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Stunning Psychedelic & Trippy Art: The Story That Will Make You Trip

April 18, 2021 by Displate Artists Team in  Art Styles

Ask anyone with only a fleeting familiarity with the 1960s imagery what they know about the visual style of the era, and it’s a solid bet one thing will be top of mind: psychedelic art . Curly lettering, trippy colors, and meandering borders defined the vibrant aesthetic of the time and have left an indelible mark on the popular imagination. But where did the 1960s psychedelic look come from? 

If you are a fan of psychedelic art or psychedelia, want to learn about the surprising origin of psychedelic posters, or simply see a list of trippy art, your pals at displate have you covered.

Coming up in this righteous article…

You’ll discover everything you’ve always wanted to know about psychedelic artwork, including:

• The brief but crazy history of the psychedelic art movement
• 15 fun facts about psychedelic art (you don’t already know)
• Where you can find the best psychedelic posters, trippy posters, hippie posters , and 60s posters on the internet.

Now check this out!…

As you read along, we’ll also treat your eyeballs to an amazing stream of psychedelic artworks featured here on Displate.

Are you ready to hear a cool story about psychedelic art posters that’ll stimulate your mind and visually entertain you?

Then slap on you groovy goggles and look below because here we go!

The Brief But Crazy History Of The Psychedelic Art Movement

Art nouveau on acid.

The ’60s psychedelic aesthetic owes a lot to the celebrated art movement that started almost a century earlier, and went by many different names: Jugendstil, Tiffany Style, Glasgow Style, Sezessionstil, but today is most commonly referred to as art nouveau , or ‘new art’ in French. Known for the use of long organic lines, feminine figures, and asymmetrical curves, art nouveau was a response to the radical changes caused by the rapid urban growth and technological advances that followed the Industrial Revolution. 

Although the artists of the 1960s rebelled not so much against industrialization as the military-industrial complex, they looked back to art nouveau as an alternative to mainstream design. As a result, they borrowed some elements typical of the style and gave them a trippy makeover, most notably by employing a radically different color palette.

Instead of soft pastels, ’60s psychedelic aesthetic favored intense, high-contrast colors said to make your eyes vibrate, a reference to the visual experience of an LSD trip . Similarly, edge-to-edge design of psychedelic drawings and illustrations was supposed to emulate the experience of an acid high, and the mind-expanding state that the use of this drug induced.

Sometimes the graphic artists of the ’60s would even go as far as copying images from art nouveau posters. However, they always embellished them with jarring color combinations and distorted lettering, giving them that unmistakable ’60s look.

1960s Psychedelic Poster Craze

In 1965, a young, twenty-five year old artist by the name of Stanley Mouse moved out to California with a group of his friends from art school.

Upon his arrival in the sunshine state, Mouse quickly befriended another artist there, Alton Kelley, who at the time was living in a hippie commune called The Family Dog .

Since it was already being used as a community home, the artists living there decided to turn The Family Dog house into an occasional underground rock music venue and dance hall, too.

By doing so, they gained a lot of local hype.

Soon, the Family Dog became an exciting go-to hotspot for the youth and young adults living in the Haight-Ashbury district of San Francisco.

With all the attention the hippie artists were getting, it also wasn’t long before an up and coming concert promoter by the name of Chet Helms discovered all of the fun taking place in the flower child community.

Free love, mind-bending trips, and the sweet sounds of rock and roll was all the rage…

Everyone was having a good ol’ fashioned far out time.

It wasn’t the partying at The Family Dog house that attracted Helms.

Instead, it was his artistic vision and wild business plan…

By combining his experience in music production with The Family Dog’s young existing audience — and putting in a little hard work — Helms firmly believed he could find a better way to publicize the live entertainment programs he’d seen them put on for the youth of the city.

Excited by the thought of creating bigger festivals for them, Helms quickly established a friendly connection with the free-spirited group of artists living in The Family Dog house.

As more and more friendships blossomed, eventually, Helms moved in to live with them.

Within a few months, Helms assumed leadership of the group and finally formed a production company by himself called the Family Dog Productions in 1966.

Then, later in the same year, the ambitious impresario secured leases on a couple of venues and began to advertise local live rock concerts at the Fillmore Auditorium and Avalon Ballroom.

Everything was going according to plan, but Chet Helms, once again, saw greater potential in his partnership with the artists from The Family Dog’s tight knit community.

To help massively spread the word around town about the organized events, Helms wisely hired a handful of graphic artists to create a series of eye-catching promotional posters for the shows.

Aside from enlisting Stanley Mouse and Alton Kelley , his pals from The Family Dog, the other three artists that Helms later hired on commission included Rick Griffin, Victor Moscoso , and Wes Wilson.

Although the hippie bunch had no way of knowing it yet…

The things they would soon accomplish together would impact the lives of millions of people all across the globe and change the world forever.

Over the next couple of years…

The prominent group of hippie artists teamed up to design the most iconic and influential psychedelic posters of all time.

In fact, the psychedelic style they invented quickly proved to fulfill much more than they could’ve ever imagined.

For example:

• Their enticing trippy posters and psychedelic designs compelled over 100,000 people to flock to California in 1967 to explore the area’s famed music concerts and bohemian subculture — a social phenomenon that is now known as the Summer of Love. 
• The eclectic group’s trippy art also became the cover artwork of many legendary musicians’ vinyl record albums, giving music fans an extra way to perceive a song’s sounds and lyrics.
• Above all else, the psychedelic posters they designed acted as a fuel to the growing counterculture and political revolutions of the 1960’s that rippled throughout the world.

Shockingly, the hand selected group of five artists that Chet Helms initially hired to promote music concerts — now famously known as the Big Five poster artists — had become the people responsible for sparking the Psychedelic Art movement that flourished from 1966 to 1972.

In a countless number of ways, the effects of their psychedelic posters still permeate our modern culture today.

15 Facts About Psychedelic Art

1. Before the word became popularized in the art scene of the 1960’s, the term “psychedelic” was first coined in 1957 by a psychiatrist, Osmond Humphrey. He created the term using the Greek words psyche (mind) and delos (make visible) — hence all of the vivid imagery you see in psychedelic artworks !

2. Psychedelic art was heavily influenced by art nouveau as you’ve already learned. However, you may not realize that the style of psychedelic design also drew from other established design traditions, such as comic books and surrealism.

3. Traces of pop art and optical art can be found in the color juxtapositions and elusory geometric lines that are common characteristics of psychedelic art.

4. Wes Wilson, one of the Big Five poster artists, is acknowledged as the Father of Rock Posters and he’s also given credit as the person who invented the psychedelic font.

5. While 60’s psychedelic art was mostly a male-dominated scene, Bonnie MacLean’s deservingly shares a big part of the spotlight with her classic psychedelic rock posters.

6. Marije Koger, nicknamed the Mother of Psychedelic Art, is another important female leader from 60’s psychedelic art scene and is best known for her album cover artworks for the Beatles.

7. Many of the Big Five artists continued to work together and produced psychedelic artwork in a series of underground comic books called Underground Comix.

8. The history of psychedelic design reached its zenith in the late 1960s when the Big Five poster artists formed their own psychedelic poster art company known as the Berkeley Bonaparte Distribution Agency.

9. In the 1970’s, the United States Postal Service commissioned artist Peter Max to create a real postage stamp that featured rainbow colors and a conspicuous psychedelic aesthetic.

10. The psychedelic paintings by Mati Klarwein in the 60’s and 70’s heavily shaped the future landscape for album cover artwork.

11. Salvador Dali included psychedelic elements in many of his paintings that strangely pre-date the Psychedelic era. (Hmmm!)

12. Another important figure in psychedelic art is Karl Ferris, the pioneer of psychedelic photography who created some of the album covers for legendary musician Jimi Hendrix.

13. Psychedelic colors are typically bright and extremely high in contrast, but the same trippy effects of psychedelia can be observed in black and white psychedelic art , too.

14. Some of today’s leading contemporary psychedelic artists include Alex Grey, Amanda Sage, Chris Dyer, Martina Hoffman, and Cameron Gray.

15. Psychedelic 60’s art was a direct precursor to the evolution and popularity of all of the visionary art you see today.

Psychedelic drawings and illustrations seem to be beautiful and otherworldly, whether or not you’ve ever had a hallucinogenic trip. Or maybe you disagree? Let us know in the comments!

Do you want to see more psychedelic posters and other cool artwork on Displate?

Check out these 4 lists.

• 60’s art 
• Hippie art 
• Psychedelic artworks

Here’s what more you can read on Displate blog:

• The Art Of Things That Don’t Exist
• Master Of Nightmares: Anton Semenov
• The Fresh Eight: April & May

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How to create trippy art: a journey through psychedelic creativity.

