Pantone by Pantone LLC

Author:Pantone LLC
Language: eng
Format: epub
Publisher: Chronicle Books LLC

Left: Martini date unknown

Right: Panton classic chair 1959–1960, designed by Verner Panton, manufactured by Vitra

Left: “Black Models Take Center Stage,” cover of Life magazine 1969

Right: Pantone Swatches (top to bottom) Chestnut 19-1118; Jet Set 19-5708; Silver Cloud 15-4502; Cloud Dancer 11-4201; Fiesta 17-1564; Ecru Olive 17-0836

Psychedelia

“Turn on, tune in, drop out” was Timothy Leary’s 1966 admonition to anyone who would listen. LSD had propelled him into selfexploration, enlightenment, and (of course) intense pleasure, and he was eager to share what he’d learned.

Tie-dye-wearing “flower children” around the world followed his instructions, and a psychedelic era of vibrating colors and optical effects bloomed. References to acid trips laced many hit songs, including the Beatles’ “Lucy in the Sky with Diamonds,” the Doors’ “People Are Strange,” and Jefferson Airplane’s “White Rabbit,” all released in 1967. That same year, Peter Fonda starred in a film written by Jack Nicholson called The Trip, about a firsttimer’s LSD experience.

Album covers and concert posters frequently emulated the LSD experience with frenetic collages, undulating type, and hallucinogenic color. Graphic designer Wes Wilson created a sensation with his delirious work for San Francisco’s Fillmore Auditorium, a mecca for rock fans everywhere. Peter Max’s pulsating style leavened the madness with a little charm. Even photographer Richard Avedon contributed to the craze with a beautiful quartet of manipulated portraits of John, Paul, George, and Ringo.

Psychedelic drugs were integral to San Francisco’s legendary Summer of Love, as well. Young people flocked to the Haight- Ashbury neighborhood to experiment with communal living and free love, to wear what they pleased and stay high as long as they wanted. After the legendary Woodstock Music Festival of 1969, the hippie movement had a hangover, and psychedelia started its descent into the headshops and counterculture cafés of big cities.

Whether used as a tool for heightened self-awareness or just a plain old good time, LSD’s visual effects were loaded with saturated color. Aubergine, violet, and fuchsia competed for attention in dilated pupils. Peridot green and sunshine yellow were naturally unnatural. Indigo, blue, and orange were the unstable foundation of the psychedelic experience.

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