Showing posts with label essay. Show all posts
Showing posts with label essay. Show all posts

Tuesday, 31 December 2013

OUGD501 - Essay - Capitalism and the Consumer - First Draft


Capitalism and the Consumer

“When waiting is taken out of wanting, and wanting taken out of waiting, the consumptive capacity of consumers may be stretched far beyond the limits set by any natural or acquired needs or determined by the physical endurability of the objects of desire” - Bauman, Z. (1998) p.25
This essay will attempt to explore 21st century living in the first world from both active and passive consumer attitudes. In a time where we are taught and brought up to believe that our purpose is to buy, enjoy, consume and discard - what effects does this have on society’s psyche? Why do we buy? Do we ever, as a culture, recognise our status as the imperative cog in the Capitalist machine? If so, do we ever feel concerned about our actions, or do we simply not care? It will attempt to justify our everyday actions in this society, and show how our almost entire lives are dictated by the endless cycle of consumerism.
It can be said that the current consumer culture lifestyle is the most prominent it has ever been- and is intrinsic from that of it’s preceder, the modernist era in around the 1880’s to the 1920’s, after the foundations were built by the industrial revolution in the Victorian era. As Shenhav, Y (1999) P. 20 states; ‘the factory system was established, capital was centralized, production standardized, organizations bureaucratized, and labor incorporated in large firms’ . The transition from small, family-owned workshops and high street boutiques to mass factories with complex machinery made it eminent that the social dynamic of which workforces conducted would change- and it did! This elaborated into more organized established social systems within employment facilities and thus changed our attitudes to work. ‘The rise of large scale corporations employing thousands sometimes tens of thousands of workers, made corporations bureaucratically complex and hierarchically integrated (firm owners increasingly pushed away contractors, who until then controlled the production process and gained control of the workers, of the firing and hiring)’ -Illouz, E (2007) p.11 - this shift in control made it so that the workplace was more about social dynamic over ability necessarily, thus making the workplace more suited to the daily existence in the office at the computer.
This shift in attitude to employment coincided with the modernist movement and the new ecosystem of city living. New pleasures and ideas of recreation started to emerge at the hands of the hard earned disposable income - especially notable after the World Wars. The monotony of the long hours in the office or on the assembly line doesn’t produce the same fruit of the labour in the Georgian/ Victorian quaint workshop - the reward of this lifestyle is the income. 
‘The role once performed by work in linking together individual motives, social integration and systematic reproduction has now been assigned to consumer activity’ - Bauman, Z. (1998) p.27.
Now fast forward into the twenty first century, and this recreational response to the working life has advanced into a lifestyle all by itself - consumerism. It is now almost detached from it’s original justification of rebound from work - it doesn’t matter if you earn or not, what age you are or what background you come from. As a society under Capitalism’s watchful eye, our culture dictates our lifecycle of wanting and buying. Many people do not feel the consequences and impacts of this - for consumerism is a way of life, for many of which have been raised into. Examples of consumerism being celebrated as recreation can be seen all over the Western World - romanticized shopping centres such as the Trafford Centre and Leeds Trinity shopping centre, and holidays such as Christmas that requires individuals to acquire commodities for fellow loved ones as routine rather than genuine impulse gifts. The irony of shameless Black Friday Sales a day after the Thanksgiving holiday are a prime example of consumer attitude coinciding with traditions.
There are a number of reasons that the consumerist culture continues to thrive and has been accepted by many as the norm. Aside from the fact that consumerists are now in the routine and no nothing different from their current lifestyle, there is the constant task of keeping the consumerist, or ‘market’ interested. As explained by Bauman, Z. (1998) p.26 “[consumers] need to be constantly exposed to new temptations in order to be kept in a state of a constantly seething, never wilting excitation and indeed, in a state of suspicion and disaffection”. This endless cycle of trend is a result of marketing and advertising firms, (often begrudgingly - as stated in the First Thing’s First Manifesto) relentlessly inventing new hooks to keep the market flowing and stocks up. 
An object built for the consumerist market must be attention grabbing, but not attention holding, to leave room for the consumerist to be willing to buy again once the object has been used up. “Ideally, nothing should be embraced by a consumer firmly, nothing should command a commitment forever, no needs should ever be seen as fully satisfied, no desires considered ultimate” - Bauman, Z. (1998) p.25 Especially if it is a rather frivolous commodity like an Electric Spider Suction Arm as opposed to something essential like bread or toilet paper, the job of the marketing agency is to sell the consumer something they didn’t know they wanted - possibly even letting them believe that they need it, in fact. This can be said for a variety of objects throughout fashion, and the gadget industry. A prime example of a product development scheme designed for the consumerist market is the iPhone. “Marketers must continuously evaluate and innovate, since no product or service can remain the same forever and still be desirable” - Mink Rath, P, Bay, S, Petrizzi, R, and Gill, P (2008) p.7 A new design of iPhone is released sometimes more than once per annum, yet advertised as being newer and therefore better. The users can trade in their previous models as a part exchange on the newer models; this keeping them hooked in the loop. However, for example, the differences between the iPhone 4 and the iPhone 4S are so minimal and yet it is marketed as being more innovative and quintessential to obtain, leaving the user unsatisfied with their current older model.