Mar 06, 2024

Introduction 

Imagine diving into a world where colors dance and reality bends – welcome to the realm of trippy art. This unique art form, characterized by its vibrant colors, surreal landscapes, and mind-bending patterns, offers more than just visual stimulation; it's a gateway to a deeper, more psychedelic understanding of art. Originating from the swirling, rebellious energy of the 1960s, trippy art has evolved, finding new expressions in the digital age. In this article, we'll explore the fascinating world of psychedelic creativity, from its rich history to practical tips on creating your own trippy masterpieces. For those seeking visual inspiration, the MusaArtGallery offers an eclectic collection of trippy artwork that exemplifies this style's captivating essence. So, let's embark on this colorful journey and unlock the secrets of creating mesmerizing trippy art.

The History of Trippy Art

Trippy art, often synonymous with psychedelic art, traces its origins back to the early 1960s, a time of social upheaval and cultural revolution. The term 'psychedelic' itself, coined by psychiatrist Humphry Osmond, means "mind-manifesting," aptly capturing the essence of this art form. It emerged as a visual counterpart to the psychedelic music and countercultural movements sweeping across the globe.

This period witnessed the rise of iconic figures like the Grateful Dead and Pink Floyd, whose music became intertwined with the visual explosion of colors and patterns that defined trippy art. Artists like Peter Max and Victor Moscoso pushed boundaries with their vivid, often surreal imagery, inspired by the free-spirited ethos of the era. These works weren't just decorative; they were gateways to deeper consciousness and reflections of a generation's quest for meaning and freedom.

As we moved into the 70s and beyond, trippy art didn't fade away; instead, it evolved. It found new life in the digital realm, with artists experimenting with software and 3D modeling to create visuals that were impossible in the physical world. Today, trippy art continues to be a dynamic and evolving form, absorbing influences and utilizing technologies that previous generations could only dream of.

Understanding the Psychedelic Aesthetic 

Trippy art is not just about vibrant colors and swirling patterns; it's an exploration into the depths of perception and consciousness. The psychedelic aesthetic is heavily characterized by an intense kaleidoscope of colors, often clashing or blending in unexpected ways to create a sense of movement and depth. This art form frequently features morphing shapes and symmetrical patterns that play tricks on the eye, inviting viewers to question their perception of reality.

Central to this aesthetic is the concept of synesthesia - a blending of the senses. Just as a psychedelic experience might involve 'seeing' sounds or 'hearing' colors, trippy art often seeks to evoke a multi-sensory experience in the viewer. It's not uncommon for this art to be experienced alongside music, creating a holistic sensory environment that is immersive and transcendental.

Furthermore, trippy art often draws on themes of nature, spirituality, and cosmic imagery. It might depict surreal landscapes that defy the laws of physics, or intricate mandalas that symbolize the universe's interconnectedness. The goal is often to evoke a sense of awe and wonder, to transport the viewer to a space that transcends the ordinary.

Finding Inspiration 

Inspiration for trippy art can come from anywhere - the natural world, dreams, spiritual experiences, or even your daily surroundings. Many artists draw inspiration from their own psychedelic experiences, translating the ineffable aspects of these journeys into visual form. However, you don't need to have a psychedelic experience to create trippy art. Inspiration can also be found in the works of other artists, music, or the exploration of your inner psyche.

Visiting galleries, both physical and online, like Musa Art Gallery, can spark ideas. These spaces often showcase a range of trippy artworks, providing a wealth of visual material to stimulate your creativity. Additionally, engaging with the community of psychedelic artists and enthusiasts can offer new perspectives and ideas.

Keeping an open mind and a curious spirit is key. Trippy art is about exploration and experimentation. Whether you're wandering through nature, listening to a piece of music, or diving into the works of other artists, always be ready to capture the sparks of inspiration that come your way.

Tools and Materials 

The creation of trippy art can be approached through various mediums, each offering its unique texture and possibilities. Traditional artists might gravitate towards canvases, using acrylics or oils to layer vivid colors and create depth. Paints allow for a tactile and hands-on approach, ideal for spontaneous expression and organic forms. Brushes, sponges, and even fingers become tools to blend, dab, and smear, creating ethereal and dreamlike scenes.

For those inclined towards digital mediums, the choices are equally rich. Software like Adobe Photoshop, Illustrator, and digital painting programs like Procreate or Corel Painter open up limitless possibilities. With these, an artist can experiment with colors, shapes, and textures that might be challenging to replicate with physical paints. Digital tools also offer the advantage of undoing changes, making it easier to experiment without fear of making irreversible mistakes.

Hybrid approaches can also be fascinating in trippy art. Artists might start with a traditional sketch or painting, then digitize their work to further enhance and manipulate the image. This blending of old and new techniques is a testament to the evolving nature of psychedelic art.

Creating Your First Piece of Trippy Art 

Embarking on your first trippy art project can be both exciting and daunting. Start by setting a comfortable workspace, whether it's a physical canvas in your studio or a digital tablet. Begin with an idea or concept in mind, but be open to the flow of creativity – sometimes the most striking images come from spontaneous bursts of inspiration.

Sketch out your ideas loosely. In trippy art, symmetry and patterns are often key elements, so consider incorporating these into your design. However, don’t be afraid to break the rules and let your artwork evolve organically . Play with colors boldly; in psychedelic art, more is often more. Vibrant, contrasting colors can create a dynamic, eye-catching effect.

As you work, step back from your piece periodically. This allows you to view the work as a whole and see how different elements interact. Remember, the goal is to create an immersive experience for the viewer, one that captivates and enchants.

Throughout the process, remain patient and open-minded. Creating art is a journey, and like any good trip, it’s about the experience as much as the destination.

Conclusion:

In the vibrant universe of trippy art, we find a dynamic fusion of imagination, color, and boundless creativity. As we've journeyed through the history, techniques, and inspirations behind psychedelic art, it's clear that this genre is more than just an aesthetic; it's a portal to new perspectives and heightened consciousness. Whether you're a budding artist inspired by the works showcased at Musa Art Gallery or a seasoned creator looking to explore new realms, trippy art offers a canvas where the only limit is your imagination. Embrace the journey of creating art that transcends the ordinary, and let your creative spirit soar into the kaleidoscopic skies of psychedelic artistry.

THERY BENJAMIN

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Slideshow: Scientists Analyze Drawings by an Acid-Tripping Artist

The following nine drawings were made a half century ago by an artist under the influence of LSD, or acid, during an experiment designed to investigate the psychedelic drug's effects . The unnamed artist was given two 50-microgram doses of LSD, one 65 minutes after the other, and had access to an activity box full of crayons and pencils. The subject of his art was the assisting doctor who administered the drug. Though records of the identity of the principal researcher have been lost, it was probably a University of California-Irvine psychiatrist, Oscar Janiger. Janiger, known for his LSD research, died in 2001.

"I believe the pictures are from an experiment conducted by the psychiatrist Oscar Janiger starting in 1954 and continuing for seven years, during which time he gave LSD to over 100 professional artists and measured its effects on their artistic output and creative ability. Over 250 drawings and paintings were produced," said Andrew Sewell, a physician at Yale School of Medicine who has done research on psychedelic drugs.

During the experiment, the artist reported how he felt the acid was affecting him as he drew each sketch. To add some modern understanding of how LSD affects the brain to the artist's scrawlings, we reached out to Sewell and a few other psychologists for insight on what was probably going on in the artist's head.

20 minutes in...

Attending doctor's observations: The first drawing is done 20 minutes after the first dose. Patient chooses to start drawing with charcoal.

Artist's Comment: "Condition normal ... no effect from the drug yet."

Analysis: According to Duncan Blewett and Nick Chwelos, psychiatrists who conducted extensive LSD research in the 1950s, symptoms set in sometime between 15 minutes and two hours after taking the drug, and usually after about half an hour.

"The period of waiting for the drug to have an effect is important, since the psychological set which is established at that time can determine much of what follows," they wrote in 1959 in "The Handbook for the Therapeutic Use of LSD." "Boredom on the part of either the subject or therapist must be avoided. The therapist should also aim at preventing the development of a pattern in which the subject is waiting intently for any change which might be ascribed to the drug. Finally, the therapist should be particularly careful to prevent the build-up of apprehension in the subject."

85 minutes in...

Observations: Eighty-five minutes after first dose, 20 minutes after second dose. The patient seems euphoric.

Artist's comment: "I can see you clearly, so clearly. This... you... it's all ... I'm having a little trouble controlling this pencil. It seems to want to keep going."

Analysis: Research suggests that "LSD experiences may wildly enhance artists' creative potential without necessarily enhancing the mechanisms needed to harness that creativity toward artistic ends," anthropologist Marlene Dobkin de Rios wrote in her book "LSD, Spirituality and the Creative Process" (Park Street Press, 2003).

In other words, artistic technique doesn't necessarily keep pace with the flow of ideas during an acid trip. But practice can help. "With practice, most of Janinger's artists became adept at working under its influence," said Sewell.

2.5 hours in...

