VCD101 Week 4 Influential Designers

Wes Wilson

Wes Wilson, one of the most prominent artists of the 1960s psychedelic poster movement, created work that was reflective of the cultural, social, and political changes of the decade. His vibrant and distorted designs were artistic expressions and visual representations of the era's countercultural spirit.

The 1960s were marked by a dramatic shift in cultural values, especially among the younger generation. The rise of the counterculture movement, characterised by a rejection of mainstream norms and a search for alternative lifestyles, influenced Wilson's art. This period saw the emergence of the hippie movement, which advocated for peace, love, and communal living, often opposing the materialism and conservatism of their parents' generation.

Wilson’s posters, with their swirling, organic forms and vibrant, often clashing colours, visually represented the psychedelic experience through the use of hallucinogenic drugs like LSD. His work was directly connected to the San Francisco music scene, creating posters for concerts at venues like the Fillmore Auditorium. These posters were designed to capture the sensory overload and altered states of consciousness that defined the psychedelic experience.

America was undergoing significant social change during the 1960s. The civil rights movement was in full swing, challenging racial segregation and discrimination. The feminist movement began gaining momentum, questioning traditional gender roles and advocating for women's rights. The anti-war movement grew in response to the Vietnam War, with protests and demonstrations calling for peace.

Wilson's art, while primarily associated with the music scene, was a part of this broader movement of social change. The free-flowing, non-conformist style of his posters mirrored the desire to be free from societal constraints and a more open, experimental approach to life. His work contributed to the sense of a collective identity among those involved in these social movements, providing a visual language that articulated their aspirations and values.

The 1960s were also a time of political activism. The assassination of political figures like John F. Kennedy, Martin Luther King Jr., and Robert Kennedy, the ongoing Cold War, and the escalating conflict in Vietnam created an environment of political disillusionment and unrest. Many young people rejected traditional political institutions and sought to create new forms of communal living and political engagement.

Influences on Wilson included the broader countercultural art scene, particularly the work of earlier artists like the Art Nouveau movement's Alphonse Mucha, whose decorative and organic style can be seen as a precursor to the psychedelic aesthetic. The social activism of the time, including protests against the Vietnam War and advocacy for civil rights, also influenced the themes and energy of his work.

Wes Wilson’s posters were more than advertisements for concerts; they were symbols of a new cultural identity. By using unusual typography and dynamic compositions, Wilson communicated the ethos of the counterculture: freedom, experimentation, and a break from tradition. His work helped to shape the visual identity of the 1960s and became a part of the larger movement seeking to change society.

Wilson's art aimed to create a visual experience that mirrored the transformative experiences people sought in music, art, and lifestyle. His posters were meant to be more than just seen—they were meant to be experienced, challenging viewers to see the world in a new way.

Matthias, Meg. “Abolitionism | European and American Social Movement.” Encyclopædia Britannica, 8 Feb. 2019, www.britannica.com/topic/abolitionism-European-and-American-social-movement. Accessed 12 Apr. 2024.

“Wes Wilson.” Wikipedia, 16 Feb. 2020, en.wikipedia.org/wiki/Wes_Wilson. Accessed 10 Apr. 2024.

Wilson, Wes. “About Wes.” Www.Wes-Wilson.com, www.wes-wilson.com/about-wes.html. Accessed 12 Apr. 2024.

April Greiman

April Greiman, was a pioneering figure in graphic design during the late 1970s and 1980s. Her work, identifiable by its innovative use of digital technology and a distinct visual language, reflected and influenced the design landscape during a period of rapid technological change and cultural reform.

The 1970s and 1980s were marked by significant technological advancements, particularly in regards to personal computing and digital media. This period saw the emergence of desktop publishing, the rise of the Apple Macintosh, and the increasing accessibility of digital tools for designers. Greiman was at the forefront of incorporating these new technologies into her work, helping to establish the era of digital design.

The late 70s and 80s were also a time of eclecticism and postmodernism in art and design. This period moved away from the strict structures of modernism, embracing a more experimental and eclectic approach that combined different styles and influences. Greiman's work represents this shift with its bold use of colour, layering, and typography, challenging traditional design conventions.

The social landscape of the 1970s and 1980s was one of increasing diversity and change. The feminist movement gained further momentum, advocating for gender equality and questioning traditional roles of women in society and the workplace. As a prominent female designer in a male-dominated field, Greiman's success and visibility contributed to changing perceptions about women in the design industry.

The 1970s and 80s saw the rise of the information age, with an emphasis on visual communication and media proliferation. Greiman's designs often explored this information-rich environment, using layered images and text to create complex, dynamic compositions that illustrated the complexity and interconnectedness of modern life.

The 1980s, under the leadership of figures like Ronald Reagan in the United States and Margaret Thatcher in the UK, saw a shift towards conservative economic policies and a focus on free-market capitalism. At the same time, there were significant movements for social justice, environmentalism, and anti-nuclear activism.

Greiman's work, while not overtly political, embodied the spirit of innovation and change of the  progressive movements of the time. Her embrace of new technologies and her boundary-pushing designs can be seen as a response to and a reflection of the era's broader currents of transformation and experimentation.

April Greiman was influenced by a range of sources, including the early pioneers of digital and computer art, the postmodern art movement, and the New Wave design movement. She studied under Armin Hofmann and Wolfgang Weingart, who were key figures in Swiss design and typography, which inspired her approach to design.

Greiman’s work merged different media, blending photography, video, and computer graphics to create a unique visual language. This interdisciplinary approach was revolutionary at a time when graphic design was still largely print-focused. Her famous piece, "Does It Make Sense?" published in *Design Quarterly* in 1986, showcases her innovative use of technology and multimedia. It was a fold-out poster that combined digital imagery and text, challenging traditional notions of design and layout.

April Greiman aimed to push the boundaries of what was possible in graphic design, exploring the potential of digital tools to create new forms of visual communication. Her work communicated the excitement and potential of the digital age, inspiring a generation of designers to embrace new technologies and techniques.

Greiman sought to change the perception of graphic design from a purely functional craft to a more artistic and experimental practice. By integrating digital tools and embracing a postmodern aesthetic, she helped to redefine the role of the graphic designer and expand the possibilities of the field.

“April Greiman.” Wikipedia, 31 Jan. 2020, en.wikipedia.org/wiki/April_Greiman. 

Accessed 12 Apr. 2024.

“About | Aprilgreiman.” Www.aprilgreiman.com, www.aprilgreiman.com/about. 

Accessed 11 May 2024.

Reflection 

I attempted to reference the postmodern style by layering textures, different shapes or forms and utilising a minimal colour palette. I placed the text in unconventional ways to create visual interest. Changing the visual weight of different words created a visual hierarchy in an otherwise chaotic layout.