The repetition of this marketing scheme grows tiresome for a small few; “Cultural fashions dynamite their entry into the public vanity fair, but they also grow obsolete and turn ludicrously old fashioned even faster than it takes to grasp public attention” - Bauman, Z. (1998) p.28 - and sometimes alternatives are started by the people themselves.
Although trends in fashion and products are customary in consumerist culture, in an effort to feel more significant in modern/ post modern times, there is a popular strive to be ‘unique’ and ‘individual’ in your identity. “Modernity charged the individual with the task of ‘self construction’” Bauman, Z. (1998) p.27. So numerous subcultures can be observed, the majority of which are unfortunately style without substance because this post modern vision of identity is still built on the foundations of consumerism, of what you wear and the products you obtain as opposed to the skills you have and your personality. “The roads to self-identity, to a place in society, to life lived in a form recognisable as that of meaningful living, all require daily visits to the marketplace” - Bauman, Z. (1998) p.26 This is a reflection of the city lifestyle in which an individual aspires to stand out from the crowd - quite literally in this case, to communicate their personality visually. This dissenting attitude is also bore from the invariability of the products in ‘chain’ shops - the shops that mass produce and dictate the trends and styles of the current. The most popular of these dissenting attitudes is the ‘Vintage’ style, the act of buying old, secondhand clothes from bygone eras and combining the different items into different eccentric outfits. The outcome of this are usually unique items at relatively low prices. However, the irony of which has become a style/ trend all on it’s own, and replicas of these different styles are now being mass produced once again in the chain stores. This idea of different styles rebounding off of different individuals has been embraced by the consumerist culture and is now just another way of seeking inspiration for new trends: “Designed goods have a special place in the minds of consumers; this is largely driven by a combination of two conflicting behaviors: wanting (then buying) what the rest of the crowd wants, and seeking (then purchasing) what’s truly unique and innovative. Mink Rath, P, Bay, S, Petrizzi, R, and Gill, P (2008) p.25
The many different attitudes to consumerism, they can be divided into passive and active consumerist attitude. The passive consumerists being those who shop for recreation, that compulsively buy, hoarders, and those who constantly upgrade their mobile phones, for example. The active consumerists are the visual subcultures, such as the Vintage stylists, who made an effort to break out of the consumerist regime, even if eventually proven unsuccessful.
There have been many contextual references to consumerism in art and design, such as Barbara Kruger’s ‘I shop therefore I am’ (fig.1)- showing her awareness of how post modernism and consumerism leads us to believe our identity is built on the grounds of what we own. The irony of this is a similar style of artwork was used as interior shop decor for mass department store Selfridges - blatantly expressing an anti-shopping attitude whilst the shoppers rushed around beneath it - displaying the impenetrable force of this current lifestyle [see images below]. Street artist Banksy often comments on consumerist culture, juxtapositioning images of religious leaders such as Jesus Christ, with plastic shopping bags in his hands on the cross (fig.2), perhaps commenting on the Christian saying that ‘Jesus died for your sins’. Another piece puts the image of the girl from the Napalm bombing in the Vietnam War holding hands with consumerist mascots Disney’s Mickey Mouse and McDonald’s Ronald McDonald (fig.3). This contrast again suggests the sacrifices and pain of others that have been made for the frivolous consumerist environment of the western world. In around 2006, Banksy saw a surge in the popularity of his work, as his comments started to be widely noticed and recognised as having valid opinions. The irony of this was that it started - unsurprisingly, a trend in the market and soon, cheap prints of his street art could been seen on canvases in chain shops across the UK. With his sardonic sense of humour, Banksy has stated that he doesn’t care for Capitalism and that through his artwork he tries to encourage an anti-Capitalist movement within the people: ‘We can't do anything to change the world until capitalism crumbles. In the meantime we should all go shopping to console ourselves.’ Banksy, (2006), p.204.