Observations: Two hours, 30 minutes after first dose, 85 minutes after second dose. The patient appears very focused on the business of drawing.

Artist's comment: "Outlines seem normal, but very vivid everything is changing color. My hand must follow the bold sweep of the lines. I feel as if my consciousness is situated in the part of my body that's now active my hand, my elbow... my tongue."

Analysis: "Janiger believed that LSD favored the prepared mind and that formal artist training would be the best preparation to handle the creative explosion that came from LSD use," Sewell told Life's Little Mysteries. "He ultimately concluded that the art was no better or worse, but it was different. LSD is not a creativity tool, nor does it unlock creativity. Rather, it makes accessible parts of the individual not normally available.

"People who are already artists or craftsmen when they take LSD benefit from it, but uncreative people are not suddenly made so. He also concluded that although LSD could be a powerful instrument to free the artist from conceptual ruts, it did little to facilitate the development of technique."

2 hours & 32 minutes in...

Observations: Two hours, 32 minutes after first dose. The patient seems gripped by his pad of paper.

Artist's comment: "I'm trying another drawing. The outlines of the model are normal, but now those of my drawing are not. The outline of my hand is going weird, too. It's not a very good drawing, is it? I give up I'll try again ..."

Analysis: When under the influence of LSD, "some people describe a kind of frustration with language or art that does not allow for a 3-D experience ," Erika Dyck, medical historian and author of the book "Psychedelic Psychiatry" (Johns Hopkins University Press, 2008), told Life's Little Mysteries.

2 hours & 35 minutes in...

Observations: Two hours, 35 minutes after first dose. The patient follows quickly with another drawing. Upon completing it, he starts laughing, then becomes startled by something on the floor.

Artist's comment: "I'll do a drawing in one flourish ... without stopping ... one line, no break!'

Analysis: "Paintings produced under the influence of LSD tend to have the following characteristics," Sewell said. "The artist's work tends to fill all available space and resists being contained within its borders; alternately, figures may shrink or become embedded in a matrix. Figure and ground becomes a continuum, with less differentiation between object and subject. The object is in continuous movement, with greater vibrancy and motion. There is greater intensity of color and light. There is an elimination of detail and extraneous elements. Objects may be depicted symbolically or as abstractions. They may also become more fragmented, disorganized, and distorted."

2 hours & 45 minutes in...

Observations: Two hours, 45 minutes after first dose. The patient tries to climb into the activity box, and is generally agitated responds slowly to the suggestion that he might like to draw some more. He has become largely nonverbal. Patient mumbles inaudibly to a tune (sounds like "Thanks for the Memory"). He changes medium to tempera.

Artist's comment: "I am ... everything is ... changed ... They're calling ... your face ... interwoven ... who is..."

Analysis: "Common reactions to LSD include a retreat into often less verbal forms of communication, more abstract ideas," Dyck said, "or, at the very least, ideas that are difficult to describe or even paint in a conventional way."

4 hours & 25 minutes in...

Observations: Four hours, 25 minutes after the first dose. The patient retreated to the bunk, spending approximately two hours lying, waving his hands in the air. His return to the activity box is sudden and deliberate, changing media to pen and watercolor. He makes the last half-a-dozen strokes of the drawing while running back and forth across the room.

Artist's comment: "This will be the best drawing, like the first one, only better. If I'm not careful I'll lose control of my movements, but I won't, because I know, I know." [Repeats "I know" several more times.]

Analysis: A group of Italian scientists led by G. Tonini also investigated LSD-influenced art making. "When done under the influence of these drugs, [the art] reflected psychopathological manifestations markedly similar to those observed in schizophrenia," Tonini wrote in 1955.

5 hours & 45 minutes in...

Observations: Five hours, 45 minutes after the first dose. The patient continues to move about the room, intersecting the space in complex variations. It's an hour and a half before he settles down to draw again he appears to be over the effects of the drug.

Artist's comment: "I can feel my knees again; I think it's starting to wear off. This is a pretty good drawing this pencil is mighty hard to hold." (He is holding a crayon.)

Analysis: "LSD can give people a different perspective than the one they usually have," Sewell said. "What they do with that is up to them. It is not a 'creativity pill.' The best analogy is travel. It can broaden the mind ... or not. It depends where you go and what you do there."

8 hours in...

Observations: Eight hours after the first dose. The patient sits on the bunk bed. He reports that the intoxication has worn off except for the occasional distorting of our faces. We ask for a final drawing, which he performs with little enthusiasm.

Artist's comment: "I have nothing to say about this last drawing. It is bad and uninteresting. I want to go home now."

Analysis: In a later interview, Janiger said that after the artists in his studies were done tripping, "99 percent expressed the notion that this was an extraordinary, valuable tool for learning about art and the way one learns about painting or drawing. Almost all personally agreed they would take it again."

"In 1971, Carl Hertzel, a professor of art history at Pitzer College in Claremont, undertook a stylistic assessment of the artwork, which was published by the Lang Art Gallery also in 1971," Sewell said. "In 1986, 25 of the original artists participated in an exhibit called, 'The Enchanted Loom: LSD and Creativity' in which they commented on their own artwork, mostly positively."

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Natalie Wolchover was a staff writer for Live Science from 2010 to 2012 and is currently a senior physics writer and editor for Quanta Magazine. She holds a bachelor's degree in physics from Tufts University and has studied physics at the University of California, Berkeley. Along with the staff of Quanta, Wolchover won the 2022 Pulitzer Prize for explanatory writing for her work on the building of the James Webb Space Telescope. Her work has also appeared in the The Best American Science and Nature Writing and The Best Writing on Mathematics, Nature, The New Yorker and Popular Science. She was the 2016 winner of the  Evert Clark/Seth Payne Award, an annual prize for young science journalists, as well as the winner of the 2017 Science Communication Award for the American Institute of Physics. 

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Down the wormhole

Albert hofmann’s legendary first acid trip: illustrator brian blomerth offers his psychedelic interpretation.

On 16th April 1943, the Swiss chemist Albert Hofmann accidentally ingested an experimental dose of a new compound known as Lysergic acid diethylamide, aka LSD.

He would later recall how the ensuing hours spent lying on his bed were characterised by, “an extremely stimulated imagination” through which he “perceived an uninterrupted stream of fantastic pictures, extraordinary shapes with intense, kaleidoscopic play of colours”. Three days later, he intentionally ingested 250 micrograms, and as he cycled home from his lab, the drug kicked in and Hofmann experienced the world’s first intentional acid trip.

76 years on, you’d be hard-pressed to find an artist more suited to detailing Hofmann’s trip than Brooklyn-based cartoonist Brian Blomerth. Through his surreal and psychedelic illustrations, Blomerth’s debut graphic novel, titled Brian Blomerth’s Bicycle Day , drops in on Albert Hoffman’s iconic acid experience and retells it in unique form. Combining the nostalgia of science textbooks with an experimental children’s book, the vintage-looking paperback is filled with pen drawings, digital overlays, and collage, bringing to life Hofmann’s altered reality and taking us along for the ride.

Clementine Zawadzki: It’s wild to think this happened in 1943. What impression did you get of Albert from his story? Brian Blomerth: I really came to love all things related to Albert Hofmann through doing this book. From all I’ve read, he stayed curious and interested in a variety of topics throughout his life. He really wanted LSD to be researched and studied fully, and had some ideas that are only now being explored though proper psychedelic research studies. He loved nature and he loved his family… I tried to paint him in the best light possible, and well, he made that easy.

CZ: Was creating a book always on your wish list? BB: I wanted to do a biography of somebody, because there are a lot of things that make a biography pretty funny. I was watching a documentary on LSD and it started with Albert saying, “The first acid trip was like a nightmare for me,” so I was pretty interested in that. I thought it was a pretty noble, weird, important story, so I decided to go for it. Ultimately, I would like it to be fitting for him or just a nice addition to his memory.

There is a card you can cut out to donate to MAPS (Multidisciplinary Association for Psychedelic Studies) which is a great non-profit for legalising and investing in legitimate Psychedelic Research. They also translated and released Hofmann’s book, LSD: My Problem Child into English and with that being the main basis for most of this book, I owed them. Also, they do great work, and if I can get a couple of people to donate to them with my one shot at a book… well, I’ve done something right for the universe. I also included a little spiel on the Hefter Research Institute, they are also a great group with similar aims.

CZ: What visual works or artists inspire you? BB: For this book, I really wanted it to feel like a children’s book both in format and design. A lot of the visual ideas are from books I remember reading as a child that I have no idea who the illustrators are or what the books are even named. I wanted to reach back and pull visual tropes that are sort of half-remembered. Obviously, Richard Scarry was a big influence for this one, with the Swiss connection. Carl Barks and Suihō Tagawa are always on my mind. The whole “funny animal” canon is a strange world I would be happy dancing in for my whole life if I could help it.

