the MCT presents the work of
Wes Wilson PSYCHELDELIC TYPE AT ITS BEST
MOCT Museum of Contemporary Typograph
1
INTRO
2
WORK EXAMPLES
3 6
Wes Wilson
psychedelic
TYPOGRAPHICAL INTRODUCTION History of Typography Timeline
ABOUT THE MUSEUM Museum of Contemporary Typography
Wes Wilson Wes Wilson was one of the best-known designers of psychedelic posters. Most well known for designing posters for Bill Graham of the The Fillmore in San Francisco, he invented a style that is now synonymous with the peace movement, psychedelic era, and the 1960s. In particular, he is known for inventing and popularizing a psychedelic font around 1966 that made the letters look like they were moving or melting. Wes Wilson, the father of the 1960s rock concert poster, came into the world via Sacramento, California on July 15, 1937. As a child his interests meandered among artistic pursuits and an intense love for the natural world. His post-secondary studies reflected these interests; he focused for a time on forestry and horticulture before eventually coming to philosophy. By the latter half of the 1960s Wes found much inspiration in the avant-garde neighborhoods of San Francisco. Serendipity interrupted all of his plans (as she’s wont to do) and Wes Wilson soon found himself creating fine art for the masses. His style, inspired by the Art Nouveau masters, took what was understood about promotional art and turned it inside-out. Nearly cryptic letters filled every available space, lines melted into lines, colors clashed... and the psychedelic poster was born. The love of art and nature eventually carried Wes away to the beautiful Ozarks foothills, where he still enjoys creating and discussing art and ideas.
a typographical introduction
TERMINOLOGY EXPLAINED What’s the difference between a typeface and a font? Before you jump in, let’s clarify the terminology used. Typography is the art of creating the letters we use everyday. It’s designing them and creating them and making them real. A font is a collection or set of letters – they’re the mechanism you use to get your message across to your reader. Every let and dash and semi colon would be considered part of a specific font. A typeface is the design you see – the style and look of a specific font. Throughout history, typefaces have been influenced by technological advances, culture shifts, and just general boredom with the state of typography. Here’s how it all went down:z
57 1 7 ville
ow ker en , Bas hat w l t ype n h w a o n , J d itio ate ype 34 c r e Tr a n s t y l e t e r i f s s 1 7 aslon ce l l p r s ca an C om r y sha astic efa R m p a y a r e i t l fd n hv Wil ted a ures wit lots o et wee es. t a 1 n b d i cre h fea serifs b l t n 0 a in o as ic ntr nd th wh ighter more be1 5 n to be o c a i k it stra much rasts old beg y to f thic a nd ont and b ics o l a t c w a n t s I o us n 70 da ds v i o e n t h i d a y, use e wor ving 1 4 nson To e pe . w r a s t on k e h i s t y ’. mo ge, s o m Je r n e t t r s a a s t yle all y a p printe we us n ola om e c ‘o l d s g Nic ted R ired b nt , w i e y s a h e t a e le haTo d ad cre e, insp anci . st y e y. c s a s r e m p . n o i Ty p t e x t o l d i n g s f l g ita il or tin i re a wri the an bu mo det when m r a o f r n as sis tha I t w a b l e r, a n d y . l d e k rea klet t quic c bla ght on a c u
n o s Jen 00 1 4 nted
a
C
D B
g e ivin inv e s, g ay t o g r c w p be pefa per y d. U tten Gu able t a chea n wor ten t v mo wor ld wr it te ll wr i a y the in the oint , one b stly a p o obt l this were d er y c g r i v t s e n l b r a u n u teri nd we Gut te t a as m d, a firs it w se. han urcha ed the t ter – nd e t to p crea lackl ical, a gible. b t o le , c s l e a a f a c r l y p r t ve r y e p i o a ty n f t u k, dar nse, b inte
Type is everywhere – street signs, magazines, the web. Every typeface you see around you has been painstakingly and carefully planned out, and each has its own personality and vibe. But have you ever stopped to wonder how the typefaces we encounter everyday came to be? Who invented them, and why? If you’re interested in learning more about typography, you’ve come to the right place.