We realise the origins of consumerism, we know why the average citizen is relentlessly drawn back into the consumerist loop, but what is the significance of all of this? Why does the driving force behind this lifestyle cease to rest? It’s because the capitalist system needs the consumerist lifestyle to sustain itself. As Nicholas Johnson once said, “It used to be that people needed products to survive, now products need people to survive”. Corporate giants such as Disney, Time Warner, Wal Mart and Toyota, to name a few, thrive off the indirect contributions from the shoppers who purchase their merchandise. This is of great importance because these companies own such a large scale of the planet, Time Warner owning not only DC Comics, Looney Tunes, Cartoon Network, CNN, Time magazine and AOL to HBO, Country Life magazine and Woman’s Own, for instance. By purchasing new products every day, in the same way one would pay taxes to the government, the consumer contributes to the current Capitalist system. Is there a danger to this subliminal need to constantly obtain products? It can be argued that there is a certain thrill that temporarily fills a previously unsatisfied void after the purchase of a beautiful new dress, or the latest gadget: “there is a lot of fun living through an experience one did not even know existed and was available” - Bauman, Z. (1998) p.25. However, although the literal danger of this routine is trivial; the consumerists house becomes full of products they don’t need, it’s the carelessness of this thrill affects the bigger picture. 
There are positive and negative points to this; negative points being the ecological impacts the buying cycle has on the planet. The system largely supports sweat shop culture with underpaid, unhealthy working conditions and is also very wasteful. Most of the products are largely non-recyclable or non-reusable, which is exhausting the planet’s resources. A story consumerists are all too familiar with; ‘Despite a 30-percent increase in resource efficiency, global resource use has expanded 50 percent over the past three decades. And those numbers could continue to soar for decades to come as more than 5 billion people who currently consume one tenth as many resources per person as the average European try to follow the trail blazed by the world’s affluent.’ Flavin, C Worldwatch Institute (2010) preface, xvii. The positive points can be justified in that the people’s income can be spent how they wish it; and that this brings them happiness that as a society we could not get from entertainment that satisfied other eras. Although, this is not strictly true, the happiness and enjoyment from products is only temporary.
But what are solutions to this problem? It seems that because we are now a complete generation of consumers, and our system makes the entire planet function on a daily basis that therefore makes it successful? It is inevitable that change must be made, even if it’s just changing this disaffiliated mindset. It is difficult to find an immediate solution because consumerism has been built around our living environments and our everyday lives. 
A suggested solution to this would be the gradual introduction of a complete alternative to the Capitalist- Consumerist system: one that dismisses the consumerist notion of undermining the idea of a healthy lifestyle, that introduces a sustainable lifestyle as a ‘natural’ thing to have, that encourages public consumption like transport and parks instead of private consumption as recreation, for example. It would also have to quintessentially support the abolition of products that either cannot be recycled or cannot biodegrade, unless these were products that are built to last, in which case would be encouraged to ‘make do and mend’ and share among generations. This may sound bleak to some, but this system would shift the focus of consumption as recreation, and fill the gap with something that is more sustainable. This would take many years, but would eventually prove successful, as the main growth of consumerism has been in the past 200 years, it could be hypothetically turned back around in this time.
Even now - there are numerous activists that realise the current state of affairs and are fighting for change: ‘While sustainability pioneers are still few in number, their voices are growing louder, and at a moment of profound economic and eco- logical crisis, they are being heard. As the world struggles to recover from the most serious global economic crisis since the Great Depression, we have an unprecedented opportunity to turn away from consumerism.’ Flavin, C Worldwatch Institute (2010) preface, xviii. Many companies such as beverage giant The Coca Cola Company, are changing their packaging from more sustainable backgrounds, because they realise the colossal mass their company contributes to the problems with consumerist society: ‘Of our beverage volume, 61 percent is delivered in plastic bottles made from polyethylene terephthalate, better known as PET plastic. Consumers like PET bottles because they are lightweight, resealable, shatter-resistant and accepted in most community recycling systems. We like PET bottles because the processes for making and transporting them are relatively energy-efficient and cost-effective, and PET protects our product quality exceptionally well.
But with increasing pressure on natural resources required to make conventional PET bottles—particularly on petroleum and natural gas—we need alternatives. That is why we are aiming to source 25 percent of our PET plastic from recycled or renewable materials by 2015.’ - Kent, M and Perez, B for The Coca Cola Company (2012) [web]. Other companies such as Fair Trade are ensuring that the system doesn’t favour the consumers, and treats the producers fairly, too.
In conclusion, consumerism is a system that has been introduced and has grown over many years, and become a deep seated patrimony in today’s society- which will take a lot to undo. But it is evident that change is needed, as the world’s economy and ecological system cannot withstand the pressure. Awareness needs to be raised for those who do not realise the affects of the consumerist system, and those who know and do not care need the importance of their actions to be made clearer. All of our efforts will be needed to bring about change for this system, for it is becoming obsolete. 