CZ: There’s definitely synergy between the story and your style of illustration. How did you work out how much of yourself to put into it given it’s Albert’s experience? BB: This one was different because I made an outline for the first time ever, and due to it being historical, I basically went through his autobiography and highlighted everything that was interesting or relevant to me. I guess I kind of filtered his biography in a different way than most people treat biographies. For starters, I don’t think most people would be freaking out about what he ate for lunch, and I definitely did. I mean, he loves milk and had it every single day! Basically every chapter has milk involved. Those are the kind of things I really gravitated towards here.

CZ: Did anything else stand out to you? BB: Basically Sandoz [the pharmaceutical company where Hoffman was employed upon making his discovery] was a chemical factory that dabbled in pharmaceuticals, but the pharmaceutical department wasn’t doing so hot, and his boss was this guy, Arthur Stoll. So, there’s three chemists that work there, but they didn’t have a proper ventilation system, so Albert complains a lot in his book that he was constantly getting poisoned, and it’s amazing how many times he mentions it in his book. Also, a detail I didn’t get to slide into the book, because it wasn’t really that important, is it turns out so many Swiss people loved building radios as a hobby. His wife Anita’s brother built radios as a hobby, and so did Paul Hermann Muller [Nobel Prize-winning Swiss chemist]. I don’t know why they’re all building radios, but I love that.

CZ: It’s visually fun and playful, but contextually it’s also honest… BB: Yeah, I think it [aftermath of taking drugs] can go a multitude of ways and it would be wrong if I switched it around and made it all super nice. I tried to make it pretty harsh and egotistically damaging, like he described.

CZ: What is your process when approaching a drawing and was it different for this particular project? BB: You set up rules and guidelines for a project. For this one the goal was, ‘Experimental Children’s Book on Acid.’ That concept informed the book’s structure, influences and visual.Hofmann’s life story obviously guided me, but once you have that, you need a rock to stand on while the wind blows in your face. There are some things, like the dogs as people, or the landscapes, or critters that have always been there, but throwing a little Swiss hat on em’? That was new. Like Hofmann, I want to stay interested and curious and always look for a new hat to throw on an old critter. I kind of viewed the critters as extensions of the landscape or little agents of chaos. I saw some bunnies behind a 7-11 one time and it really struck me that those little freaks were living back there. Seeing a critter and waving at it is the bread and butter of Psychedelia and Children’s books.

  CZ: Albert mentions entering a world seemingly more real than reality. What would your alternate reality look like? BB: That I don’t know about, but it would be really, really off-putting for me to be in a world that resembled my drawings. That sounds like a real panic attack.

Brian Blomerth’s Bicycle Day is published by Anthology Editions and available for purchase  here .

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May 19, 2023

Featured article, tripping through time: psychedelic art throughout the ages.

Art has been a key part of human expression since long before our ancestors discovered language, mathematics, or even the civilization-altering wheel. And humanity has been consuming psychedelics for as long as we’ve been creating art (perhaps even longer). In fact, some argue that psychedelic substances are nearly as essential as fire to the development of our species. Psychedelics–in the form of psilocybin ( aka magic mushrooms ), ergot fungus ( the fungi from which LSD was synthesized), 5-MeO-DMT (found in toad venom), the famous ayahuasca brew, and ibogaine –have been essential parts of various cultures for thousands of years. ( 1 ) It doesn’t take much of a logical leap to see how psychedelics have influenced human art. In the modern era alone, we have the explosion of the “psychedelic art” genre of the 1960s and onwards. Today, famed founder of the Chapel of Sacred Mirrors, Alex Grey , and other lesser-known (but profoundly talented) artists such as Snowflake Vyrostek of Snowzilla Arts , are creating stunning pieces all influenced by psychedelics. From ancient times to the present, psychedelics have inspired visual artists, been the muses of famous poets, and even inspired some of our favorite superheroes .

Algerian Cave Paintings: Ancient Hallucinogenic Imagery in the Sahara (c. 9000 BCE)

Tassili mushroom man | Commons.wikimedia.org

The Tassili n’Ajjer plateau in southeastern Algeria is home to a vast collection of prehistoric rock art, with some pieces dating back as far as 9000 BCE. Among these ancient works, several examples of paintings appear to depict the use of hallucinogenic mushrooms, specifically psilocybin-containing species. These paintings portray human figures with what appear to be mushrooms sprouting from their bodies or held in their hands, suggesting a connection between the consumption of these substances and the religious or spiritual experiences of the artists who created these works. ( 2 )

Selva Pascuala Cave Paintings: Magic Mushrooms of Prehistoric Spain (c. 6000 BCE)

In the Selva Pascuala cave, located in eastern Spain, researchers have discovered a series of prehistoric paintings believed to depict psilocybin mushrooms. These paintings date back to approximately 6000 BCE and show what appears to be a group of mushroom-like objects with wavy stems and rounded caps, a characteristic shape associated with Psilocybe mushrooms. While the interpretation of these paintings is still debated, the presence of these mushroom-like figures suggests a possible link between the prehistoric artists and the use of psychedelic substances in ancient rituals or ceremonies. ( 3 )

Mayan Mushroom Stones: Ancient Testaments to Ritual Psychedelic Use (c. 1000 BCE to 900 CE)

Psilocybe Mushrooms statues | commons.wikimedia.org

The Mayan civilization flourished in Mesoamerica between 2000 BCE and 1500 CE and is well-known for its sophisticated art, architecture, and spiritual practices. One of the most intriguing group of artifacts left behind by the Mayans are the so-called “mushroom stones.” These small, carved stone sculptures depict mushrooms with human or animal faces, often with intricate detail. The exact purpose of these artifacts remains a mystery, but some scholars believe they were used in religious or ritual contexts involving the consumption of hallucinogenic mushrooms. ( 4 )

Hieronymus Bosch’s “The Garden of Earthly Delights”: A Renaissance Vision of Psychedelics (c. 1490-1510)

The Garden of Earthly Delights by Bosch High Resolution | commons.wikimedia.org

Dutch painter Hieronymus Bosch’s iconic triptych, “The Garden of Earthly Delights,” is an enigmatic work of art that has captivated viewers for centuries. While not explicitly depicting psychedelic substances, the painting is filled with strange and surreal imagery that some art historians believe was inspired by the artist’s experiences with hallucinogenic plants or fungi . The central panel of the triptych portrays a chaotic, otherworldly landscape populated by bizarre creatures and sinners engaged in various acts of debauchery, suggesting a nightmarish vision of a drug-induced state ( aka a bad trip ). ( 5 )

Psychedelic Art of the 1960s and 1970s: Visions of Counterculture

A funk band in comics style | commons.wikimedia.org

The 1960s and 1970s saw the rise of the counterculture movement, which embraced the use of psychedelic substances as a means of personal growth and self-discovery. This period also gave birth to a new genre of art known as “psychedelic art,” which sought to visually represent the mind-expanding experiences associated with using substances like LSD and psilocybin. Artists like Peter Max and Wes Wilson created colorful, swirling, and highly stylized images that captured the essence of the psychedelic experience, leaving an indelible mark on the era’s visual culture. ( 6 )

Psychedelics and Their Continued Influence on Human Creativity and Artistic Expression

From ancient Mayan rituals to modern visionary art, psychedelic substances have long been intertwined with the human experience of creativity and artistic expression. This scant handful of examples, spanning thousands of years and various cultures, demonstrates the profound impact that psychedelics have had on the development of art throughout history. While we’ve only highlighted a few noteworthy cases, there are an unknown number of additional examples. Surely thousands of artists take inspiration from the weird, wonderland of mystical experiences they’ve had while under the guiding influence of psychedelics. The profound impact of psychedelic substances on human creativity fascinates scholars and scientists worldwide. Research has shown that using substances like LSD and psilocybin can lead to increased creative problem-solving, enhanced visual and auditory perception, and a greater sense of connection to the world around us. These altered states of consciousness enable individuals to break free from traditional thought patterns and access new ways of perceiving and understanding our world–ultimately inspiring creative works that might not have otherwise been possible. ( 7 , 8 ) As we strive better to understand the complex relationship between psychedelics and artistic expression, it becomes increasingly evident that these substances have played, and will continue to play, a vital role in shaping the landscape of the human experience. ( 9 , 10 )

This material is not intended as a replacement or substitute for any legal or medical advice. Always consult a medical professional about your health needs. Psychedelics are widely illegal in the United States, and readers should always be informed about local, state, and federal regulations regarding psychedelics or other drugs.

