PSYCHEDELIC — 1960S POSTER ART

VISUAL STYLE: 1960s psychedelic poster art — the tradition of Wes Wilson, Victor Moscoso, Peter Max, and Rick Griffin. Concert posters. Haight-Ashbury. Flat printed colour in maximum saturation. This is illustration and print, not photography, not 3D rendering, not glass, not chrome. Every element is flat, hand-drawn, and printed.

COLOUR PALETTE: Maximum saturation, always. Electric purple against acid yellow. Hot magenta against lime green. Deep cobalt against burning orange. Colours chosen specifically because they vibrate against each other at their edges — simultaneous contrast as a deliberate weapon. No muted tones. No gradients to grey. No metallic surfaces. Flat fields of pure, printed colour.

FORM: Organic, flowing, hand-drawn. Lettering that melts into illustration. Faces dissolving into paisley. Figures made of flowers made of faces. The human form abstracted into pattern. Everything interconnects — there is no background, only layers of pattern behind pattern.

FLATNESS: This is print. Two-dimensional. Silkscreen or offset lithography. Colours sit in flat layers. No 3D rendering. No glass. No chrome. No photorealistic surfaces. No liquid materials. Flat. Printed. Illustrated.

PATTERN: Concentric flowing lines — Op Art influence filtered through psychedelia. Repeating forms that accelerate toward a centre. Mandalas. Spirals. Patterns within patterns, all flat, all printed.

TYPOGRAPHY: Flowing, organic letterforms where the letters themselves become the pattern. Wes Wilson's impossible-to-read-but-beautiful style. Text that is decoration as much as language.

No photographs. No 3D rendering. No glass, chrome, or liquid surfaces. No gradients into grey or black. Flat printed illustration, maximum colour saturation, hand-drawn organic form throughout.