‘In the end, the human instinct for survival must triumph over the urge to consume at any cost.’ Flavin, C Worldwatch Institute (2010) preface, xix

Bibliography
Bauman, Zymunt (1998) ‘Work, consumerism and the new poor’, Buckingham; Open University Press

Shenhav, Yehuda (1999) ‘Manufacturing Rationality’, New York: Oxford University Press

Illouz, Eva (2007) ‘Cold Intimacies: The Making of Emotional Capitalism’, Polity Press

Mink Rath, P, Bay, S, Petrizzi, R, and Gill, P (2008) ‘the why of the buy - consumer behavior and fashion marketing’, New York; Fairchild Books

Banksy, (2006) ‘Wall and Piece’, Century

Flavin, Christopher, Worldwatch Institute (2010) ‘2010 State of the World, Transforming Cultures from Consumerism to Sustainability.’ WW Norton & Co, New York.
Kent, Muhtar and Perez, Beatriz for The Coca Cola Company, (2012) ‘2011/2012 Sustainability Report’ [Internet] Available from: <http://www.coca-colacompany.com/sustainabilityreport/world/sustainable-packaging.html#section-managing-packaging-to-manage-risk>
Images
Fig.1
Fig.2

Fig.3






Wednesday, 8 May 2013

OUGD401 - CoP Module Evaluation

Context of Practice - From Theory into Practice & Essay Evaluation


1. What skills have you learnt throughout this project and how effectively do you think you have applied them?

During this project I have learnt all about the context of where our art comes from. This has helped me to put into perspective the vibes that designs can give out, dependant on their inspiration or place in history. I have applied these same type of lecture-depth understanding to something I love and used it to create my publication.

2. What approaches to/methods of design production have you developed and how have they informed your design development process?

For my publication, I thought about the design production first, as my strength and passion is in pop up books and paper engineering. I chose to fit my subject, my other passion, to this paper concept - Disneyland. Because Disneyland is aimed at younger audiences/ is 'fun' this made the pop up book undoubtedly the best route to go. However due to lack of time management, and probably lack of confidence in my idea, this had to be reworked. I regrettably eventually went for a rather weakly designed version of a 'carousel' book. I resorted to this because the link to the carousel would link into Walt Disney's ride at the park - 'the carousel of progress' - it would make perfect sense. But I think my execution of it was rather poor and disappointing.

3. What strengths can you identify in your work and how have/will you capitalise on these?

I have discovered that I can work fast and efficiently under pressure, and that my academic writing skills are not as bad as I thought! I don't particularly want to capitalise on working under pressure, but will definitely work fast and more efficiently from the beginning of the project.

4. What weaknesses can you identify in your work and how will you address these for the future?

Weaknesses I have identified is that I am not being disciplined enough to keep up to date on daily blog posts. I am also very very poor at time management and in this instance I failed to ask if I was unsure and fell behind with progress because of lack of confidence in the idea. In the future, I will definitely ask for help and work through my idea rather than soldiering on with something that I have limited.