• Rodríguez Arce, J. M., & Winkelman, M. J. (2021). Psychedelics, Sociality, and Human Evolution. Frontiers in Psychology, 12. Retrieved from, https://doi.org/10.3389/fpsyg.2021.729425 . 
• Samorini, G. (1992). The oldest representations of hallucinogenic mushrooms in the world (Sahara Desert, 9000-7000 BP). Integration, 2(3), 69-78. Retrieved from, https://www.academia.edu/79946409/The_oldest_representations_of_hallucinogenic_mushrooms_in_the_world_Sahara_Desert_9000_7000_BP_ .
• Akers, B. P., Ruiz, J. F., Piper, A., & Ruck, C. A. (2011). A prehistoric mural in Spain depicting neurotropic Psilocybe mushrooms? Economic Botany, 65(2), 121-128. Retrieved from, https://link.springer.com/article/10.1007/s12231-011-9152-5 . 
• Lowy, B. (1971). New records of mushroom stones from Guatemala. Mycologia, 63(5), 983–993. Retrieved from, https://pubmed.ncbi.nlm.nih.gov/5165831/ . 
• Fraenger, W. (1951). Hieronymus Bosch: The Millenium of the Earthly Paradise. Pantheon Books. Retrieved from, https://www.jstor.org/stable/24706821 . 
• Grey, A. (1990). Sacred Mirrors: The Visionary Art of Alex Grey. Inner Traditions.
• Grinspoon, L., & Bakalar, J. B. (1979). Psychedelic Drugs Reconsidered. Basic Books. Retrieved from, https://www.ojp.gov/ncjrs/virtual-library/abstracts/psychedelic-drugs-reconsidered . 
• Carhart-Harris, R. L., Kaelen, M., Bolstridge, M., Williams, T. M., Williams, L. T., Underwood, R., … & Nutt, D. J. (2016). The paradoxical psychological effects of lysergic acid diethylamide (LSD). Psychological Medicine, 46(7), 1379-1390. Retrieved from, https://pubmed.ncbi.nlm.nih.gov/26847689/ .  
• Frecska, E., Móré, C. E., Vargha, A., & Luna, L. E. (2012). Enhancement of creative expression and entoptic phenomena as after-effects of repeated ayahuasca ceremonies. Journal of Psychoactive Drugs, 44(3), 191-199. Retrieved from, https://pubmed.ncbi.nlm.nih.gov/23061318/ . 
• Sessa, B. (2008). Is it time to revisit the role of psychedelic drugs in enhancing human creativity? Journal of Psychopharmacology, 22(8), 821-827. Retrieved from, https://pubmed.ncbi.nlm.nih.gov/18562421/ .

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They call it acid: a graphic history of the first LSD trip – in pictures

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Brian Blomerth’s graphic novel Bicycle Day tells the story of the psychedelic ride made in 1943 by Swiss chemist Albert Hofmann as he researched the drug LSD

All illustrations: Brian Blomerth

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Trippy Art: A Journey into the Mind-Bending Universe of Surreal Creativity

Jul 29, 2023

By Ahsan Habib

Introduction to Trippy Art

Trippy art has captivated audiences with its mind-bending visuals and surreal creativity. It takes us on a journey into a world where reality and imagination intertwine, challenging our perceptions and expanding our minds. This article will delve into the origins of trippy art, explore its key characteristics, and showcase the impact it has had on popular culture.

The Origins of Trippy Art

Trippy art has its roots in the psychedelic art movement of the 1960s. Inspired by the mind-altering effects of hallucinogenic substances such as LSD, artists sought to depict the vivid and often bizarre experiences they encountered during their trips. These artists aimed to break free from traditional artistic conventions and explore the far reaches of their subconscious minds.

Key Characteristics of Trippy Art

Trippy art is characterized by its vibrant colors, distorted perspectives, and surreal imagery. It often features intricate patterns, organic shapes, and hallucinatory visuals that seem to ripple and pulsate. The use of bold, contrasting colors enhances the psychedelic experience, creating a sense of otherworldliness and transcendence.

Exploring the Psychedelic Art Movement of the 1960s

The psychedelic art movement of the 1960s was a cultural revolution that embraced the exploration of altered states of consciousness. Artists such as Alex Grey, Robert Venosa, and Mati Klarwein emerged as pioneers of this movement, creating visionary artworks that embodied the psychedelic experience. Their paintings and illustrations depicted mystical realms, celestial beings, and intricate mandalas, inviting viewers to embark on a spiritual journey.

Famous Trippy Artists and Their Contributions

Several artists have made significant contributions to the world of trippy art. Salvador Dalí, with his surrealistic masterpieces, pushed the boundaries of reality and challenged the viewer's perception of the world. The works of H.R. Giger, known for his dark and biomechanical creations, have left an indelible mark on the genre. Additionally, the psychedelic art of Rick Griffin and Stanley Mouse became synonymous with the counterculture movement of the 1960s.

Different Mediums Used in Trippy Art

Trippy art is not confined to any particular medium. Artists have explored various forms of expression, including painting, drawing, sculpture, digital art, and even multimedia installations. The medium chosen often enhances the psychedelic experience, with vibrant colors and intricate details coming to life in different ways.

The Impact of Trippy Art on Popular Culture

Trippy art has had a profound impact on popular culture. Its influence can be seen in album covers, concert posters, and music videos, particularly in the realm of psychedelic rock. Bands like Pink Floyd and The Beatles embraced trippy visuals, creating iconic album covers such as "Dark Side of the Moon" and "Sgt. Pepper's Lonely Hearts Club Band." Trippy art has also found its way into movies, fashion, and even interior design, captivating audiences across various artistic mediums.

Contemporary Trippy Artists Pushing the Boundaries

Trippy art continues to evolve and push the boundaries of creativity. Artists like Android Jones and Alex Grey are at the forefront of contemporary trippy art , utilizing technology and digital tools to create immersive and interactive experiences. Their works combine traditional artistic techniques with cutting-edge technology, blurring the lines between the physical and digital realms.

How to Create Your Own Trippy Artwork

Creating your own trippy artwork can be a rewarding and therapeutic experience. Start by experimenting with different mediums and techniques, allowing your imagination to run wild. Embrace the use of vibrant colors, intricate patterns, and distorted perspectives to create a sense of visual stimulation. Don't be afraid to let go of traditional artistic conventions and explore the depths of your subconscious mind.

The Therapeutic Benefits of Trippy Art

Trippy art has been found to have therapeutic benefits for individuals struggling with mental health issues. The immersive and otherworldly nature of trippy artwork can provide a sense of escape and catharsis. Engaging with trippy art can promote mindfulness, reduce anxiety, and enhance creativity. Creating or viewing trippy art can be a form of self-expression and a means of exploring one's own emotions and experiences.

Where to Find and Buy Trippy Artwork

If you're interested in adding trippy artwork to your collection, there are various avenues to explore. Online art marketplaces such as Saatchi Art and Etsy offer a wide range of trippy artwork in different mediums and styles. Local art galleries and exhibitions may also feature trippy art, providing an opportunity to engage with the artists and learn more about their creative processes.

Conclusion: Embracing the Surreal Journey of Trippy Art

Trippy art takes us on a surreal journey into the depths of our imagination. It challenges our perceptions, expands our minds, and invites us to explore the infinite possibilities of creativity. Whether you appreciate the works of famous trippy artists or create your own trippy artwork, embracing this unique genre can be a transformative experience. So, immerse yourself in the mind-bending universe of trippy art and let your imagination run wild.

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22 Insane & Creative Trippy Art Design Examples

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Ready to immerse in a world of new sensations? We’ve gathered 22 creative trippy art design examples to introduce you to the style that plays tricks on your mind.

Even if you are coming across this insane design style just now, trippy art is not completely new to the art stage. We can even say it’s a sequence of the psychedelic movement from several decades ago.

But trippy art design should come with a warning! This style wants to make you feel hallucinative. Body parts that turn into animals, random objects and geometric shapes flying around, eccentric colors, a crazy mixture of styles that follows no particular aesthetical order. There is a lot going on in trippy art design.

If you get dizzy easily, this might not be your style. But if you are a fan of deep, vivid, imaginary experiences, then go ahead and dive into the diversity of trippy art design – we’ve prepared awesome examples to take you on a crazy journey you’ve never imagined!

Example by Sergio Lopes Filho

Example by Ivan Ivanov

Example by ori toor

Example by Lively Scout

Example by Klarens Malluta

Example by Scott Biersack

Example by Roberlan Borges Paresqui

Example by El Dorado

Example by Chloe Jackson

Example by Sam Gilmore

Example by BLACKHOLESTUDIO

Example by Ben Couret

Example by Pavlov Visuals

Is it “your” thing?

Weird, mesmerizing, and completely rebellious – this style is not for everyone. While trippy art design is definitely not the first choice to come to mind when creating mass ad campaigns, product designs, web designs, banners, and other digital designs for a wider audience, it surely finds its place under the sky.

Even more, trippy art design is among the latest graphic design trends for 2023 proving that people are once again ready to break the status quo and take charge of their own desires and wishes. Well, it’s up to each one of us, isn’t it?

So, how do you feel about trippy art design? We’d love to see your thoughts in the comment below.

