When it comes to '60s supercars, you'll be hard pressed to find something more iconic than the 1969 Lamborghini Miura P400S 'SV Specification'...

Brand Catalinbread Model SFT V1 Finish White Year 2010 - 2015 Made In United States Categories Overdrive and Boost Pedals Pedal Format Standard Show More

The Berenstain Bears' Activity Book Stan and Jan Berenstain ~ Random House, 1979 So... I grew up in a small town (or what was a small to...

The late 60's and early 70's Chevrolet Nova models are getting really popular within hotrodders and this is one very well executed build. See more details!

GROOVY PSYCHEDELIC ALPHABET STOP: BEFORE YOU BUY... This is a Vector alphabet for cutting, pasting, and arranging. It is not an .otf or .ttf font that you can install and type with. Super swirly and groovy, this original psychedelic alphabet straddles the late '60s and early '70s in its general style. There are two versions, one with pastel colored hues to pop nicely from a dark background, and another with more saturated and deeper hues from the rainbow spectrum, for best contrast against light backgrounds. This new alphabet design is in the grand tradition of classic psychedelia, but has a slightly more eye-friendly and legible take than many of the classics, for more at-a-glance readability without losing any of the essential 'vibe.' For maximum groove and flow, use the Envelope Distort function in Adobe Illustrator. • Important Note: This is custom vector art, not an installable font. • Saved in .eps format, compatible with AI 10 and up. • Drag and drop the .eps files onto PhotoShop application icon to open in PhotoShop WORKING WITH THIS ALPHABET This is a set of vector letters that can be pasted together to create a custom headline for your graphic piece. In a matter of just a few minutes, you can copy and paste the letters to spell out a customized headline or product name, apply beautiful curves and contours if desired (using Adobe Illustrator's Object Envelope Distort commands), and presto, you have a lovely, unique, and custom-lettered branding system or headline. And yes, it goes more quickly than you might think. TIPS FOR GETTING A PERFECT RESULT 1) Don't forget the kerning! This is often the difference between a good lettering design and a great one. After you've positioned the lettering on a straight baseline, give it careful look. Squint at it. Look at it from across the room if it helps. Close up the big wide gaps like you might see between an 'L' and an 'A'. Open it up a bit when dense letters want to dovetail too tightly together. Bottom line: Don't use math or rulers to kern the letters, use your eyes. If it looks too tight or too loose, then it is. 2) If you've positioned individual vector letters before, you probably know that letters with rounded tops or bottoms need to extend a little bit below the baseline and above the cap height line. Example: a rounded capital letter 'O' extends slightly beyond the lines at both the top and bottom, and a rounded capital letter 'U' extends below the line at the bottom only. This extra height (most prominently on bold lettering) counteracts the optical illusion of rounded letters naturally appearing smaller than the rest. 3) Try curving your words, rotate them around an arc, bend and warp them for great results. Adobe Illustrator's Object Envelope Distort is your friend. 4) The colors are editable of course, although in some cases, it may prove to be overly complicated to edit some of the multiple gradient swatches used for creating the 3-d style drop shadows and faux-metallic shine gradients. Experiment, and see what works. ABOUT THE DESIGNER Mott Jordan is a veteran typography designer and confirmed lettering fanatic. He has two ITC designs to his credit (now administered by Monotype, Inc.), ITC Hornpype™, and ITC Verkehr™, as well as a large number of limited-release freebies floating around the web, dating back to the late 1990s. Jordan is also an artist, illustrator, animator, 3D designer, and photographer.

The Stonewall Riots, also called the Stonewall Uprising, took place on June 28, 1969, in New York City, after police raided the Stonewall Inn, a local gay club. The raid sparked a riot among bar patrons and neighborhood residents as police hauled employees and patrons out of the bar, leading to six days of protests and violent clashes. The Stonewall Riots served as a catalyst for the gay rights movement.

