Editing Psychedelia (section)

== Psychedelia design ==
The Psychedelia movement in the 1960s had a large impact on graphic design and architecture during the movement. During this time period, it was all about taking creative risks. This movement was experimental and colorful. There was a political unrest because of Black and Indigenous groups trying to get their rights. With African Americans, it was the [[civil rights movement]]. Michael Parke-Taylor includes Native Americans in the conversation. For Indigenous or Native Americans, they "represented the perfect symbol of those marginalized and persecuted in contemporary American society."<ref>{{Cite journal |last=Parke-Taylor |first=Michael |date=October 2020 |title=Images of Native Americans in Rick Griffin's Early Psychedelic Posters |url=https://onlinelibrary.wiley.com/doi/10.1111/jpcu.12962 |journal=The Journal of Popular Culture |language=en |volume=53 |issue=5 |pages=1105–1134 |doi=10.1111/jpcu.12962 |issn=0022-3840}}</ref>

Graphic design during this era was playful and colorful. This was because of the drug known as [[LSD]]. The Hippies took over the psychedelic designs. Jeffrey Meikle understood what the Hippies wanted to create. He knew that the "Hippie artists energized American visual culture with rock concert posters, record jackets, extravagant, and underground newspapers."<ref name=":0">{{Cite book |last=Meikle |first=Jeffrey L. |title=Design in the USA |date=2005 |publisher=Oxford University Press |isbn=978-0-19-284219-0 |series=Oxford history of art |location=Oxford; New York}}</ref> Milton Glaser has a poster design of [[Bob Dylan]]. The poster is colorful and playful. Glaser wanted to get away from the black and white designs of posters and trade that in for a more experimental design. These designs were usually hand painted and printed. The typography was the same as the poster which was playful and colorful. Juliana Duque mentions the typography was "organic patterns, kaleidoscopic textures, and waving (nearly encrypted) lettering combined with intense colors."<ref>{{Cite journal |last=Duque |first=Juliana F. |date=2019-07-01 |title=Spaces in Time: The Influence of Aubrey Beardsley on Psychedelic Graphic Design |journal=H-ART. Revista de historia, teoría y crítica de arte |issue=5 |pages=15–38 |doi=10.25025/hart05.2019.02 |issn=2590-9126|doi-access=free }}</ref>

There were a few architecture designs that came out during this period. The graphic design elements on buses were just as colorful as the posters. They employed psychedelic elements to craft immersive environments and foster an interactive space. Luke Dickens explores the overlooked architecture in the 1960s. He mentions The Fifth Dimension as being "highly inventive, utopian “fun palace” used advanced modular technologies... and deployed psychedelic sensibilities as a novel form of disruptive politics to induce critical dispositions towards the built environment."<ref>{{Cite journal |last1=Dickens |first1=Luke |last2=Edensor |first2=Tim |date=September 2021 |title=Entering the Fifth Dimension: modular modernities, psychedelic sensibilities, and the architectures of lived experience |url=https://rgs-ibg.onlinelibrary.wiley.com/doi/10.1111/tran.12440 |journal=Transactions of the Institute of British Geographers |language=en |volume=46 |issue=3 |pages=659–674 |doi=10.1111/tran.12440 |bibcode=2021TrIBG..46..659D |issn=0020-2754}}</ref> The theme of bright colors was evident in this fiber glass domed-shaped building. This building was meant to trigger psychedelic responses.<ref>https://theplayethic.typepad.com/files/5thdimension.pdf</ref> Similar to The Fifth Dimension, there was a geodesic [[Geodesic dome|dome]] and a [[dymaxion car]] made by Buckminster Fuller. The geodesic dome was complex. Meikle explained that Fuller followed the psychedelia era by wanting to speak "to a counterculture claiming to reject American Materialism."<ref name=":0" />