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Lyudmil Enchev

Lyudmil is an avid movie fan which influences his passion for video editing. You will often see him making animations and video tutorials for GraphicMama. Lyudmil is also passionate for photography, video making, and writing scripts.

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Psychedelic Art – An Exploration of the Psychedelic Aesthetic in Art

Originating in the mid-1960s, Psychedelic Art was a graphic art form that created visual displays inspired by the experience of psychedelic drugs and hallucinations. Also known as psychedelia, artworks created typically featured a full spectrum of vivid colors along with cartoons and animation in order to provoke a type of psychedelic experience when looking at the work. The evolution of Psychedelic Art is considered to be a direct predecessor to the development and subsequent popularity of all imaginative art that is in existence today.

Table of Contents

• 1 What Is Psychedelic Art?
• 2 The History of Psychedelic Art
• 3 Psychedelic Counterculture Art of the 1960s
• 4 Psychedelic Art in Corporate Advertising
• 5 What Are the Characteristics of Psychedelic Art?
• 6.1 Victor Moscoso (Born 1936)
• 6.2 Wes Wilson (1937 – 2020)
• 6.3 Peter Max (Born 1937)
• 6.4 Bonnie MacLean (1939 – 2020)
• 6.5 Stanley “Mouse” Miller (Born 1940)
• 6.6 Rick Griffith (1944 – 1991)
• 6.7 Gary Grimshaw (1946 – 2014)
• 6.8 Alex Gray (Born 1953)
• 7 The Legacy of Psychedelic Art
• 8 Psychedelic Art in the Digital Age

What Is Psychedelic Art?

Psychedelic Art refers to all artistic creations emerging from the late 1960s that attempted to portray the inner world of the psyche through incredibly graphic and visual depictions. In doing so, art that appeared to be recreating experiences and hallucinations that were common after ingesting psychedelic drugs such as LSD and psilocybin were known to be “psychedelic”.

The term “psychedelic” was conceived by British psychologist Humphry Osmond after his extensive work with psychedelic drugs. Osmond stated that the word was used to imply a type of “mind manifesting” that occurred after the consumption of drugs, with his term going on to represent the emotions felt after viewing psychedelic artworks. Psychedelic is also a concept derived from the Ancient Greek words “psychē”, meaning “soul” and “dēloun” which means “to reveal.”

In addition to the experience of viewing Psychedelic Art, the name of the genre made reference to the drugs that were popular within the youth culture at the time of the movement’s peak. Artworks that emphasized incredibly distorted and almost surreal qualities through the use of excessive color were considered to be psychedelic, as they were thought to depict the inner workings of the mind.

Within the Psychedelic Art period, a variety of different creative mediums were taken into account along with artworks. This included rock music, album covers, concert posters, murals, comic books, and liquid light shows to name a few. Despite all belonging to the creative world, these art pieces were connected by their common attempt to create kaleidoscopically swirling patterns of color that evoked LSD-type illusions.

This trippy art informed the idea that modified levels of awareness produced by psychedelic drugs were actually a source of artistic inspiration. Furthermore, the development of Psychedelic Art was thought to be radically progressive, as artworks made touched on many pertinent political, social, and spiritual issues that made up the 1960s era.

The History of Psychedelic Art

The origins of Psychedelic Art are said to relate back to the discovery of LSD by Albert Hofmann in 1943. Hofmann was researching potential derivatives from lysergic acid and began synthesizing LSD, in an attempt to obtain a respiratory and circulatory stimulant that had no repercussions whatsoever on the uterus. After setting the drug aside for a period of time, Hofmann began re-experimenting with the drug and accidentally absorbed a small amount of it, which led to him discovering the potent effects it had.

The development of psychedelics allowed artists and poets to explore, with this new form of trippy art being quickly and fully accepted into art communities. This was because artworks stood for more than just mere visual representations of artists’ hallucinatory experiences, as the artworks experimented with numerous visual styles and corporate advertising techniques synonymous with the 1960s. While many associate Psychedelic Art with drugs and rock music, this art form was present before psychedelic rock even appeared on the music scene.

Psychedelic Art thus supported the notion of creating works that defied traditional limitations associated with formal art, which was something that many artists in previous movements had tried out. Heavily inspired by the previous movement of Art Nouveau , which protested the revolutionary changes associated with the Industrial Revolution, the Psychedelic aesthetic adopted the concept of rebellion within artworks created and disputed the military-industrial complex of the 1960s.

Viewed as an alternative to mainstream design, artists borrowed elements from other styles and included psychedelic patterns and drawings so that it emerged as a completely new form of art. Artworks made using this Psychedelic aesthetic favored intensely contrasting colors that had the ability to make viewers’ eyes vibrate after looking at the work, which was a clear reference to an LSD trip. The frameless technique of psychedelic drawings also imitated the experience and mind-altering state associated with a high.

Artists embraced the emergence of Psychedelic Art, as it existed as one of the first truly liberating movements that gave artists the liberation they craved from traditional art society. Artworks created during this time mirrored the type of freedom that only drugs could provide, which allowed artists the opportunity to openly explore different avenues in order to find their inspiration.

However, this connection between trippy art and hallucinogenic drugs was not always well received, which led to strong criticisms of the art style itself. Some critics thought that artists were simply recreating their own visual experiences of taking drugs, which gave their art very little aesthetic value.

Despite these critiques, some individuals were a lot less judgmental of the psychedelic aesthetic as a whole, which allowed them to identify the association between Psychedelic Art and other iconic genres like Art Nouveau, Op-Art, and Surrealism.

Op-Art proved to be a big influence on the development of Psychedelic Art, as the style achieved significant success through exploiting the principles of optics and illusions, which made artworks appear to be vibrating and moving. Another great influence was the Pop Art movement, which promoted the expanding culture of commodity and created mass reproductions of identical and well-known images. Both of these artistic genres were crucial predecessors to the budding Psychedelic Art scene, as they had a major impact on its style.

The 1960s Psychedelic Art movement made a strong impact on comic book artists at the time, who went on to create an alternative and revolutionary type of comic book art that became known as “Underground Comix.” The creation of comic art also led to the emergence of concert posters and record album covers for bands and artists such as The Who and Jimi Hendrix, with Psychedelic Art being seen as a major influence in the development of these artistic expressions.

Both comic book art and music-related art made use of the iconic traits typically associated with famous Psychedelic works, which were very satirical in nature. Psychedelic Art was described to have a visually captivating quality despite some individuals believing the art to seemingly promote the use of illicit substances. As Psychedelic Art was associated with drug culture, music festivals such as Woodstock became a typical example of the type of psychedelic drawings and posters that were created using this trippy art style.

The early examples of Psychedelic Art were more literary than visual but after movements such as Surrealism, the genre slowly morphed into a more visual medium. With the development of Psychedelic Art picking up as the digital age was further explored, this 1960s aesthetic has gone on to make its mark within popular culture, design, and corporate advertising.

The notion of an altered state of consciousness is essentially what fueled the Psychedelic Art movement, as a variety of visual styles were exploited in order to recreate kaleidoscopic-type hallucinations.

Psychedelic Art went on to influence numerous aspects of popular culture, such as lifestyle, language, literature, philosophy, art, music, and clothing throughout its dominance and is considered to be one of the most visually exploited styles in design.

Psychedelic Counterculture Art of the 1960s

The counterculture movement during the 1960s was an anti-establishment cultural sensation that developed throughout the Western world for approximately 10 years. The movement gained traction during the Civil Rights movement in America and developed in response to the radical expansion of military involvement during the Vietnam War. As thoughts and ideas began to grow in response to increasing experimentation with psychoactive drugs, Psychedelic Art emerged as a major result of counterculture art.

The evolution of 1960s Psychedelic Art addressed concerns relating to the political and social values that became apparent in post-war America. The baby-boom generation was credited with the creation of Psychedelic Art and the broader psychedelic movement that featured in other artistic mediums. This group of individuals began protesting against the cultural values that were upheld by older generations, such as the complete acceptance of segregation, war, and the societal codes of capitalist and materialistic governing America during the 1950s.

Counterculture quickly rejected mainstream culture in favor of establishing a newer and more notable culture. This was done through focusing attention on eastern spirituality and openly exploring recently discovered sexual liberation at the dawn of the 1960s. The contribution of new music genres proved notable to the development of the counterculture era, with psychedelic rock quickly becoming the leading genre of music, accompanied by countless concert posters and album covers rendered in the unique psychedelic illustration style.

The 1960s Psychedelic Art counterculture movement led to the development of the best poster artists to come from this era, which included the works of San Francisco artists Peter Max, Wes Wilson, and Victor Moscoso. These artists, in addition to a host of others, went on to create some of the most important and iconic examples of Psychedelic drawings to emerge from this period of artistic creation. The drawings and illustrations created by these artists thus went on to shape an entirely new generation of emerging musicians and their cover art.

