpectedly juxtaposed to humorous effect. The group specialized in book jackets, record covers, posters and magazine illustrations.
~Michael Clayton, http://pushpineffect.blogspot.com/2009/11/push-pin-studios-introduction.html
SEYMOUR CHWAST
- Founder of Push Pin who still serves as its director.
- Recognized with an AIGA medal in 1985 for his many contributions.
- Mixed corporate with social commentary.
- Style was illustrative and bold.
MILTON GLASER
- A design legend who died only a few weeks ago.
- Famous for "I Love New York" logo, Bob Dylan posters, Mad Men, and many other iconic images.
- Style changed with the project--sometimes illustrative and painterly, other times more concise, gridded and digital.
- There are many films, interview and resources on Milton Glaser. You can start to explore here.
ED SOREL
- Political and interested in social issues.
- Famous for magazine covers: Harpers, Forbes, Esquire, Time, Atlantic, etc.
- Strong illustration style with a talent for sophisticated caricature.
- Also used more Constructivist and/or Surrealist style on occasion.
Here's a cool little documentary about Ed Sorel made by his son.