5. Identify 5 things you will do differently next time and what you expect to gain from doing these:


  • Blog everything as I go so it doesn't mount up!!!!!!!!!!!!!!!!!!
  • Leave room for things to go wrong 
  • Come to terms with a failing idea quickly and efficiently and put in place steps to make it work or move on from it.
  • Not be afraid to ask for help - if fellow students are also stumped, ask another informed individual - any advice is good advice when you're really stuck.
  • Experiment more with different materials and mediums to add diversity to my designs

6. How well do you think you've done/5?

Attendance   
4.99

Punctuality   
4.9

Motivation    
3

Commitment 
3

Quantity of work produced
5

Quality of work produced
3

Contribution to the group
5

Monday, 6 May 2013

OUGD401 - Essay - Choosing a particular period from 1800 to the present, in what ways has art or design responded to the changing social and cultural forces of that period?


Sarah Heal - Level 4 - CoP

Choosing a particular period from 1800 to the present, in what ways has art or design responded to the changing social and cultural forces of that period? ( 2 specific examples )


 ‘The emergence and flowering of a psychedelic style coincided with one of the most revolutionary periods in the twentieth century’ - (Grunenberg, 2005, p.7)

 Art and design during the revolutionary mid sixties to early seventies undoubtedly correlated to the cultural and social goings-on of that time. In a time shifting from suits and shift-dresses and days at the office to bohemian fashions, recreational drug use and the practice of 'free love', art and design was most definitely at the forefront of this riotous decade. ‘…in America alone, art historian David Kunzle estimated in his book, Art as a political weapon, that between 20,000 and 40,000 different poster designs were produced during the period 1965-75’ - (Aulich, 2007, p.224).

 ‘The free wheeling shapes, exaggerated acid colours and pervasive formal entropy of psychedelic art continue to be met with aesthetic revulsion and intellectual arrogance’ - (Grunenberg, 2005, p.7).
This essay will reject the stereotyping that hippie/psychedelic art receives, - that it is a culture derived from laziness, unenlightened and absent minded rebellion. It will also begin to explore the connections and influences between the psychedelic art movement/hippie art culture to what it is believed was the cause of it’s birth: the Vietnam war (certainly in America), music and hallucinogenic drugs. Hopefully, it will be shown in this essay that the Hippie movement had a political engine, not just a recreational one. Wes Wilson, the San Franciscan poster designer, can be argued as a prime example of this point. It will also be observed how Art Nouveau style was revived in this movement.

----------

 ‘By 1968, American involvement in Vietnam had become a focus for discontent’ - (Aulich 2007, p.223).
 As America's involvement with the brutal Vietnam War increased, it became a national centre of attention for frustration and sadness. Since America had recently been involved in two major world wars, there was somewhat of a backlash. With this in mind, along with an ever-growing market of youth (the ‘birth of the teenager’ only being a decade earlier in the 1950’s), the US anti-war movement gained momentum. There were sit-ins and demonstrations of students and other young people burning their drafts in opposition (the average age for draft was 19 years old, so was something that directly affected them).  ‘Growing opposition to the war in the United States led to bitter divisions among Americans, both before and after President Richard Nixon ordered the withdrawal of U.S. forces in 1973.’ - (uncredited, 1996-2013 ,Web). The war was not only overbearing in it’s numbers, but was frustrating and none progressive on the front line: ‘U.S. soldiers commonly became frustrated with the fighting conditions in Vietnam. Many suffered from low morale, became angry, and some used drugs.’ - (Rosenberg, undated, web).
 In the UK, however, this countercultural and political backlash had been going on for some years: ‘The counterculture was apolitical, as far as party politics was concerned because most politicians were seen as lying hypocrites, serving vested interests, not the people. However, it was active in issue-based campaigns: CND, which many of them were involved in during the early 60’s, and the anti-Vietnam war campaign which grew out of that.’ - (Miles, 2011, web) and so the already existent underground scene started to gain energy and dared to put it’s head up with a radical change in attitude, and did this by showing themselves visually through art...
‘The straight, consumerist lifestyle was not to their liking, but they did not object to others living it’ - (Miles, 2011, web)
 Collectively on both sides of the Atlantic ocean, this peaceful rebellion brought many opportunities for art and design to communicate the passionate message of the people: ‘[the anti war movement] found a voice in alternative styles of behaviour, dress, music & underground graphics in America and Europe’ - (Aulich, 2007, p.223). Through encouraged experimentation, along with the growing popularity of multi-media, a whole new array of art was being produced in this free spirited environment.
 Alongside all of this was the increasingly popular use of recreational drugs because of this new liberal attitude towards life: ‘Psychedelic artists were deeply entrenched in popular culture, while at the same time being influenced by the mind- altering effects of drugs and participating in counter- cultural activities’ - (Grunenberg, 2005, p.7). So perhaps inevitably, the hallucinogenic visionaries filtered through into the arts through crazy patterns and unusual colours in light shows, and into the illegible curves of psychedelic lettering (found in the works of Lee Conklin, Wes Wilson, & Bonnie Maclean, to name a few). 
 By identifying a psychedelic poster, you are (typically) looking for a lack of grid for typography, distorted, almost illegible lettering, a kaleidoscope of a colour scheme and art-nouveau or folk-style imagery. From this description, you can imagine that these aesthetics are closely linked to drugs such as LSD.
And so, as a glorious result of all of these factors, the psychedelic era was born.

