The design-focused Cooper style had always featured a strong outline or silhouette. Now through the work of Austin Briggs, the ever-inventive Al Parker and the artists associated with the Fredman-Chaite studio in New York City (Bob McGuiness, Bob Peak, Mitch Hooks, Bernie Fuchs, Frank McCarthy and Joe Bowler), mainstream realistic illustration in the 60s devolved to a distillation of line, color, and white space. The rendering was meant to look like a jazzy, improvised sketch or high contrast photograph with broad side pencil slashes, loose, gesture-like contours and flat translucent or granular color. In many ways it was thought to be a repudiation of what the Cooper era had brought to picture making, but it wasn’t entirely new, as many of the conventions remained in place and many longtime illustrators successfully made the transition. Commercial artists still relied heavily on photographs although now they took pains to not look like they did. The scene could have no direct narrative content, making its point by suggestion or association. The women in these images for the most part retained the same All-American features and improvised, candid, ecstatic expressions the Cool School had popularized, but now the reference was abstracted to the essence of volume and the point of view, often from the rear, was pulled back to show the whole figure.
 
Bron: profmendez.tripod.com/html/that60sgirl.htm