While counterculture was automatically associated with the hippie community of the 1960s and 1970s, it allowed the Psychedelic Art scene to grow and expand until it developed internationally. While San Francisco remained the hub of Psychedelic Art in the 1970s, the style had reached the United Kingdom and began to influence Op-artists who started to include psychedelic designs that created optical illusions in their artworks.

While critics were quick to discard the movement in terms of its aesthetic value, Psychedelic Art was not as insignificant as it was initially made out to be. The movement played a predominant role in the appearance and domination of counterculture throughout this era, which added to its widespread acceptance and subsequent success.

Psychedelic Art in Corporate Advertising

By the time the late 1960s rolled around, the commercial possibilities linked to Psychedelic Art were very difficult to overlook. Corporate advertising during this time typically featured Psychedelic drawings and themes that included a multitude of colors so as to stay relevant with the developing culture at the time. However, a strong divide was made clear between the products and the corporate image, with the psychedelic features often being kept at an arm’s length away from the professional representation to make the distinction clear.

This was done to emphasize that not all companies embraced the features of the new psychedelic era, with a great contrast becoming evident within certain advertisements and the respective businesses. Commercials containing swirls of color to imitate an LSD trip were kept separate from the neutrally structured and businesslike logos of companies to highlight the notion that not every company agreed with the beliefs pertaining to the psychedelic aesthetic.

Despite the mixed emotion attached to the rise of Psychedelic Art, some companies explicitly associated themselves with the aesthetic. Among those companies that seemed to approve of psychedelia within their advertisements were Neiman Marcus, the department store, and the broadcasting companies CBS and NBC, who all ran commercials featuring psychedelic elements between 1968 and 1969.

A more overt reference was made by Campbell’s in 1968, who revealed a poster that read “Turn your wall souper-delic!” to promote their soup. This poster included two individuals dressed in brightly colored clothes that featured swirling and trippy patterns, with vivid psychedelic colors painting the background.

When viewing the advertisement, it became automatically associated with the Psychedelic Art era due to the elements included and demonstrated that some companies had begun to change their mindset in relation to this style.

By the early 1970s, more advertisers had begun to use features of Psychedelic Art in an attempt to sell countless consumer goods. Items like cars, cigarettes, hair products, and pantyhose were subjected to kaleidoscopic acts of mock rebellion in the advertisements made. Through all of the works created by artists, designers, and writers during the era’s development, Psychedelic Art had undergone a great semantic shift and suddenly came to symbolize anything within youth culture that was cool, unique, and incredibly fashionable.

The term “psychedelic” itself underwent a distortion, to the point where multiple companies began jumping on the bandwagon to pitch their products in the most applicable way to their psychedelic-crazed target groups. This led to the Psychedelic Art movement being widely incorporated by mainstream commercial powers by the mid-1970s, which integrated the exact system of capitalism that the hippie movement had fought so tirelessly against to move away from.

Today, the reason that we consider Psychedelic artwork to be so kitschy and garish is due to its intense presence within corporate advertising.

Through the 1960s and 1970s, the concept of Psychedelic Art underwent a great shift in its understanding and marketability, to the point where it morphed from a completely outrageous movement to something that was included in nearly every advertisement seen. The features of Psychedelic Art were edited to fit into consumerist America, which went on to strip the movement of what it originally stood for.

What Are the Characteristics of Psychedelic Art?

Peaking between 1966 and 1972, Psychedelic Art featured many fundamental characteristics that quickly became associated with the style. Most artworks went on to depict a vividly strong color palette typically made up of contrasting colors, along with flamboyant lettering and multicolored swirls. Color juxtaposition became a primary characteristic within Psychedelic Art, as it led to the formation of other optical illusions and somewhat illusive geometric lines.

Other major characteristics that were found within the Psychedelic aesthetic were spirals that seemed kaleidoscopic in nature, concentric circles, paisley patterns, and repetitions of motifs or symbols until a pattern was formed. Collage also formed an important component in Psychedelic Art, as many artworks could also have been incorporated into the collage genre due to their style.

The subject matter used within the 1960s Psychedelic Art genre tended to lean more towards the fantastic, abstract, and surrealist side of artistic expression. Extreme detail was paid to the artworks made, which led to the creation of incredibly innovative and groovy typography and hand-lettering styles. Artists frequently made use of positive and negative spaces within Psychedelic Art, which went on to become another key characteristic of the movement.

The Psychedelic Art movement looked to a variety of other genres and styles for inspiration while it was developing. It is no coincidence that the artworks to emerge from the Psychedelic era reflected elements taken from the Art Nouveau, Victorian Secession, and Surrealist era, as these styles greatly influenced the developing characteristics of Psychedelic Art.

Famous Psychedelic Artists and Their Artworks

The Psychedelic Art movement was a popular style that developed in relation to the counterculture era in America. The era led to many artists practicing and experimenting with this exciting new movement. However, some artists managed to stand out above the rest due to creating unbelievably significant artworks, which we will discuss below.

Victor Moscoso (Born 1936)

Spanish artist Victor Moscoso is a professional graphic designer who is best known for his production of psychedelic rock posters, advertisements, and his involvement in “Underground Comix” in San Francisco throughout the 1960s and 1970s. Moscoso became the first Psychedelic artist to branch into the creation of rock posters, making use of multiple photographic collages in order to create a distinct style. Some of his iconic works include Big Brother and the Holding Company (1967) and The Chambers Brothers (1967).

Moscoso’s professional success as an artist came from his psychedelic rock posters. He quickly borrowed elements from comic books and commercials when creating posters, with his artworks going on to gain international attention at the 1967 “Summer of Love” event.

What makes Moscoso’s works so unique is his use of vibrating colors, influenced by one of his art teachers from Yale University. Moscoso attempts to recreate the experience of a hallucinogenic trip through his color choices and goes on to use vibrant psychedelic colors to achieve the specific Psychedelic aesthetic captured by the movement.

When viewing his works today, a pulsating effect can definitely be felt through the contrasting yet animated colors.

Wes Wilson (1937 – 2020)

Another influential Psychedelic artist who was considered to be the leading designer of psychedelic posters was American artist Wes Wilson. Best known for his conception of the “psychedelic font” around 1966, which made created letters that appeared to be moving and melting, Wilson is also recognized as one of the Big Five poster artists that experimented with Psychedelic Art during its peak. He is also generally thought of as the Father of Rock Posters.

Working alongside the rest of the Big Five poster group, made up of Alton Kelley, Rick Griffin, Victor Moscoso, and Stanley Mouse, Wilson went on to design some of the most iconic posters within the Psychedelic Art movement. Within his artworks, Wilson made use of a signature style that incorporated loud colors, attention-grabbing images, vibrant typography, and free-flowing block lettering . These elements can be seen in his 1966 rock concert posters made for the Grateful Dead, James Cotton, and Moby Grape.

As the best-known designer of psychedelic posters, Wilson created artworks that caused people to stop and stare. His use of block lettering was incredibly difficult to read, with Wilson responding that only those truly embedded within the Psychedelic “tribe” being able to understand it.

His artworks went on to reinforce the idea of community within the Psychedelic era, as his posters acted as a sort of membership entry into the trippy art world that had exploded onto the scene.

Peter Max (Born 1937)

German American artist Peter Max was closely associated with both the Psychedelic Art and Pop Art movement during the 1960s and is regarded as a pop culture icon for his involvement within the art scene. Max is best known for his rainbow-hued prints and paintings, as his unique style incorporated vibrant psychedelic colors with various cosmic characters and whimsical shapes.

Max experimented with a variety of art mediums during the Psychedelic Art era, creating artworks in the form of paintings, posters, art books, clothing, household utensils, and even shoes. The Psychedelic drawings created by Max remain as iconic today as they were when he first unveiled them, as social media platforms like Instagram are making his artworks increasingly accessible to younger audiences who are only discovering Max for the first time now.

Through the use of Psychedelic illustration, Max incorporates a wide spectrum of colors and patterns into his artworks, as demonstrated by Psychedelic Man (1971) and Motion (1983). Max also made use of mass-media symbols and went on to create iconic works featuring well-known individuals, as demonstrated in his 100 Clintons (1993) painting that depicted multiple portraits of President Bill Clinton. Additionally, he also portrayed beloved animation characters in colorful and almost Pop Art-like scenes, as seen in Mickey Mouse Suite (1995).

Bonnie MacLean (1939 – 2020)

An iconic female Psychedelic artist experimenting within the movement was American artist Bonnie MacLean, who was widely known for her vintage psychedelic rock posters. As the 1960s Psychedelic Art scene was mostly male-dominated, MacLean managed to enter the movement and share the spotlight, with her works existing as some of the most important psychedelic poster art of the genre.

MacLean became the main poster creator at San Francisco’s music venue, The Fillmore, when fellow artist Wes Wilson quit and stopped designing posters. In 1967, MacLean went on to create over 30 posters for the venue, with some of her most notable Psychedelic drawings coming from that year. Some of these significant artworks include concert posters made for rock bands The Yardbirds, The Doors, and The Who in 1967.