---------


 ‘The underground was a catch-all sobriquet for a community of like-minded anti-establishment, anti-war, pro-rock'n'roll individuals, most of whom had a common interest in recreational drugs. They saw peace, exploring a widened area of consciousness, love and sexual experimentation as more worthy of their attention than entering the rat race.’ -(Miles, 2011, web)
 An example of the psychedelic art in the UK would be ‘Stop Nuclear Suicide’ by FHK Henrion (1963). [Image 1 below] It’s neon yellow shades blended with darkest black is unusual and startling like most psychedelic art and gently reflects the illusive visionaries of psychedelic drugs. The innovative overlay of different images shows rebellion against conformist modernist art reflecting the free-loving people of the time. [‘There seems to be a deep-seated suspicion towards the psychedelic arts formal exuberance and it’s suspicious proximity to popular culture, suggesting the continuing domination of high modernist and formal principles’- (Grunenberg, 2005, page 7) (of course this photo technique preceded this time, but definitely became more apparent through alternative art such as this) . As this technique has been used, the iconic mushroom cloud stem mimics and blends into the nose of the skull image in the background almost making the two images become one. This could represent the association between nuclear weaponry unto others as suicide to yourself. This eery and powerful image is branded with the CND sign, another confirmation of a definite link to the anti-war scene. 
The poster was designed to symbolize the Campaign for Nuclear Disarmament in general and what they represented. It was banned by London Transport for violating their conditions against showing images that could cause controversy. For what would be considered as not very offensive today, was radical and rebellious back then, which gives an interest into how times have changed. Ironically, it could be argued that the fact that times have changed, could be owed to campaigns such as this back then.
 Another example of this would be the ‘Easter March’ poster by Ian McLaren from 1966. Visually, it can be noted that it is heavily influenced by Op art/ psychedelic styles because of its illusive or ‘trippy’ black and white imagery. Although aesthetically this is definitely more of a modernist styled example, it could be argued that this is because it was created for a wider audience, to possibly recruit more followers for the campaign. The CND logo is worn proudly in the top left hand corner.

 Across the Atlantic, at the epicenter of the US hippie movement in San Francisco was poster artist Wes Wilson.
Wilson is renowned for his influential involvement in the psychedelic music scene through his artworks. As he was repeatedly commissioned for posters for protest gigs hosted by Bill Graham, it made him one of the most notorious artists of this era (since Graham was the most popular host of these ‘happenings’). We can consistently see through many different examples of his work the typical distorted lettering, wacky colour schemes and monochrome imagery that portray this strong psychedelic style; ‘[Wilson] had no real formal training as a graphic designer....To the San Francisco designers, legibility was considered secondary to the look and feel of the overall design’ - (Brignall, 2013, web) . 
The fact that most of the bands listed in these pieces are those that were supporting the anti-war movement shows the interdependence between the two worlds. This point in particular can be observed in his poster for ‘A Tribal Stomp’ [2nd image] - a poster commissioned for a music night held in ‘Fillmore Auditorium’, the infamous hippie music hall in San Francisco. The bands listed in this image are ‘Jefferson Airplane’ and ‘Big Brother and the Holding Company’ - both heavily supportive of the anti-war movement through their songs [Jefferson Airplane’s; ‘Volunteers’ is a good example of this]. In this image, although this particular image lacks colour (I could not find a coloured version with a decent size), the actual poster contained purple, yellow, red and blue with a white background, free from the boundaries/ rules of general modern design.
To Wilson, every last inch of the poster was an opportunity for design, again, an example of peaceful rebellion against conformity- a common trait amongst the hippie counter culture. In that image in particular we can see no acknowledgment for even the simplest of graphic ‘rules’ such as alignment and border space, or even a limited choice of font styles! : ‘White space was considered bĂȘte noire to the psychedelic poster designer whose style of work was intended as a reaction to the prevailing “clean” Swiss style of typography!’ - (Brignall, 2013 web) .
The Native American Indian image in the centre was often a theme in San Franciscan art of this time. There are no unearthed details on the reasons behind this but it could be considered that they are often included for sentimental reasons/ legacy reasons or possibly as a symbol as a fight for freedom. 