tter or e mp
ar y
et , tern n i a e ld uch h th W i t ave s y of o e s 0 t h 6 c e i e a r f w 1 9 n (bor n t va to ype va s n ew t or us A ll so 7) l i f d a n l a b l e d u se. g i ve 93 sW s i W e 15 , 1 i c a n ' r ava se an f ac e s of 0 dy uly Ame ne u J 2 r pe ance e u o n p d e ty s 1 9er ic G o is a t and ing hes abun d look s t d i t d e a r n e e h l n a r a t f F e o he us ons a igns not am s i of t igners ic rst 16 bec o p t u r d e w e ’r e e l s fi pe ’ s e d e d l 1 8 aslon IV n o d r d e y r t n o h o ] c f w e st o t ,a p s y t e r s . [1 n m C e firs t d ay d by ju ac e s l t i m r, a l o i t l u s h l w f u e ef ite po t kno ing Wi ted t itho ign 15 lim o t yp uld a w des loping w Bes esign r Bill cre face at all. o t w 1 8 iggins r w e d o e o. a fe we g d ev ro u s for ters fo The t yp serifs ely ke b e en a r s ag nt F gyp kin i e f l e a s y d m o c i e o n n u r e e e n E w p a a i m h 0 n y b v h S a V d h as tt 8 ha dred n he suc und ate lab Gra ore i I t w ked a wa s t gro aces, ate cre , or S first 1 7 and hun u m l s o e f l b l i e i c n e e p w h h F e s r a r t p i t t i T s c e y o t c a . t a n – p d n e h i ef if Fr a tim t of w der Sa Cop in D ista Ser a t yp that as ar onsi e c, s. d t s Fi r m b a t t a t e d ’ i f e s n m i h i c a t r t c e m . n , fa se res Go r l y, yle Gia oni cr oder now f t yp e s t ime had e squa s nne Old St m i i e r h , e K r t . Bod f irst ‘ eface d S we oxe s p ing udy ode the an t y Go D u r ex p l m a ny or b d m e , n o y p a e n R , ty he wer ma dot (Di oni). T were an and ations ted to d h i a Bo trasts me t va r g c re at e e od ein c on e ex t r e, and m b m r g. r o mo befo er y acc er tisin v r . e k a o ev t e d adv a h lo cre l, fres coo
D
A
c on
t
The Broad is a contemporary art museum founded by philanthropists Eli and Edythe Broad on Grand Avenue in downtown Los Angeles. Designed by Diller Scofidio + Renfro in collaboration with Gensler, the museum offers free general admission and presents an active program of rotating temporary exhibitions and innovative audience engagement. The Broad is home to more than 2,000 works of art in the Broad collection, which is one of the world's
most prominent collections of postwar and contemporary art. The 120,000-square-foot building features two floors of gallery space and is the headquarters of The Broad Art Foundation’s worldwide lending library, which has been loaning collection works to museums around the world since 1984. Since opening in September 2015, The Broad has welcomed more than 2.5 million visitors. Generous support is provided by Leading Partner East West Bank.
MOCT Museum of Contemporary Typograph
MOCT Museum of Contemporary Typograph
N
ap all day sniff other cat's butt and hang jaw half open thereafter lick arm hair for eat all the power cords or attack like a vicious monster poop in litter box, scratch the walls. Stare at ceiling light run up and down stairs hack up furballs, but tuxedo cats always looking dapper. Leave hair on owner's clothes my left donut is missing, as is my right but hide head under blanket so no one can see but catty ipsum murr i hate humans they are so annoying, always hungry so meow all night. Why use post when this sofa is here asdflkjaertvlkjasntvkjn (sits on keyboard) or shake treat bag. Soft kitty warm kitty little ball of furr howl uncontrollably for no reason cat dog hate mouse eat string barf pillow no baths hate everything eat a plant, kill a hand find something else more interesting, so white cat sleeps on a black shirt purr like an angel.
About this brochure Design by Emmes (Yiting) Luo
Arial Frahv Baron Bebas Impact K-Type Pt Serif PT Sans Helvetica Minion Pro Big Caslon Wes Wilson Didot True Type Knife Fight Ballet American Typewriter Baskerville Old Face JMH Pssychedelic Caps
M u s e u m o f C o n t e m p o r a r y Ty p o g r a p h y 21 S Grand Ave, Los Angeles, CA 90012 w w w.t h e m u s e u m o f m o d e r nt y p e.o r g