Groovy man

Alton Kelley, the artist best known for his 1960s concert posters for the Grateful Dead, Jimi Hendrix and others, died recently at 67. His warping typefaces, posterized graphics and lush, neo-art-deco style helped bring the psychedelic counterculture in to visual terms and was an obvious influence on his fellow artists and graphic designers.  

And obviously influenced a lot of advertising art directors as well. (That same desire to prove you're "with it" than by your outward appearance resulted in balding, middle-aged men in bell-bottoms and love beads. )

Neutrogena, 1968

KSAN, 1976

And Kelley's influence is probably stronger than ever in today's graphic culture which samples and swipes from everything.  This homage, of course, is a natural:

Roots Revival Society, 2007

But in a way, this earlier usage is even more appropriate:

1977

Comments

Post a Comment

Popular posts from this blog

Not just hyperbole

Image
Maybe you've seen this classic Guinness poster, created back in the '30s and assumed that it was nothing more than silly hyperbole: And you'd be partly right. The idea is actually based on the high iron content of Guinness (probably from the water used), though of course, the benefit of this is exaggerated to an unbelievable extent in the poster above. That didn't stop the image from becoming so iconic that a pint Guinness became known as a "girder." The image also inspired this parody from Heinekin some 40 years later (though its likely that many young drinkers never realized its source), that both fit the idea into its own ad format and made the male sexual subtext even more implicit: (Best not to take any of this too seriously, though. In reality, the pictures in the Heinken ad would have to be reversed.)
Read more

Fly Me Again

Image
We referenced this ad campaign in an earlier post , but it really deserves its own entry. This memorable/notorious American Airlines campaign appeared back in 1971, at the behest of National Airlines'  Lewis Maytag  who sought to modernize the airline and the image of its stewardesses.  (Yes, they were still known as stewardesses back then.) At the time, airline advertising had frequently based their messages on the friendliness and attentiveness of their stewardesses, but previous efforts tended more toward the chauvinistic end of sexism spectrum, treating them more like Ladies Of The Air than ladies of the night: (Despite the caveman ethos of the headline and illustration, if you click on the ad to enlarge it and read the copy, you'll see it's actually about men being so beguiled by their stewardesses that they often took them for wives -- after first mistaking wives for servants, I suppose.) But now, with the sexual revolution and women's liberation in full swing (an
Read more

I wanted to like this ad, I really did

Image
When I first came across it, I (wrongly) assumed it was the work of Doyle Dane Bernbach, using a very minimalist layout to catch attention and evoke emotion, sort of like they did with the Polaroid ads in the ‘60s . No logo, just a simple headline, and an intriguing illustration that tells you nothing about the product, only the elation it will inspire in the woman in the your life. What an incredible way to portray a woman leaping into the arms of her man, I thought, showing only what’s necessary to imply the situation, spurring the reader to imagine the embrace, the eyes, the kiss.   Brilliant, I thought. Then I read the headline.    “Wear an Arrow Shirt and you'll simply sweep her off her feet!”   No.   No, I don’t believe this ad, even for a minute.    The only way to sell this scenario is if the emotion implied feels true. Even in 1949, it’s hard to imagine anyone got this excited about a dress shirt. Unless he just got home from the service and this is the first time in years
Read more