During this period Brys took what may now be termed a gap year and traveled across America. Influenced like many of his generation by Kerouac -but substantially better resourced financially- he traveled up the Hudson to Niagara Falls, made his way along the great lakes to Chicago then traveled Route 66 to Los Angeles. In a postcard to a friend he described the USA as ‘bigger than it needs to be’ and appears not to have lingered on the way to Los Angeles or there. Having seen a few of the bands of the day play in various clubs he made his way north to Big Sur and Monterey taking more time to travel the few hundred miles up the coast than he had to cross the continent.
1967 on the West Coast was the Summer of Love and it would appear that Brys deployed his European charm to full effect en route.

The remainder of the year was spent in San Francisco where Brys threw himself wholeheartedly into the hippy lifestyle. Few coherent accounts are available of that period but Brys was clearly immersed in the prevailing drug culture of the time. His talents as a draughtsman were noticed and he attracted invitations to design posters and album covers. It may be important to note that his talents were also possibly enhanced by other factors for one band member mentioned at the time that ‘it helped that he didn’t need to be paid for the work’. On balance his considerable private means have consistently been perceived to have hindered rather than assisted his wider recognition as an artist of any stature. The refusal or inability to work to any deadline or specific instruction has been a consistent factor in Brys’ career. In San Francisco most ‘commissions’ were completed too late to be of any use. Others were excellent pieces of work independently but completely inappropriate for the purpose for which they were intended. In hindsight those that have been traced look very much of the period and suitably ‘psychedelic’. Only when subtle nuances are explained can it be understood why they were not suitable for publication at that time.

Some of his work of the period was recycled, appearing uncredited in underground magazines or remains in the ownership of record company executives, promoters and other people associated with the bands of the time.