Wes Wilson (born July 15, 1937) is an American artist and one of the leading designers of psychedelic posters. Best known for designing posters for Bill Graham of 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. His style was heavily influenced by the Art Nouveau movement. Wilson is considered to be one of "The Big Five" San Francisco poster artists, along with Alton Kelley, Victor Moscoso, Rick Griffin, and Stanley Mouse.
 
                                                        -

Wes Wilson is one of the most important designers during the psychedelic movement. He was a graphic artist that founded the rock concert posters in the 1960s, translate what one can see and hear into visual psychedelic iconography. He used to work in a small press that used to produce handbills, here he did layouts and designs, and eventually here he was recognised as a poster designer. In 1966 the legendary Trips Festival were among the events that publish a flyer designed by Wilson, and this is when the combination of music and drugs made him fall in love with them.  

​He influenced many young artists that in short time new artists that copied his work soon replaced him. Wilson insists that he is the first artist that created psychedelic posters. According to some artists, they believe that he used to select his colours from his visual effects of LSD.
​
Years later in 1990, the Springfield Museum of Art invited him to exhibit his work of the 1960s entitled Looking Back, Rock Posters of the 1960s. As a result of this exhibition, he seemed to take interest again in graphic design, and so for four years, 1991 to 1995 he published a news journal devoted to the world of poster art.

Max Bill was a Swiss artist and designer who founded the Concrete Art movement. His interpretations of Constructivism through painting and sculpture, integrated the study of both geometry and mathematics into his art practice. “I am of the opinion that it is possible to develop an art largely on the basis of mathematical thinking,” Bill once reflected.

Born on December 22, 1908 in Winterthur, Switzerland he studied at the Kunstgewerbeschule in Zurich from 1924–1927, then with Wassily Kandinsky and Paul Klee at the Bauhaus school in Dessau for the next two years. Later the co-founder of the Ulm School of Arts and Crafts, he served as the head of architecture and product design there during the 1950s, and later as part of the Swiss Parliament from 1967 to 1971. Bill died on December 9, 1994 in Berlin at the age of 85.

Today, he is perhaps best remembered today for his chronoscopes (wrist watches) which are manufactured by the Junghans company in Germany. His works are also held in the collections of a number of institutions, including The Museum of Modern Art in New York, the Art Institute of Chicago, and the National Gallery of Art in Washington, D.C., among others. ​

                                              -
Max Bill was a leader in the Concrete Art movement. In 1924, he trained as a silversmith at the School of Applied Arts in Zurich, but after seeing the work of Le Corbusier, his interests shifted to architecture, and he became a student at the Bauhaus in Dessau. There, he studied under notable artists such as Joseph Albers, Wassily Kandinsky, and Paul Klee. After moving to Zurich in 1929, Bill began pursuing a career as an architect, sculptor, painter, industrial designer, and graphic artist. Inspired by the ideas of Theo van Doesburg, Bill formulated principles of Concrete Art, applying mathematics and geometry to his work.

In 1944, Bill founded the journal Abstrakt Konkret, and, in the 1950s, started writing monographs, catalogues, and journal entries exploring his theories of Abstract Constructivism. Together with Otl Aicher and activist Inge Scholl, Bill founded the Ulm Hochschule für Gestaltung (College of Design), where he became the head of the architecture and Industrial Design departments. Between 1967 and 1974, he taught environmental design at the Hochschule für Bildende Künste (College of Fine Arts) in Hamburg. After joining Allianz (Union of Modern Swiss Artists) in 1941, he founded a publishing company of the same name, and was a member of Abstraction-Création artist association, CIAM (Congrès Internationaux d’Architecture Moderne), Academy for the Arts in Berlin, Bauhaus Archival Association of Berlin, I.C.P. (Institut Für Progressive Kultur), U.A.M. (Union des Artistes Modernes), and various other associations and councils of German and Swiss workers. During his career, Bill was awarded the Grand Prix in both Brazil and Italy. His other achievements include the Award for Art in Zurich and two honorary degrees.