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Just as Art Nouveau flowered into an international style, with some presciently trippy manifestations in Brazil and other places, so too did the 60s psychedelic poster, spreading from San Francisco to every corner of the globe. Famous 60s designers like Wes Wilson confessed their admiration for modernism, “the idea,” Wilson told Time in 1967, “of really putting it all out there.” Even the fonts were poached from turn-of-the-century graphic art. Flowers, curves, peacocks, updates of Art Nouveau images from the past (including skeletons and roses)-dialed up to 11 with “eye-vibrating” colors-made the perfect visual accompaniment for the acid-flavored Romanticism that took root during the Vietnam era. 60s graphic designers saw these seductive styles as the key to a new psychedelic vision. Art Nouveau-like designs had already returned with the flower patterns popular in fabrics at the time. Venues like the Filmore and the Avalon advertised the hippie revolution with eye-catching posters inspired by those that once lined the thoroughfares of Europe in an age before TV, radio, and neon signs. At the epicenter of the movement was the San Francisco of Jefferson Airplane and the Grateful Dead. The artists of the acid rock period rebelled not so much against industrialization as the military-industrial-complex. The descriptions of Art Nouveau’s qualities also apply to the poster and album cover art of the psychedelic 1960s, and no wonder, given the significant influence of the former upon the latter. Grand, flowing lines, intricate patterns, vibrant, often clashing colors, bold hand-lettering, feminine figures and elaborate, exotic themes…. Each identified a collection of traits with which we are now familiar from the many hundreds of posters and advertisements of the time. It went by many names: Jugendstil, Mondernisme, Tiffany Style, Glasgow Style, Stile Liberty, Sezessionstil.