 Another example of these points would be the 3rd image listed below from 1967, another poster for a night hosted by Bill Graham. The girls hair flows freely about the page,  and because of this shares the general aesthetics of a hippy girl (Janis Joplin from the band Jefferson Airplane, perhaps?). The hair can also be seen as deeply inspired by art nouveau works by Alphonse Mucha such as ‘Job’ (also below). The rekindling of this design style could be because of the use of drugs also in the Art Nouveau period and so would have appealed to artists in the 1960’s. 
The artists listed in THIS poster are also those involved in the anti-war movement. 
You can also see the stark colours of black and yellow, like in ‘stop nuclear suicide’. The great tonal range almost takes your breath away, and is certainly eye catching. 
Again, you can see that the lettering is almost unreadable, but would have been admired for it’s creativity as opposed to judged for its illegibility back then. 
 One last example of this kind of art would be the ‘Moby Grape’ poster by Lee Conklin from 1968 (listed below). The first thing to comment on about this piece would be the colour scheme. The simultaneous contrasts of the colours almost make them perpetually vibrate in front of your very eyes. This stimulating illusive technique has been purposely executed to catch the eye of the viewer, and also reflects the experimental and daring nature of the artists, even if it did mean that no one wanted to read the poster! An online article explains about how this was a commonly used and inspiring technique among many of the designers of the time, in this case Victor Mosoco. Secondly, the lettering is almost unreadable as it follows the organic curves of the design, resembling the distortion of aesthetics while under the influence. ( although arguably the most important part of the poster, the typography always would typically come second to the imagery in psychedelic posters) The strong asian style in this poster also seeks intrigue and interest from the viewer, and would successfully appeal as the global fashions and styles all blended almost into one in this era. Notably, again, this particular dance night is hosted in Fillmore Auditorium. Lastly, the strange, puzzle-like imagery would appeal to the viewer because it asks them to work out and define what is actually going on in the image! This optically illusive type of imagery was very popular because of provoking nature, hence why it was often affectionately named ‘the thinking persons art’. 

 In basic terms, the kind of anti-uniform, anti-war hippies, (essentially) were usually those who were brave/ careless/ free enough to experiment with these illusionary drugs, and this was a very large market. Posters like ‘Moby Grape’ would catch their eye because their interests were largely affected by the drugs they were taking. In the same way, psychedelic music mimics the sound of normal music but while under the influence of drugs and so the characteristics are usually long, drawn out, distorted and are, in general, an audio version of the posters!
------------

