Here at the 60 decade of, works by artists such as Rick Griffin, Alton Kelley, and Stanley Miller, aka Mouse, defined the aesthetics of the nascent rock of San Francisco.
These creatives combined elements of pop art with art nouveau y art deco to create fully commercial product graphic elements are innovative.
The goal of these artists was rescue forgotten styles and present them in a totally different way.
The end result was innovative creations, with fanciful letters that are difficult to read for those who were not immersed in this world. There were humorous winks and, somehow, they fit in with the exploratory spirit of the groups, spurred on by LSD and other substances.
Alton Kelly, poster and t-shirt illustrator, He was one of the great people in charge of the graphic explosion that accompanied the appearance of acid rock in San Francisco.
Kelley's career began when he began painting in motorcycle yards and little by little he made a name for himself.
Turns out it didn't take long for this one to become part of Family dog, a collective that mounted the first rock concerts in San Francisco, which were held in union halls.
Un essential element of those events were the posters, which were placed on any available surface and ripped off immediately, so Kelley came up with some really bold posters for Family Dog.
Kelley teamed up with another artist, Stanley Miller to found Mouse studios, an innovative poster producer.
It was thanks to Miller's vision that his company was able to perfecting the psychedelic aesthetic before it existed.
In San Francisco, he became one of the top five designers of psychedelic rock art posters, flawlessly finding and manipulating images from the public domain that gave the genre its signature look.
Mouse's eclectic work spanned many mediums and decades of pop influence, which is why his work continues to be admired to this day.
The same thing happened with the work of Rick Griffin, which has to its credit some of the best-known posters of the 60s.
The also surfer, who found inspiration in this activity, became an icon because mixed Native American elements and psychedelic elements like nobody else.
At that time artists of the stature of Jimi Hendrix and The Doors were looking for Griffin to make their posters, because they knew they would be a success.
Although the boom of psychedelic posters ended with the 60s, the reputation (and talent) of these artists has remained to this day, thus forming an important part of history.