1960 must have been a very good year for Bob Peak. Before the Old Hickory campaign of '58 and '59, his career had been sputtering along - but now, as David Apatoff described in one email message to me, Peak's work seemed to be imbued with a "white hot creativity." After all, could the mid-50's Bob Peak have sold a client on the idea of a green man drawn in a distorted style as the best way to advertise their product? I don't think so. But at last times had changed, and all of a sudden Peak's signature - and signature style - seemed to be everywhere. In his article in Illustration magazine #6, Thomas Peak, the artist's son, writes: "Using the [Old Hickory] bourbon campaign as a springboard, it was only a matter of months before Bob found his illustrations on the back covers of Look and Life magazines, and he went from making virtually nothing a week to making over $40,000 a year. In quick succession, Bob Peak had established himself as a name in the commercial art world. The impact of his work with the Old Hickory campaign led him to other assignments from Pepsi-Cola, Chrysler, and Dobbs Hats." Bob Peak was named "Artist of the Year" by the Artists Guild of New York in 1961. At last, he had arrived. That same year, Peak began what would be a long, successful association with the film industry. Tom Peak writes, "David Chassman, an executive at the United Artists film studio, hired Bob to create a new look for a feature film version of the hit Broadway musical West Side Story [below]. Up until this time, the major studios such as Universal, Allied Artists, and MGM had used illustrators such as Reynold Brown, Ken Sawyer, and Joe Smith to create the “key art” during the ’50s and ’60s for westerns, romances, and monster movies. The art created for this film was a radical departure from the established styles of these other artists." As Bob Peak's popularity spread far outside the New York market, even art directors in far-flung regions, typically working with smaller budgets, were making exceptions if it meant they might get Bob Peak in on an assignment. Charlie Allen, who worked in the San Fransisco area, sent the pieces above and below and writes, "Saw the two Hawaiin Punch originals at McCann-Erikson and was a bit miffed. I'm positive they paid Peak more than we local yocals... they were tight spenders locally!" While many other formerly successful illustrators saw their own careers sinking beneath a tide of change that was sweeping through the print industry in the early 60's, it was 'full steam ahead' for Peak. His tremendous popularity didn't neccessarily convince all of his peers of the merit of his work, however. David Apatoff relates this anecdote: "In 1964, the Famous Artists School wanted to put out a new edition of their materials, and wanted to bring in the younger crop of fashionable illustrators so that the FAS would appeal to the next generation. So all of the old greats-- Dorne, Ludekens, Rockwell, Briggs, etc., -- had to pass judgment on who was good enough to join "the club." Most of the choices were obvious, but there was a real split of opinion over Peak. Some of the old guys (led by Briggs) thought that Peak was flashy, but just not good enough, and strongly opposed extending him an invitation. Ultimately, they chose to invite him." Because inevitably, there was no denying that the 'Golden Age' of 1950's illustration was over - and it was time to adapt or die. As Charlie Allen puts it, "To be honest I wasn't a big fan of Bob Peak's work until he began the amazing Hollywood movie posters. Wow! Wasn't a big fan of Potter or Hays, but I did use techniques, more underpainting, textures, etc. they pioneered." * I have many people to thank for assisting me with this week's topic: Barbara Bradley, Charlie Allen, David Apatoff, Tom Watson - and today, Larry Roibal as well - for their advice, opinions, information and scans, and Dan Zimmer for allowing me to excerpt passages from Tom Peak's article in Illustration magazine, which are ©2003, 2008 by Tom Peak, Dan Zimmer and The Illustrated Press, Inc., and all artwork © The Estate of Robert Peak. There is much, much more on the artist at Bob Peak.com My Bob Peak Flickr set.

The late '60s and early '70s was interesting time for Ford's coupe utility, the Ranchero. Previous years had been based on the Fairlane and Falcon platforms, but with the introduction of the Torino in '68 the Ranchero was moved to this new platform. With the change came new styling, plus new options! You could essentially...

How an "absolutely sincere" easy-listening LP recorded amid Laurel Canyon's early-'70s hippie bliss remains one of the biggest-charting (and universally beloved) albums of all time, more than 40 years later.

Get more from megukiru on Patreon

Midi-Minuit Fantastique was a French cineaste magazine dedicated to fantasy, horror and science fiction films of the 1960s to early 70s. It was one of the first “serious” publications to explore genre films. Later on, Midi-Minuit Fantastique dealt with more mainstream culture and subject matters with profiles on directors like Samuel Fuller, Otto Preminger or Federico Fellini. But honestly, who cares what Midi-Minuit Fantastique wrote about. Just look at these incredible covers! They’re up there with Girls & Corpses (NSFW) magazine!

‘Like most girls, her imagination carried her just as far as the altar and no further’ ― Margaret Mitchell, Gone with the Wind Here’s Part 2 of our look at New York wedding photos from a professional photographer working in the 1960s. The lighting, framing and composition suggest the photographer was no natural picture taker. As ever … Continue reading "More Found Wedding Portraits From 1960s New York (Part 2)"

SIMPLICITY 9363: Use this early 1970s vintage sewing pattern for misses to sew a tunic top with neckline variations and classic A-line style, and matching pants. They are jiffy to sew! Scroll down to learn more about the size, pattern condition, and garment details. SIZE INFORMATION: Misses Size 10 Bust 32.5 inches Waist 24 inches Hip 34.5 inches PATTERN CONDITION: COMPLETE, UNUSED (instructions and all pattern pieces (uncut and in original folds; note that piece B and A are separated from the other pieces, and piece B has a few notations written on the edge)) GARMENT INFORMATION: Tunic top details: - dart-fitted A-line flare - jewel neckline, scoop neckline, or V-neckline - short set-in sleeves - back zipper closing Pants details: - long straight legs - elastic in waistline casing COPYRIGHT: 1971