 ‘The underground papers were produced entirely for idealistic reasons, often communally, and the staff were frequently not paid.’ - (Miles, 2011, web)
The psychedelic art movement could have also been described as ‘disposable’ because of it’s rapidly moving culture and ‘free’ because of its non-profit organizational ethics. ‘That was an important part of the early scene—nobody was super demanding about money.’ - (Marks, 2011, web). Every day somewhere there would be a ‘happening’, ‘sit in’ or a gig, mostly free of charge or very cheap admission. The anti-capitalist frame of mind made this both a successful and unsuccessful time. Successful for humanity and benevolence, but in terms of making a living, very unsuccessful. For example; Richard Branson ran an underground magazine business at this time with little to no profit from the basement of a church (Student Magazine), and Wes Wilson often only charging $60 for an original print run of around 300 for his works.  
Wilson describes in an online article how quickly and cheaply he had to work to keep up: “Normally I had to design and deliver printed posters in a matter of a week, or even days. Within three or four days of getting the billing, I had to have the poster at the shop getting printed. For producers like Chet Helms and Bill Graham, that was usually as quick as they could get these bands scheduled. It was just tough to schedule two or three bands way in advance for some reason. I don’t know why, but that was just the way it was. Once in a while, I remember Bill would be real happy if he had over a week in advance and would perhaps have photos for a poster. That was a big deal. It was a pretty fast-moving business in those early days.” - (Marks, 2011, web). This was again, rebelling against everything they’d ever known, anti-capitalist, anti-conformist and most importantly, altruistic.
 Although, non-profit and sometimes non-marketable (banned/ controversial imagery), the psychedelic art certainly made a difference. As this online BBC article shows: ‘1969 - Ho Chi Minh dies. President Nixon begins to reduce US ground troops in Vietnam as domestic public opposition to the war grows.’ -(Uncredited, 2013, BBC web). Which is what sets this era apart from others, especially in the materialistic western world. Back then, it was ‘cool’ to take drugs and drop out of school and to help others! And it wasn’t just because it was trendy, either. It was because people wanted change. This can be seen visually through the art, all you have to do is look at psychedelica's preceding  artworks to see the sudden difference. 

--------

 ‘What had started as protests against the Vietnam war expanded to something far wider. The talk was of revolution. Everything about modern capitalist society was suddenly called into question.’ - (Hoyland, 2008, web)
It can be blatantly observed from a design point of view the great impact that the hippie counter cultural movement had on the prevailing modernist social norm and ethics, but also from a societal point of view, too. With the great shift came the art, which then became a symbol of the revolutionary idealists and events of that time. The art is no different to that in it’s own metaphorical way in that it breaks all rules of art and design whether the viewer agrees or not - it’s determined to get it’s message across at all costs. Unlike punk or skate culture, hippie culture was peaceful and did not thrive on negative energy, but focused on making a positive change for liberty and equal rights. The determination and outlandish bravery of those who made it possible can only be greatly admired for the changes they made back then, and the affect it’s had on our ethics today. In an era like no other it’s safe to say that that generation changed the world for the future, enumerating the liberties that nearly everyone we know in the western world is not denied today. The art is so synonymous of the time, it cannot be mistaken for anything other than psychedelic. Will we ever have another social revolution as great as the psychedelic era in the western world again? 

“to fathom hell or to soar angelic, just take a pinch of psychedelic” - Humphrey Osmond.


(Summer of Love: art of the Psychedelic Era)


Bibliography

Grunenberg, C (2005), Summer of Love: art of the Psychedelic Era, Tate Publishing, London.

Aulich, J (2007) War Posters - Weapons of Mass Communication, Thames and Hudson, London.

Uncredited, (1996-2013), Vietnam War, history.com/topics/vietnam-war, [web]

Rosenberg, J (undated), Vietnam War - A history of the Vietnam War, About.com, history1900s.about.com/od/vietnamwar/a/vietnamwar.htm [web].

Miles, B (2011) Spirit of the Underground: the 60s rebel, Guardian News & Media, guardian.co.uk/culture [web]

Brignall, C (2013), The Psychedelic poster art of Wes Wilson, WordPress/BytesForAll, Weswilson.com [web] . 

Marks, B (2011) Psychedelic Poster Pioneer Wes Wilson on the Beatles, Doors & Bill Graham, Market Street Media LLC, collectorsweekly.com [web].

Uncredited, (2013) Vietnam Profile: Timeline, bbc.co.uk [web]. - although uncredited, I feel that this is a trusted source as it is from the BBC facts website which is regularly updated and amended. 

Hoyland, J (2008) Power to the People, Guardian News and Media Limited , guardian.co.uk/music/2008/mar/15/popandrock.pressandpublishing, [web]

Images

‘Stop Nuclear Suicide’ by FHK Henrion (1963):



‘Easter March 1966’ by Ian McLaren (1966):



'A Tribal Stomp' by Wes Wilson (1966):




Poster for a Bill Graham production by Wes Wilson, (1967):



'Job' by Alphonse Mucha, (1898): 





'Moby Grape' poster for Bill Graham production by Lee Conklin, (1968):



-----------------