Her posters are said to be highly valued on the collector’s market, with some having sold for more than $10 000 at a time. MacLean’s posters were typically rendered in a very vivid style and emulated features coming from the Art Nouveau movement. She went on to develop her own style and motifs that appeared in all her posters, such as curved letters, apathetic faces, and detailed plumes.

Some of the iconic rock bands MacLean rendered posters for while at The Fillmore were for Jimi Hendrix, Led Zeppelin, Pink Floyd, Grateful Dead, and Santana.

Stanley “Mouse” Miller (Born 1940)

One of the psychedelic artists considered to be part of the Big Five was American artist Stanley Miller, better known as Stanley Mouse or just Mouse. After arriving in San Francisco following his studies, Miller joined a group called The Family Dog and began producing psychedelic rock posters. His works took great inspiration from the Art Nouveau movement, with Miller making many referenced to the artistic style in his rock posters.

In 1967, Miller collaborated with fellow artists Alton Kelley, Wes Wilson, Rick Griffith, and Victor Moscoso to open up the Berkeley Bonaparte Distribution Agency, which went on to produce psychedelic posters for bands and musicians. Out of all of the works created, Miller is probably best known for his works creating album covers for the Grateful Dead and Journey. An example of his iconic work can be seen in his 1966 design titled Grateful Dead for the band.

Other significant musicians that Miller had the opportunity to create album covers and posters for include Janis Joplin, Jimi Hendrix, The Rolling Stones, and The Beatles. These posters truly cemented Miller’s status as an artist during the Psychedelic era. As time has progressed, Miller’s unique works have been compared to that of advertising numerous times, with some critics believing his artworks and posters to be so flawless that they could actually be used as advertising art.

Rick Griffith (1944 – 1991)

Another leading Psychedelic artist creating posters during the 1960s was American artist Rick Griffith. With his artworks regularly appearing in Zap Comix, issues two to three, five to seven, and eleven to twelve, Griffith was seen as a major contributor to the Underground Comix movement. Griffith’s artworks were also closely associated with the Grateful Dead, as he created many psychedelic illustrations and posters for the band. His most iconic album cover ever made, designed for the Grateful Dead, was their Aoxomoxoa album.

As an in-demand Psychedelic illustrator, Griffith started experimenting with surf-related commercial drawings, which Griffith incorporated into his works. He was also drawn to the emerging counterculture era, with the majority of his artworks, posters, and illustrations exhibiting a revolutionary type of attitude.

Gary Grimshaw (1946 – 2014)

American graphic artist Gary Grimshaw specialized in the designing of rock concert posters solely, working from both Detroit and San Francisco. Grimshaw was considered to be quite a radical political activist, with these notions and themes often being subconsciously hinted at in his artworks. Grimshaw was an active member of the White Panther Party, which emerged as an anti-racist political party during the counterculture era that white people could join to fight the revolution.

When considering his artworks made, Grimshaw cited Stanley Mouse, Victor Moscoso, and Rick Griffith to be his biggest influences. Grimshaw was the poster designer for the Grande Ballroom in Detroit from the mid-1960s, where he went on to create some of the most notable posters for the bands that performed there. These included posters for the Jimi Hendrix Experience , The Who , Cream , Canned Heat , and many others.

Alex Gray (Born 1953)

The final Psychedelic artist that we will be discussing is American visual artist Alex Gray, who is widely known for his psychedelic and spiritual paintings. Gray creates artworks in a multitude of different mediums, such as performance art, installation art , process art, visionary art, sculpture, and painting.

Iconic Alex Gray art pieces include representations of the skeleton, nervous system, lymphatic system, and cardiovascular system in vibrant and glowing psychedelic colors, that give his anatomy renderings new depth entirely. As his Psychedelic art pieces included elements of spirituality, Gray often incorporated chakras, auras, and other important symbols to demonstrate the presence of the spirit in his artworks.

While his artworks appear psychedelic in nature, due to their vibrant colors, groovy symbols, and abstract subject matter, they have a great spiritual influence upon closer inspection. Some of the most notable Alex Gray art pieces, which demonstrate his combination of psychedelic and spiritual elements, are his 1984 painting titled New Man, New Woman , and his 2002 painting called BardoBeing .

The Legacy of Psychedelic Art

During the 1960s, Psychedelic Art was a major art movement that dominated America. Psychedelic Art existed as an incredibly subversive and liberating movement that fell in line with the counterculture campaign it emerged from. The main aim of Psychedelic Art was to highlight the deliberate move away from traditional art and the capitalist culture of America. However, by the time the 1970s started, big corporations began to recognize the commercial potential of the Psychedelic aesthetic, which is what the entire movement stood against.

After this, the rebellious nature associated with Psychedelic Art began to fall away and become more toned down, as the entire movement was drained and assimilated by the cultural industry. Psychedelic Art of the 1970s was more ironic than it was revolutionary, as its infamous kaleidoscopic color palettes and trippy art images were slowly morphed into representing the commodities advertisers were attempting to sell.

Due to this, Psychedelic Art was essentially stripped of its conceptual properties, with its revolutionary potential being severely subdued and hindered. What was once seen as iconic and innovative artworks and concert posters was soon changed into commercials about curtains, tapestry, clothing, furniture, printed artifacts, and other mundane objects.

Thus, the legacy of Psychedelic Art changed dramatically from the 1960s and 1970s, as the entire genre was turned inside out to feed commercial ideals. However, this has slowly begun to change again, with some elements of Psychedelic Art finding their way back into artistic society as a revolutionary medium.

Psychedelic Art in the Digital Age

Psychedelic Art experienced a great revival within the digital age, most notably within the 1990s rave culture. Graphic software began developing at a fast pace, which allowed the digital recreation of psychedelic experiences to become a possibility. Today, nothing stands in the way of artists digitally rendering psychedelic artworks, as unequaled freedom accompanies the ability of image manipulation in the 21 st century.

This digital revolution was coined as the “New LSD” trip that had occurred in society, as computers began to reproduce the hallucinatory experiences of artists just as accurately as artists were to do it themselves. The reintroduction of the rave movement in the 1990s fueled the Psychedelic movement through the development of a new digital style of art that took its inspiration from the 1960s Psychedelic post art .

The emergence of computer art has enabled an even bigger and more copious expression of psychedelic vision in digital artworks that have since been created. The development of two-dimensional and three-dimensional graphics allowed unparalleled freedom to form when it came to digitally rendered versions of Psychedelic Art, as artists seem to be no longer limited by anything. Suddenly, even amateur artists had access to the technology needed to create digital Psychedelic Art, which broadened the accessibility of the movement entirely.

Despite this development, it has been argued that Psychedelia did not need to arrive at such a drastic stage of artistic progression. While changes in society, such as the introduction of drugs such as MDMA, encouraged artists to keep up, the drug culture has gotten a lot more dangerous than it was in the 1960s and 1970s. The introduction of newer drugs and computer art has led the entire Psychedelic Art movement off on a journey that it never intended to go on, with many true Psychedelic artists attempting to restore the genre to its previous glory.

The trippy art style of Psychedelic Art exists as an incredibly interesting movement to learn about. The artworks, with their captivating psychedelic patterns, colors, designs, and subject matter, remain as popular today as they were when they first emerged. Overlapping with the equally fascinating Pop Art movement, Psychedelic Art continues to remain relevant in art history, as many modern artworks and styles continue to borrow features of this iconic genre today.

Take a look at our Trippy Art webstory here!

Isabella studied at the University of Cape Town in South Africa and graduated with a Bachelor of Arts majoring in English Literature & Language and Psychology. Throughout her undergraduate years, she took Art History as an additional subject and absolutely loved it. Building on from her art history knowledge that began in high school, art has always been a particular area of fascination for her. From learning about artworks previously unknown to her, or sharpening her existing understanding of specific works, the ability to continue learning within this interesting sphere excites her greatly.

Her focal points of interest in art history encompass profiling specific artists and art movements, as it is these areas where she is able to really dig deep into the rich narrative of the art world. Additionally, she particularly enjoys exploring the different artistic styles of the 20 th century, as well as the important impact that female artists have had on the development of art history.

Learn more about Isabella Meyer and the Art in Context Team .

Cite this Article

Isabella, Meyer, “Psychedelic Art – An Exploration of the Psychedelic Aesthetic in Art.” Art in Context. June 2, 2021. URL: https://artincontext.org/psychedelic-art/

Meyer, I. (2021, 2 June). Psychedelic Art – An Exploration of the Psychedelic Aesthetic in Art. Art in Context. https://artincontext.org/psychedelic-art/

Meyer, Isabella. “Psychedelic Art – An Exploration of the Psychedelic Aesthetic in Art.” Art in Context , June 2, 2021. https://artincontext.org/psychedelic-art/ .

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